A bunch of London buddies call themselves the "Jolly Boys," and devote most of their spare time to swilling beer, goofing off, and generally pursuing unambitious good times. But one day, ... See full summary »
A man is abducted from the streets of London and transported via secret flights to an unknown country. Held in solitary confinement and cut off from the outside world, he is plunged into a ... See full summary »
Dowd, who's IRA, escapes an Irish prison in a bloody jailbreak, making his way to New York City where he lives alone, avoids Irish hangouts, and works as a dishwasher. When a good deed gets... See full summary »
A manager hires Ray, off the books, to paint all the power towers in a 15-mile stretch of high-tension wires outside Sheffield. Ray's crew of men are friends, especially Ray with Steve, a ... See full summary »
In the 1970s, a young trans woman, Patrick "Kitten" Braden, comes of age by leaving her Irish town for London, in part to look for her mother and in part because her gender identity is beyond the town's understanding.
Father and son bring their painful past into their isolated present for 24 hours. Set in the middle of a cold beautiful winter, "The Water" explores the complex and intimate dynamic between... See full summary »
I should qualify my remarks by saying that the person sitting nearest me (that's "nearest" as opposed to "next to" or "beside") cried profusely at the film's denouement. This tale of a recently unemployed circus worker who gets involved with some poteen smugglers (poteen, in the unlikely event of this movie getting an international release, is an illegal liquor) left me wanting to cry only for the hour and a half of my life I had wasted. It's clear form the start of the film that Sweety, played competently by Brendan Gleeson, is a Gentle giant, and anyone who's seen _Slingblade_ or any other gentle giant movies know what eventually happens to them, especially when it's so clear who the bad guys are. If I had to think of something good to say about this film, it's that it deals with Irish crime without referring to the IRA, but this could also be said of _I Went Down_ also starring Gleeson, as well as including some wit and irony. With its emphasis on the sordid and moribund, it aspires to the profundity of Italian neo-realism but ends up looking more like a tacky British TV movie. How this film can headline at Irish multiplexes when witty, intelligent films like _Separation Anxiety_ and _Pete's Meteor_ await a release is a secret film distributors will probably keep under their cloven hooves.
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