Cinema Review: The Counsellor



DIR: Ridley Scott • WRI: Cormac McCarthy PRO: Paula Mae Schwartz, Steve Schwartz, Ridley Scott, Nick Wechsler • DOP: Dariusz Wolski • ED: Pietro Scalia • DES: Arthur Max • MUS: Daniel Pemberton • DES: Simon Rogers • CAST: Brad Pitt, Goran Visnjic, Michael Fassbender, Cameron Diaz, Javier Bardem, Penelope Cruz


In the eighties Jean-Jacques Beineix’s Betty Blue began midst an intimate moment between Betty and Zorg.  Sex sells. Directed by Ridley Scott and written by Cormac McCarthy The Counsellor begins during an arguably more intimate moment between Michael Fassbender as the counsellor and Laura played by Penelope Cruz.


Out of bed and on route to Amsterdam to buy Laura the most fabulous of engagement rings the counsellor stops by for a meeting, somewhere in Mexico or America, with Reiner, played by Javier Bardem. There is a lot of talking and while the exact nature of the men’s relationship is unclear they are involved in a drug deal and Reiner wants to make sure the counsellor, as everyone calls him, is aware of the risks involved.  The counsellor then meets with Westray, (Brad Pitt), who is also involved in the deal.  He too warns the counsellor of the potential dangerous consequences and tells him that he has his escape plan in place should anything go wrong.


Later in a jail somewhere (and the wondering as to which side of the border he is on is confusing while trying to follow the plot) the counsellor has a meeting with a client whose son has been arrested and can’t pay his speeding fine.  The counsellor agrees to get him out of prison but unknowingly upsets someone in the process.  This creates a problem, which the film follows through to its conclusion.


There are no doubts in this film about how good an actor Michael Fassbender is but while Penelope Cruz plays Laura with great skill she is not convincing as a naïve innocent young girl, nor is her friendship with the sociopath Malkina (Cameron Diaz).  Malkina is Reiner’s partner in business and sex and appears to be he mastermind behind the whole business.  Diaz plays the role to deadpan perfection although the scene in which she “has sex with a car” probably isn’t necessary.  Bardem works well dressed in Versace as the slouchy decadent drug dealer as does Brad Pitt as Westray.  But the film lacks something.  It is 119 minutes long and while it doesn’t drag, it just never really builds up any tension.


What it lacks I can’t quite put my finger on but in the credits gave me an idea.  Firstly  The Counsellor was filmed on location in London and Spain and not in America or Mexico where it is located.  And secondly the final credit is a note saying “The making and authorized distribution of this film supported over 13,000 jobs and involved hundreds of thousands of work hours.” It is important, especially in these times of austerity, to be reminded how valuable filmmaking can be to a local economy. It’s a very good reason for governments to offer tax incentives and encourage international filmmakers to make films on their shores but it doesn’t mean you can make any film anywhere. I know an argument can be made that the film is character driven and greed is a universal story and so can be filmed anywhere but Ridley Scott’s Thelma and Louise could only have been satisfied by the Grand Canyon; in his Blade Runner, the futuristic city’s design is essential to the film and in No Country for Old Men, the film based on Cormac Mc McCarthy’s novel of the same name, it is the landscape binding the characters and the film together that is memorable.  I’m wondering if maybe the film lacked an authenticity of place and perhaps that’s a reason why the characters didn’t feel quite real?


There are many reasons to want to see this film.  Cormac Mc McCarthy’s novel All the Pretty Horses is the most beautifully paced novel I have ever read, the idea of seeing his first screenplay is exciting.  The film is directed by Ridley Scott and stars the very established Michael Fassbender alongside Penelope Cruz, Javier Bardem, Cameron Diaz and Brad Pitt. I was disappointed but maybe I expected too much.

Susan Leahy

16  (See IFCO for details)

117 mins

The Counsellor is released on 15th November 2013

The Counsellor – Official Website



Interview: Kieran Evans, director of ‘Kelly + Victor’

Antonia Campbell-Hughes and Julian Morris as Kelly and Victor

Kelly+Victor is a haunting, candid depiction of a young couple embarking on a passionate and transgressive love affair. Adapted from the acclaimed novel by Niall Griffith, the film is directed by Kieran Evans, who chatted to Susan Leahy about this story of obsessive love anchored by two complex but tender performances.

