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|Index||44 reviews in total|
*** This review may contain spoilers ***
This film was a pleasant change to the usual horror/thriller movies of late. The story was refreshing and the atmosphere was tension building. I was pulled in to the plight of Tommy and his little child. The first scenes were quite intense and almost shocking, but not overly so that it puts you off. I felt myself drawn in to how Tommy would deal with what had happened, and as a dad I was wanting to know how the baby would be taken care of. Because of that the movie had taken on a more personal note with me, I felt for Tommy and cared about what was going to happen with his relationship with his baby. There are some interesting scenes throughout the film, and even though you know that this really couldn't possibly happen you do think that the movie is taking a swipe at how society is treating it's children in some area's. It's not your usual thriller, it uses the drama building storyline to an advantage. If you're over seeing mindless bloody style thriller's, this is a good movie to see instead. I give it a solid 7.5 out of 10.
*** This review may contain spoilers ***
I can't believe that some people gave this trash more than 1 star,what
is this? where is the story?.Really if there is a degree under zero
this film deserve it.This is a vacant story, simply and directly told
by Irish writer-director Ciaran Foy. He doesn't try to explain too
much, he doesn't depend on special effects and stays just this side of
the unbelievable. As Tommy, Aneurin Barnard is very effective. He
trembles and sweats with fear, he would seem paranoid if it didn't seem
the "demons" weren't really there, and if they hadn't really killed his
The priest enlists Tommy in a scheme to destroy the Citadel and send the demons back to the flames of hell Hahhhhhhhhhh Where are these demons? and like the trash movies some things happen ad elevator did not open as usual. Tis film is very boring,no blot and also no acting
I had heard a lot about Citadel, so perhaps I went into this movie
expecting too much. I also think that if I hadn't already seen 'Ils'
('Them') that I would have thought this flic was a lot better.
The one thing that I liked about both Citadel and Ils is that both are intelligent horror films which are metaphors for something deeper than what is on the surface. Ils deals with Xenophobia (or rather, it could be argued is a piece of Xenophobic propaganda lol), and Citadel, which has a similar plot, is a metaphor about the fear of becoming a parent.
On an intellectual level I thought that Citadel had a lot going for it. Unfortuntately, it just reminded me too much of Ils in the stylistic department, and even worse, it just couldn't measure up.
Don't get me wrong, this one is light years ahead of most horror movies, but there are also a lot better ones out there.
Well there is not much special to write about this Irish horror / thriller. It was not terrible but it could also have been much better. A little more background information about the hooded kids would have been welcome. But all in all I thought Aneurin Barnard gave a good performance playing the agoraphobic father. The story lacks a little bit of punch but wasn't that bad after all. There are much worse movies in this genre then this one. The gang of kids were not that scary but I guess with the lower budget this is the best we can get. To me it was more about the father overcoming his fear of open spaces. It's worth a watch if you have nothing else to do.
Browsing reddit for a horror movie to watch, I saw this one recommended
a couple times. Something dealing with a more psychological aspect
always interests me, so I decided to give it a shot. Sadly, I was
disappointed. Small spoilers may follow (descriptions of small scenes)
but nothing that will ruin the plot or the entirety of the described
The movie doesn't really do a good job at... well, anything. Its plot is rather simple (not always bad) and several things were never entirely explained, such as the actual cause of what's going on as well as why some of the characters in the movie seem to just completely ignore the main character and his cries for help. There's a part (not to ruin anything) where he's shouting at someone that he just saw someone get killed and the guy he's shouting at doesn't even look him in the eye. At first I thought this was part of whatever was going on in this movie, until the "creatures" killed that guy only seconds later.
Additionally, several scenes in this movie seem implausible. While I'm aware horror's not supposed to be real, a couple scenes just defy logic, such as the creatures walking RIGHT past him at one point to attack some completely silent stranger further away from their point of entry. At times, it feels like the director forces illogical things to happen just to force conflict. Not to ruin anything again but there's a part where he has to break the door into his own house, leaving it vulnerable in the future. This is never explained, as it is made clear that it's his own house before this scene.
As for scares... Well I don't look for scares in horror movies. I look more for creepy. This movie, sadly, has neither. The creatures look like uninspired zombies (yet they're not zombies) and there's no scares, legitimate or jump-scare.
The movie's conclusion sort of just... ends. All in all, I want that hour and a half of my life back.
