A documentary following the exploits of a group of filmmakers as they take their independent feature, Ten 'til Noon (2006), along the film festival circuit, and the politics, pitfalls, triumphs and comic tragedies they encounter along the way. Full of interviews with important players in the indie world, this is a must see for young filmmakers on the what happens when the shooting stops.
The MacManus brothers are living a quiet life in Ireland with their father, but when they learn that their beloved priest has been killed by mob forces, they go back to Boston to bring justice to those responsible and avenge the priest.
Sean Patrick Flanery,
Erik is an average kid with average problems; an absent father, a neglectful mother and being bullied at school. The town's Harvest festival is right around the corner and Erik has a "... See full summary »
David Della Rocco,
The rags-to-riches-to-rags story of Troy Duffy, a blue collar Boston twenty something that struck a dream movie deal with Miramax in 1997 to direct the $15 million project "Boondock Saints" from his own script. It was a deal that received worldwide attention. But when Miramax jumped ship and put the film in turnaround, Duffy's overnight success soon starts to crash and burn. Written by
Sujit R. Varma
Troy Duffy has disavowed this documentary, stating that directors Tony Montana and Mark Brian Smith left many things out and "Their anger at me overrode their judgment as filmmakers. That's the tragedy of it. And they stabbed everybody who ever helped them in the back." See more »
As for my film career? Get used to it, 'cuz it ain't goin' anywhere. Period.
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BOONDOCKS Director is No SAINT in Downbeat Documentary
If Bernardo Bertolucci, the director of TRAGEDY OF A RIDICULOUS MAN, had directed OVERNIGHT, he might have titled it COMEUPPANCE OF AN EGOTISTICAL MAN. That egotistical man is Troy Duffy, a bartender and aspiring screenwriter/director/musician from New England who became the star of his own real-life Cinderella story. THE BOONDOCK SAINTS, Duffy's original Boston-set script about two Irish brothers-turned-vigilantes, was bought by Miramax's Harvey Weinstein, who sweetened the deal by letting Duffy direct and score the film as well as buying Duffy's tavern. Alas, Duffy's cockiness proved to be outright arrogance as he began making demands before production began on either the film or the album, and this Cinderella Man's coach turned back into a pumpkin. Even Duffy's brother Taylor and his longtime friends come in for harsh treatment from the not-so-wunderkind, as he keeps expecting them to work their butts off despite their funds dwindling to the point that some of them are on the verge of being evicted. By the end of the film, almost all of The Brood Syndicate, as they call themselves, have gone back to the kind of manual labor jobs they thought they'd left behind once Miramax came calling, and Duffy is a Hollywood pariah. In addition to Duffy's egotism, his naïveté contributed to his downward spiral. Surely he'd spent enough time in L.A. at that point to have heard about Weinstein's tendency to snap up movie properties and then either put them in turnaround or leave them gathering dust on the shelf (didn't he ever pick up issues of VARIETY, THE Hollywood REPORTER, etc.?). Moreover, Mr. I Know More Than the Guys Who've Been in the Film Business for Years neglected to include broadcast and home video rights in his William Morris contract, so despite THE BOONDOCK SAINTS eventually overcoming its pitiful 5-theater release to become a cult favorite on home video, Duffy doesn't make a penny off it. Don't miss the Albert Goldman quote at the end about how fame doesn't change a person, but instead acts as a "truth drug" that reveals the person's true character. Granted, the directors of OVERNIGHT are two of Duffy's former friends from The Brood Syndicate, but they swear they actually left out footage that would have made Duffy look even worse. I suppose Duffy is lucky there isn't a Director's Cut of OVERNIGHT -- angry mobs would be chasing him down with flaming torches! :-)
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