I saw Kelly & Victor last week. It’s beautifully filmed.  It’s your first feature film; you’ve made music documentaries before. What drew you to make this film?

I pretty much made music videos as a means to an end. What I was interested in was telling stories.  The process of getting this particular film to the screen took a lot longer than possibly planned – being a first-time director it takes a bit more effort, and also the subject matter. It isn’t a rom-com, it isn’t a gangster film and it isn’t a zombie film – we started looking for funding for this film back in 2004, 2005.  I didn’t want to make any old film. When I found the book by Niall the light bulb went off in my head and that’s how it all began.

It wasn’t easy, particularly because of the subject matter.  We nearly got to the top of the mountain a few times only to be dashed by somebody just having a bit of cold feet and also the market.  The market gets conservative now and again – when global wars take off – but we stayed true to what we wanted to do.

I had many offers to make other films and could have just parked it but I didn’t want to do that, I had committed to making this film and hard as it is sometimes when you get the rejection it’s also important to keep focus. Filmmaking is the school of hard knocks and you either believe in it or you don’t.  It struck me to the core when I read the book and it stayed with me and it still stays with me, which is why I wanted to make the film.


The city has a really strong sense of place within it of Liverpool. What’s your relationship with the city?

The book is actually set in Liverpool. There was a dangle of a carrot to move to another city, to get funding from another area but the point was Liverpool is central to the book. It’s a character.  I’ve been going there for years, as I’m actually a Liverpool Football Club supporter so that was another reason why me and Niall got on.  Liverpool, when we started thinking about this film, had just been awarded the City of Culture so it completely changed the look of Liverpool – at least one area of Liverpool, the Waterside.

Liverpool is a city of amazing cinematic contrasts. You can go down to the Waterfront and feel like you are in some amazing Scandinavian city; then walk for a mile and you are in some of the most socially deprived council estates in Britain.  If you scratch beneath the surface of Liverpool you get a lot more going on and that really helped us when making the film too.  There is this beautiful decay. I love seeing cities like that – nature reclaiming houses and things like that with these shimmering glass towers in the background.


Your focus on the windmills, which you do at the start and at the end, is that your symbol of hope for the city?

Wind and nature are themes running through the film.  I don’t want to over analyse it but things that were very key to me were like this idea of nature and things moving on. The cruelty of nature though as well – just the fact that you can see these lovely pigeons, these lovely birds and they are scavengers as well as humans are and the idea that bird song is a beautiful thing. Well it isn’t; it’s a cry for help; it’s letting your mates know you’re still alive this morning. So there’s lots of subtleties with regards to nature and the passing of time.  Symbolically the way the wind rushes in and the tides and all that stuff, life will still go on, windmills will still be turning and life will still be turning.


It’s one of the few things I’ve seen set in Liverpool that doesn’t include football fans, even though I’m an Everton fan. I liked that. Was that a conscious decision?

Well actually if you are a Liverpool fan there is a very subtle reference to Liverpool Football Club. Victor has a quote from Bill Shankly stencilled on his wall.  But we wanted to try and break that stereotypical thing, for me everything I looked at when researching Liverpool was kind of negative stereo typing, the Harry Enfield scouser guy still seems to be prevalent in today’s culture even though he was 20 years ago, Yosser Hughes “gis a job” and all that kind of stuff.  Liverpool is far more interesting than that, we wanted to avoid the football colours thing. There are bigger things than Liverpool versus Everton.


How you filmed the story, your use of montage within the shots, between the shots, the sound, suggests to me the influence of Sergei Eisenstein. Who would you say are your influences?

I’m a massive fan of European cinema.  When I read it (the book) I saw it almost as Scandinavian.  I’m a massive fan of people like Thomas Vinterberg and Lukas Moodysson.  I just find their way of storytelling is a bit more fascinating, a bit more human a bit more honest really.  They all shoot with a very particular sense of style. I’m a massive landscape fan as well so I’m influenced by the European filmmakers but also people like Terrence Malick how he uses nature and landscape a lot to create atmosphere and evoke things, evoke emotions that type of thing.  The British filmmaker I adore is Nicolas Roeg, then Derek Jarman, very much left field filmmakers, their way of working – pace, style.  Nicholas Roeg has a great visual eye a wonderful way of composition.

