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In mid-1800's England, Oscar is a young Anglican priest, a misfit and an outcast, but with the soul of an angel. As a boy, even though from a strict Pentecostal family, he felt God told him... See full summary »
The real-life story of Dublin folk hero and criminal Martin Cahill, who pulled off two daring robberies in Ireland with his team, but attracted unwanted attention from the police, the IRA, the UVF and members of his own team.
Based on a true story, this is about the Irish journalist Veronica Guerin (Cate Blanchett), a reporter for The Sunday Independent, who exposed some of Dublin's most powerful crime barons and drug lords in 1996. But later that year she was gunned down by assasins hired by the same criminal drug lords she exposed. Written by
Andreas Furumo <email@example.com>
Composer Harry Gregson-Williams heard a boy (Brian O'Donnell) singing on the street for money in Dublin when he arrived to spend a few days on the set of the film. Later, he tracked the boy down again and recorded him singing six or seven folk songs acapella in a quiet alley. Gregson-Williams chose "Fields of Athenry" from the recording and added his own music around the song. See more »
All the telephones have the American 'Single' ringing tone, rather than the correct 'double' ringing tone. See more »
[to an informer who is bound and gagged in a derelict flat]
[genially but menacingly]
Ah Jamey, Jamey, Jamey. You're an awful man, d'you know that? What did you have to go and shoot your mouth off to the Gards about me for? Did you think I wouldn't find out it was you? You know, I was thinking about killing you. And then I thought to myself, you know, sure, people get killed every day - and nobody gives a shite. So I've decided I'm going to have to hurt you a bit.
Jamey the Tout:
[mumbling through gag]
[...] See more »
Disclaimer in closing credits: "Chris Mulligan is a fictional composite character based in part on several different people, and certain events in which the character is depicted have been fictionalised for dramatic effect." See more »
I've been revaluing Joel Schumacher as a director for some years. I was used to think he was just a typical Hollywood movie maker. But I understood this man does commercial features whenever he needs money ("Batman forever", "Batman & Robin", "The client", "A time to kill"), as he gets it he manages to do good and more personal films.
In fact his mainstream movies are quite boring and mannered. Fortunately Schumacher is much better with more alternative or low-budget films ("Falling down", "Tigerland", "Phone booth"). "Veronica Guerin" belongs to this category.
I'm also happy, in this case, that a blockbuster producer like Jerry Bruckheimer manages not to spoil the movie with artificial tricks.
Veronica Guerin seems to me a symbol of Irish tragicalness. I mean, the tragicalness you can find in works of James Joyce and Oscar Wilde, in stories and legends of Ireland as well. Sadly, her story is true.
The film has the right speed in presenting all the facts, it is simple and well acted -Cate Blanchett's performance is outstanding.
Maybe Joel Schumacher, in the final part, looses a little the sense of rhythm because he wants us to be moved and touched (and we are, indeed. Because it's a shame that a woman and a brave journalist as well had to pay that price). But it's a true story, as I said. The film is valid because it denounces the "conspiracy of silence" and inaction from authorities.
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