The Irish Times - Friday - The Ticket - - SEVEN DAYS | FILM - TB TB DC TB TB TB DC DC DC DC Di­rected by Ross Whit­taker TB DC

screen­play by Bruce Wag­ner, Cro­nen­berg’s de­pic­tion of nar­cis­sis­tic Hol­ly­wood pulls no punches. 18 cert, gen re­lease, 112 min


The lat­est bid to trans­form some ran­dom work of dystopian teen fic­tion into a boffo business op­por­tu­nity sees Teen Wolf’s O’Brien wake up, sans mem­ory, in a glade pop­u­lated en­tirely by buff teenage boys: pic­ture a PG-rated ba­nana boat cruise. This im­plau­si­ble agrar­ian so­ci­ety comes with nice look­ing back­packs and is sur­rounded by un­scal­able walls. Some aw­fully good ac­tors work hard to breathe life into a non­sen­si­cal plot. It’s to no avail. 12A cert, gen re­lease, 113 min


Well-acted, clev­erly struc­tured study of Christina Noble, the Dubliner who cam­paigns so force­fully for dis­ad­van­taged chil­dren in south­east Asia. Noble isn’t ex­actly sub­tle: too many char­ac­ters an­nounce their in­ten­tions on first sight­ing. But the thump­ing sto­ry­telling and fine per­for­mances pull us through. O’Kane and Cur­tis are strong play­ing the pro­tag­o­nist as a child and in mid­dle-age. But Greene steals the show as Christina the young woman. 15A cert, gen re­lease, 101 min


Don­ald Clarke

Iden­tify the child star at right. Which English film critic plays bass with the Dodge Brothers? I was born in Hill Val­ley in 1968. I play in a band call The Pin­heads. I am the son of George and Lo­raine. Who am I? In a con­tro­ver­sial reis­sue of ET, with what ob­jects did Steven Spiel­berg re­place hand­guns? What con­flict is rep­re­sented in the fol­low­ing: M*A*S*H, The min­utes be­fore the fi­nal cred­its, this award-win­ning doc­u­men­tary hits us with the nar­ra­tive twist of the year: it’s a doozy of a plot point, one we kick our­selves for not twig­ging, one that prompts the viewer to reap­praise ev­ery­thing that came be­fore. Long be­fore this un­ex­pected de­vel­op­ment, The Overnighters has es­tab­lished its cre­den­tials as beau­ti­fully crafted, multi-lay­ered piece of sto­ry­telling and as an im­por­tant snap­shot of the all-new Great De­pres­sion. It’s im­pos­si­ble not to think of John Stein­beck watch­ing men and women de­scend upon North Dakota, in buses and vans and busted up RVs. Club, Light House, Dublin, 90 min


Gia Cop­pola’s adap­ta­tion of James Franco’s au­to­bi­o­graph­i­cal short­story col­lec­tion goes to the same lazy, dead­ened places as her aunt Sofia’s films. It is largely plot-free and a lit­tle bit pleased with its own cool. But Gia (grand­daugh­ter to Fran­cis) demon­strates a strong touch with ac­tors and an un­der­stand­ing of con­tem­po­rary mis­eries. Much at­ten­tion is fo­cused on an­ti­so­cial Fred (Nat Wolff), boozer Teddy (Jack Kilmer, son of Val, and su­per) and the rel­a­tively well be­haved April (Roberts). Franco him­self is ex­cel­lent as a sleazy soc­cer coach. Club, IFI, Dublin, 98 min Manchurian Can­di­date and The Bridges at Toko-Ri?



Grant stars as a Hol­ly­wood writer who just can’t seem to get the pub­lic’s at­ten­tion any longer. After much ar­gu­ment with his agent, he takes a teach­ing post in New York State. It may as well have “kick me” writ­ten on its back. Right? Sur­pris­ingly, The Rewrite turns out to be Grant’s most di­vert­ing com­edy in more than a decade. He’s still got the tim­ing. 12A cert, gen re­lease, 106 min

’71 What links Billy Bob Thorn­ton, the Coen

Hi­lar­i­ous, mov­ing crowd-pleaser deal­ing with in­ter­ac­tions be­tween strik­ers and gay groups dur­ing the 1984 UK min­ers dis­pute. This won­der­ful film al­ready plays like the foot­tap­ping mu­si­cal it’s sure to be­come. We have sev­eral lovely sto­ries wound el­e­gantly to­gether. Cracking mu­si­cal num­bers, and the cast is im­mac­u­late. Raise a fist in support. 15A cert, gen re­lease, 120 min