And my mum, she used to watch loads of late-night films, kept me up late watching the Hitchcock classics and things like that, I remember watching Truffaut films with her as a 7/8 year old.  Being shown films like that you get to see a different perspective on life.  So my education started with my mum really, it was a nice way to experience film growing up, her influences stayed with me.


The film comes across to me very much as a contemplation on today’s society. Was that your intention?

It’s about a state of mind for me, right now. It’s very prevalent to what’s going on in Britain at the moment.  The idea of a forgotten generation, the idea of acid house and things like that, the idea that hope was just around the corner, lifestyle choices, drug taking, there was going to be taken to a whole new world.  There is a whole generation that lived the dream a bit and got left behind and not just with acid house.  It’s like Kelly and Victor are lost souls, almost ghosts in the city, almost invisible to people on a bus, walking down a street.  They act like they are ghosts.  It’s much more about the idea of your hopes and dreams, you can live your life through someone.

It’s not a love story. They never say I love you – it never was that.  These people have lost their connection with the world. They just want to feel something, they are desperate to feel and this is the point.  People take these risks to feel something again, they want to be wanted to be reminded what they are here on this planet for – that’s what Kelly and Victor is about.  Like they are two atoms colliding and the consequences of that; what is this person doing to me?  In the book it’s what’s going on in their heads all the time but they don’t put it out there, it all comes down to the situation. When they are in the room together something happens the crackle, the skin gets goose bumps, something happens but they are so distant from the world they live in now, they can’t put a name to it, they can’t put a finger on what it is they are feeling and that’s a kind of interesting area for me at the moment.  In terms of our society at the moment, how we are living, the idea of instant celebrity, instant everything – that it’s the way forward, it isn’t and I think this is like an inverse of that.


I didn’t get the sense that Victor enjoyed the sadomasochism, rather it was something society was telling him he should be enjoying. He should think it’s great but he didn’t trust her enough to?

I think the thing is he doesn’t trust himself enough that’s the point, Victor is this gentle lost soul, gently plodding along with life,  sees his sister, the happiness she has and all that kind of thing but he doesn’t seem to be able to have that and he’s desperately looking out for it. Even though it’s not a search that’s driven by desire it’s an innate thing that happens in life. Your single – what if I go out tonight? If I don’t go out tonight what am I missing out on? This need to find your soul mate.  He’s not in search of a soul mate but rather a connection and that’s what Kelly is – a connection to something.  For me it’s a springboard to something else. It unlocks more in his head than he first imagined.


I found myself being sympathetic to Kelly. I actually quite liked her as a person but at the same time women don’t come across very well in the film. She could be interpreted too as the contemporary femme fatale – she destroys Victor and all that is good?

Hmm, we should have a lot of sympathy for Kelly, the abusive relationships she has been in, the abusive mother-daughter relationship.  The thing is there is a kind of frustration with the world She had dreams, everyone has dreams, she finds herself selling cards in a shitty little market stall in a closing down market, this is not your dream.  The rage, the anger you see in her at the end it’s not just about losing Victor, it’s about this is my life. Inside there is a rage going on in Kelly, a kind of lost rage, things haven’t gone right for her she doesn’t express that rage she doesn’t intend to damage Victor; she just wants to take him to another place, to help him do that.  She wants to do something for somebody else, in that she hopefully wants to be taken to that place as well.

In the terrible climax, that breakdown afterwards isn’t just about what she’s lost with Victor but her hopelessness with life.  Life is cruel, this goes back to the whole thing with nature – life deals bad blows to everyone.  The butterfly at the start – the trapped butterfly – was to be a metaphor for her, this thing of beauty trapped unable to escape unable to get away from the course, the whole path that she is on and that is a path that a lot of people go down.  It’s why I feel a lot of love for Kelly, a lot of passion, an incredible person struggling against the world battling against the world.


To end on a lighter note, last week was all about Gareth Bale, how would you feel if you were given €100million to spend on a film?

I’d feel great but I’d probably encourage them to make twenty €5million films rather than one…

It would be lovely, but can you imagine the pressure that comes with making a €100million film?  But never say never…


Check out our interview with Irish actress Antonia Campbell-Hughes who plays Kelly



Interview: Antonia Campbell-Hughes, star of Kelly + Victor

photo (1)

Photograph by Hugh O’Connor

When Kelly (Antonia Campbell-Hughes) meets Victor on the dance floor of a Liverpool nightclub, the attraction is instant. After wandering through the night they find themselves at her flat, making love with a passion and urgency that neither had experienced before. Both Kelly and Victor are struggling to get by as best they can, while the people around them are choosing illegal lifestyles; she is escaping a brutish former lover, while he is being dragged into a world of drugs.  It’s when they make love that their darker instincts take over.

Kelly + Victor is a raw, compelling, passionate love story. Susan Leahy sat down with Antonia Campbell-Hughes to discuss her role in Kieran Evans’ film, which is released in cinemas 20th September 2013.


I saw the film on last week you come across as though the film is made for you. How did you come to play the role of Kelly? Oh, and your accent was brilliant.

Thanks. It’s funny, when I first read the script I was very drawn to the character. I read the book and was aware that I couldn’t do a Scouse accent and that Liverpool was such a part of these people and I thought that because of the following of the book and the integrity of the writer, Niall Griffith, who was so involved with the project, that I didn’t stand a chance of getting the role.

I’m a complete obsessive when it comes to being true. I’m an adopted Irish American person in the UK, not a true Brit, never mind Liverpudlian, but the second I walked in the room and I met Kieran Evans, the director, he felt I was the person for the job immediately. It furthered my interest in the role – that he was able to discard surface and could focus on the intensity and energy and soul of the character and hold that as key.


It really comes across that you trusted him, not just the sex scenes but because of the way he filmed it. There had to be a real trust there?

He kind of bowled me over all the time.  The thing is, I don’t think anything is black and white in any walk of life but I think there’s beauty and integrity and art in every arena and there’s saccharine in every walk of arts or the media, so when it comes to nudity and sex scenes in the vast majority of film and television it’s handled quite crassly and that’s because sex sells and money makes films and television and we all buy into a bit – I’m guilty of it too.  I don’t necessarily want to make it.  So when it came to nudity there was this, ‘oh, you can’t do that, it would be horrible’, but I knew Kieran was someone who would handle it well. For him, everything is valid; everything he does has purpose, and I kind of picked that up from him from our first meeting.  The way he spoke about it, there was a respect and trust there, and he’s truthful.  That’s how I like to approach my work; everything has to be 100% truth. If you don’t believe in it why would anyone else?

What is different and what was interesting about the sex scenes, and the reason I don’t find them shocking, is because it wasn’t very voyeuristic. You feel like you are in it with them, the two people, Kelly and Victor. They’re not role-playing; it’s not dubbed on S&M nonsense – not that it’s nonsense – but for them it would be, it would just be too glamorous almost. It’s a leap. It’s as though they are finding something that they don’t have labels for or names for. They are just existing very much in the moment in their encapsulated bubble. And when we were filming it Kieran was in that bubble.

Sequence-1-03433600 Antonia Campbell-Hughes and Julian Morris as Kelly and Victor

I felt  that the way he cuts between the sex and the conversation, that really, from the audience’s perspective, takes the voyeuristic element out of it. It becomes part of their conversation as opposed to their sex?

Exactly, myself and Kieran talked about it a lot and again what really resonated with me was the chemistry between everybody and it’s not like this glamorous fairytale thing. That’s the beauty of it – they are people whose lives maybe aren’t fantastic and they’ve had pasts littered with mess and awkwardness and maybe they have very simple jobs or not but it doesn’t really matter.  It’s when they come together that there is that kind of almost euphoric drug-like blindness where the world disappears and all that matters is what’s happening; the energy between them. It doesn’t really matter if it’s love or lust or friendship. It’s like a chemistry crackling. It’s like a time bubble, and so in order to get that across in the film you have to sort of disappear into that.

I don’t want to be all hippy about it but it was a really enjoyable shoot because it was kind of like participating in a magical moment in this person’s life. In terms of shooting the sex scenes we went into a room for a week and we had conversations about what was needed to be caught on camera for logistics because there is a certain way that they choreograph their own sexual  playout.  Like it’s only a game; it’s a thing but there is a rhythm to it that they discover. I don’t think it’s manicured or orchestrated. So we went into a room and just shot and shot and shot.  Kieran was just literally beside me, with a little monitor, and he would almost sometimes even move us physically apart and not break or interrupt something, like if there was a boom or something in the frame he would just push it out. There was an organic constant in that week of shooting.


The film also comes across as a contemplative criticism, if that’s the right word, of modern culture of modern society. How do you feel about the film’s portrayal of women?