A Bri­tish sol­dier seeks to es­cape West Belfast dur­ing the Brothers, James Franco, John Hill­coat and Ri­d­ley Scott? In what film might you have en­coun­tered Ja­son Bourne, Wal­ter White, Sam Malone, Rid­dick and Robert Langdon? Which film is ref­er­enced in The Pix­ies’ De­baser? Which is the odd film out: Rochelle, Rochelle; Prog­no­sis Neg­a­tive; The English Pa­tient; Sack Lunch; Firestorm? Whose act­ing ca­reer stretched from Love is in the Air in 1937 to The Killers in 1964?

SHOWRUN­NERS dark­est days of the Trou­bles. ’71 is ex­hil­a­rat­ing. De­mange keeps his cam­era mo­bile with­out quite suc­cumb­ing to the full, Dex­adri­ne­sap­ping Green­grass shuf­fle. O’Con­nell of­fers a per­fect por­trait of a man who, though pass­ing among work­ing-class streets very like his own, feels him­self stranded on a hos­tile planet. First-rate pur­suit thriller. 15A cert, gen re­lease, 99 min DC

Doyle has as­sem­bled an im­pres­sive ar­ray of talk­ing heads to ex­plain the day-to-day run­ning of high­end TV se­ries in this ef­fi­cient, mildly cin­e­matic doc­u­men­tary. Churn­ing out up to 22 hours of qual­ity tele­vi­sion in six months is no­body’s idea of a sinecure. Still, most of the con­trib­u­tors are happy to ac­knowl­edge that they have the job most every­body wants. “Oh no, I have this bad back from lifting all this gold bul­lion,” one laughs. 12A cert, lim re­lease, 86 min TEENAGE MU­TANT NINJA TUR­TLES

The trashy fun of the ear­lier in­car­na­tions has been ditched for the ex­haust­ing bland sheen of pro­ducer Michael Bay’s less fam­ily-friendly en­ter­tain­ments. The re­sult is a shock­ingly bor­ing, end­lessly unimag­i­na­tive ad­ver­tise- ment for pizza, soft drinks and the cap­i­tal­ist ideal. Oh, well. They have done a good job cre­at­ing the freak­ishly pro­nounced fea­tures on those ar­ti­fi­cially gen­er­ated faces. But that’s enough about Megan Fox. Ha ha! Did you like that? 12A cert, gen re­lease, 101 min NEW RE­LEASE THIS IS WHERE I LEAVE YOU

See re­view, page 11

20,000 DAYS ON EARTH No­body who is not al­ready an enthusiast for Nick Cave – singer of Old Tes­ta­ment tales and chron­i­cler of hun­gry crows – will have much time for this sin­gu­lar doc­u­men­tary. We get no old ma­te­rial. We get a great deal of Nick talk­ing about him­self and wan­der­ing about Brighton. But this is an orig­i­nal, oc­ca­sion­ally mov­ing por­trait of the artist. 15A cert, lim re­lease, 97 min UN­BREAK­ABLE: THE MARK POL­LOCK STORY Cracking doc­u­men­tary on a gen­uinely heroic fig­ure. Mark Pol­lock was struck blind as a young man but went on to tri­umph as an ad­ven­turer and kayaker. Then, fol­low­ing a fall, Mark found him­self paral­ysed. That wasn’t go­ing to stop him ei­ther. At times the mu­sic swells a lit­tle too earnestly and the flash­backs to ear­lier, eas­ier times come thick and fast, but th­ese life-af­firm­ing tropes nicely frame the ad­mirably sto­ical Ul­ster­man. Club, Light House, Dublin, 89 min AWALK AMONG THE TOMB­STONES

Is Nee­son seek­ing re­venge for some hor­ri­ble atroc­ity by the East Euro­pean mafia? To a cer­tain ex­tent. But this is a less un­hinged ad­di­tion to Liam’s tough-guy cat­a­logue. Our hero slowly picks apart the strands of a con­spir­acy in pre-mil­len­nial New York. He does, of course, punch a few peo­ple along the way. 16 cert, gen re­lease, 113 min NEW RE­LEASE THE WAY HE LOOKS See re­view, pages 10-11 NEW RE­LEASE ZABRISKIE POINT See ir­ish­

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