It’s interesting, something I struggled with and we talked about it a lot… it’s like, how do you show Kelly’s strengths without making her too dominant? If she’s callous, if you show her weakness, then she’s just another revenge-seeking girl. Then there’s also that neurotic crazy girl stigma. This is something I was constantly questioning  – asking how do we find the balance?


The way I was watching it, she comes across as somebody who’s not that into sadomasochism. She couldn’t really hit the guy for money, stuff like that. It’s more as if she can’t receive, as if she has been so destroyed by life that she can’t receive physical love?

I know. It’s like if you kick a dog it’s going to bark and bite whenever a human comes near.  There is a comparison I suppose, people find hurt I guess. I think a lot about the work I do. I don’t just do it. Maybe I think too much? At the end of the day the film is a collaborative process of all kinds of factors. Your performance is only one thing and what I did love about Kieran is we talked about all these things a lot.


Sometimes great roles for women are horrible women. 

I kind of saw her and Victor as gender interchangeable, the tender heart-bearing soul one is Victor; he almost takes on the Eve role.


He’s the garden and nature, she’s the city?

I just saw them as two lost souls who are in want of closeness striving to connect, but can’t find away to tap into that.  Sometimes people say they have to feel pain to feel they have found something because there is this callous layer and it’s also like a self protection.


You put so much preparation into really getting inside a character . I know you’re an actress but how do you come back to your self afterwards? Is there something that you do? Do you have a ritual after you make a film?

The thing is its not like I have a way or a method of doing things, it’s certain roles that demand a level of responsibility, or require you to be in a quiet place, Kelly + Victor was very different.  It was such a short amount of time on screen. It was done at a much faster pace so it’s just down to the material – it’s not like I have my method.

It’s a performance and I want to constantly learn, to change.  I’m not the type of person who  does an amazing performance and then goes home. I want to keep learning and changing and developing.


Check out our interview with the film’s director Kieran Evans here


Cinema Review: The Artist and the Model


DIR: Fernando Trueba WRI: Jean-Claude Carrière, Fernando Trueba  • PROD: Fernando Trueba  DOP: Daniel Vilar  ED: Marta Velasco  DES: Pilar Revuelta • CAST: Jean Rochefort, Aida Folch, Claudia Cardinale

The Artist and the Model is a 2012 Spanish film directed by the Spanish Fernando Truebo.  In French, with subtitles, it stars the French Jean Rochefort, Italian Claudia Cardinale and Spanish Aida Folch.  Nominated for best film and best director at last year’s Spanish Goya Awards, Truebo also picked up the Silver Shell for best director at the San Sebastian Film Festival, adding to his collection, which includes an Oscar in 1994 for Belle Époque in the best foreign language film category.

In Lost in Translation the young Sofia Coppola uses the relationship between Bob, an actor coming to the end of his career, and Charlotte, a college graduate looking to find her way in life, to quietly contemplate the meaning of life and living.  Against the background of the vibrant, enormous, present day Tokyo, their friendship develops allowing them to reflect off each other to find their way forward.  Approaching sixty, Fernando Truebo uses the relationship between the ageing artist Marc and the coming-of-age Merce to explore the same questions from the perspective of a life longer lived.  Combining the collective talents of Jean Rochefort, whose eyes as the artist express more than words could, with the lasting beauty of Claudia Cardinale and contrasting it with the youthful exuberance of Aida Folch in the quiet countryside at foothills of the Pyrenees.

Filmed in black and white the film begins in a small French town close to the French border during World War II.  Food shopping in the market Lea Cros sees a beautiful young stranger bathe her feet in the town fountain.  She takes her home giving her shoes and dinner.  Observing Merce as she eats, Marc, Lea’s husband eventually offers her a place to stay, not in their home but in his studio higher up the mountain and asks her to model for him.  Reassured by Emilie the housemaid that he is a good man Merce agrees.  From a tentative beginning she grows in confidence posing nude for the sculptor, their relationship develops with Marc trying to impart the knowledge of a long-lived life teaching Merce to see the beauty in the detail of the world around her- as the camera imparts the same lesson to the audience.

Marc struggles to capture the quintessential essence of Gods grace in Merces beauty until the arrival of Pierre, an injured member of the resistance, brings the reality of the war into the old man’s sanctuary.  Marc forced to accept the ugliness of the world around him, is released into finding this essence in the frailty of the human condition.

This is a beautifully, slowly filmed piece of work.  Its quietness allowing us escape from the craziness of our world for an hour and a half letting Marc show us as he does Merce how he survived the cruelty of humankind.  The soft light of the black and white photography lends a timeless quality to the film capturing the cause for Marc’s quest.  As he contemplates how World War II was allowed to happen after World War I we can only wonder with the same inquisitiveness how the world unfolds with us today.

I don’t know for how long the slow cinema movement will keep pace with the cinema industry machine of today so I’d recommend taking the opportunity while you still have time to let this beauty caress you too.

Susan Leahy 

105 mins
The Artist and the Model is released on 13th September 2013



Cinema Review: The Frozen Ground



DIR/WRI: Scott Walker • PRO:Remington Chase, Randall Emmett, Jane Fleming, Jeff Rice • DOP: Patrick Murguia • ED: Sarah Boyd • DES: Clark Hunter • Cast: Vanessa Hudgens, Nicolas Cage, John Cusack, Dean Norris
The 1988 film The Accused in which Jodie Foster was gang raped in a local bar went some way in dismissing the attitude that if a woman dressed a certain way she was “asking for it”.  The Frozen Ground, written and directed by Scott Walker is based on the true-life story of the rapes, murders and burials carried out by Alaskan serial killer Robert Hansen, in and around Anchorage from 1980-1983.  This, William’s first feature-length film, focuses on the final stages of Hansen’s spree.  We are shown Hansen in the act so innocent until proven guilty isn’t an issue.  What drives the film forward is the suspense built by State Trooper Halcombe’s efforts to gather enough evidence to persuade local law enforcement to arrest the allegedly respectable Hansen.


The film begins in 1983 when Cindy Paulson, played by Vanessa Hudgens, is found handcuffed and terrified in a motel bedroom.  She claims to have been kidnapped, tied up and raped by local man Robert Hansen, played by John Cusack.  As Cindy is a local prostitute and Hansen a respectable local businessman, the police give her a hard time down at the station before sending her back to the streets.  State Trooper, Sergeant Jack Halcombe, Nicholas Cage, enters the film when a year later, a dead girl is uncovered out in the wilderness.  Researching old cases of missing women presumed prostitutes or dancers Halcombe is convinced the dead woman is the victim of a serial killer.  Finding Cindy’s testimony he believes she has survived the murderer he is convinced can only be Hansen.


How many dead prostitutes does it take to change an attitude?  The local police had so little interest in prosecuting anybody for the assault on Cindy, never mind local resident Hansen, they didn’t even bother to collect the DNA evidence from the hospital.  They are angry with Halcombe reopening the cases of missing women they hadn’t found and only start to help, reluctantly, when another woman’s body is found.  The aerial shots of the snow-covered wilderness, contrasted with the frantic camera movements of Halcombe’s movements, capture the sense of urgency he felt in trying to stop Hansen.  In juxtaposing this cold wilderness with the prostitute-lined city streets and strip clubs, Walker shows us an Anchorage that is a “wild west” kind of town, where men are men, women do what their husbands tell them to do and prostitutes well, they are just “asking for it”.


Any one of the three main characters Cindy, Halcombe or Hansen would have made a feasible protagonist for the film but instead Walker chose to take an overview of the story focusing on all three.  As a result I was left needing more.  We are told, not shown, that Hansen is a respected member of the community; we only glimpse this for a moment when he pops into the bakery to knead bread.  In the scene with his family, dominating his wife he dismisses her plans to spend Thanksgiving with her parents.  I wonder how he got away with leading his double life for so long?  And what drove Halcombe? Over a period of a few days he puts his marriage and family on the line in his pursuit of Hansen, we are told his sister was killed in a car accident but there has to be much more of interest to this man who was so driven to find justice for all these women.  Cindy escaped Hansen and was strong enough and brave enough to help Halcombe catch him, I’d like to have found out more about her too, and her ability to survive.


Nicholas Cage, Vanessa Hodgens and John Cusack all give good performances and while I usually complain that films are a bit too long and could do with more of an edit, my complaint with The Frozen Ground is that it could have been a bit longer, its 115 minutes but I would like to have seen a bit more of Cindy, Halcombe and or Hansen.

Susan Leahy

115 mins
16 (see IFCO website for details)
The Frozen Ground  is released on 19th July 2013