*** This review may contain spoilers ***
The Review: One day, Tommy's (Aneurin Barnard) pregnant girlfriend
Joanne (Amy Shiels) is attacked by hoodied adolescent thugs outside
their flat in the decrepit urban apartment building known as the
Citadel. She's left in a coma, but doctors are able to deliver the baby
girl, whom Tommy raises alone for nine months. By that time, he's moved
out of the building but has become an agoraphobic shell, petrified to
leave his home except to visit Joanne in the hospital and to attend
However, Tommy's safe haven is violated when the hooded figures track him down and break into his home. He's able to ward them off, but thanks to a belligerent local priest (James Cosmo) who's had dealings with the seemingly supernatural entities, he determines what they're after: his baby daughter. Tommy must thus overcome his anxiety to protect his child and uncover the truth behind the dark and demented beings that are haunting his every moment. Citadel is a film that shifts gears sharply but never clumsily, gingerly skipping from drama to horror to introspection. There's a quiet sadness to the scenes that establish Tommy's new way of life and his descent into madness is played subtly, patiently. In trajectory and execution, Ciaran Foy's relentlessly intense ode to urban paranoia, Citadel, is much like a nightmare in its refusal to ground itself in a relatable, or safe, framework for the duration of its runtime. Even the quieter moments away from the central chaos and threat are staged with unease and an unnerving unpredictability, adding visceral viability to a story that is as irreverent and socially conscious as it is psychological and character driven. This impressively-rendered unease is apparently from the opening when soon-to-be parent Tommy (Aneurin Barnard) watches his pregnant wife get attacked by hooded youths from within a malfunctioning elevator. Pulling a needle from her stomach, his ensuing panic and disbelief ultimately defines him for months to come when he's left alone with a baby after his wife succumbs to an "undetermined infection." Agoraphobic and riddled with self-doubt about parental abilities, Tommy starts seeing hooded youths outside of his window and eventually inside his home. And because Foy avoids establishing a separate style for reality and inner psychological environment, we're never sure if the constant attacks are paranoid delusions or an external threat. While his nurse and potential love interest (Wunmi Mosaku) believes his fear is irrational, a foul-mouthed priest (James Cosmo) asserts that these slum-dwelling youths are actually infected with a virus and will stop at nothing to steal Tommy's baby.
The film astutely captures the nature of victimhood as juxtaposed with nascent parental anxieties, Tommy's character arc of controlling fear and escaping the cycle of passivity is in itself a driving force. But beyond this, there's the added sociological element of generational class system repetition, noting that the infection these youths actually have is that of a morally abject upbringing sure to define them as lifelong predators, looking for weaker targets like Tommy.
In such, the parental subtext proves circular as our protagonist makes literal the metaphor of stealing back his child from the confines of a lower class fate. Here, needles and infections mirror the drug-addled and grim futures of erratic, dejected youths, just as Tommy's eventual quest to rescue his son from their clutchesand their cyclic social deprivationworks as a satisfying and cathartic (but politically incorrect) bit of caustic honesty.
It's rare for a film to capture visceral intensity, psychological complexity or cultural relevance with much lasting aplomb. But in the case of Citadel, Ciaran Foy has scored a hat trick by smartly interweaving all three elements into a riveting, low key work of greatness.
*** This review may contain spoilers ***
Only spoilers if you don't want to know anything
A man and his wife live in a sink estate tower block, at the start the horror is set where some kids (in the 10-14 age bracket) crowd his wife and beat her while he's stuck in the lift by the time he gets back up she is unconscious and a syringe is stuck in her very pregnant belly, she is in a coma but the baby was delivered safe and unharmed. 9 months passes and the man has developed agoraphobia, he visits his comatose wife at a hospice daily until she has to have her life support switched off. A nurse pities him and tells him that she's there if he needs to talk and gives him her number, a Priest from the hospice is at the funeral of the mans wife and tells him that the kids who attacked his wife will come for the man's baby daughter and that he is an idiot for still living on the estate. Sure enough he cannot get off the estate after handing in his keys and is forced to break into his old home and squat the night. The same kids break in and try to take the baby and that's when the man must accept that he will not be safe.
As a horror it has lots of unanswered questions but as social commentary it's flawless. The writer was actually attacked and developed agoraphobia so presumably this movie was cathartic, it's the Jeremy Kyle type hyperbole made up of middle class fear and is rooted in the belief that people on council estates are sub-human scum (as peddled by the tabloids) the movie points out that neither the left nor the right has the best plan for it but rather you must just accept that crap will happen and the best way to get on is to attack those who attack you and don't assume that all people who look like scum will be scum.
Like I said it's a movie about class wars and victim empowerment mostly however if you ignore that and choose to focus on it as a horror it's creepy, unsettling and downright awesome.
Citadel is one of the most underrated films of the year.
Atmospherically it has everything a horror movie should! Ciaran Foy
brilliantly moves and pans the camera in-sighting a feeling of
paranoia, which in a film detailing an agoraphobic is simply inspired.
When Tommy Cowley's life is turned upside down by a random attack on him and his pregnant wife he not only is left to raise his infant daughter alone, he is also debilitated by extreme agoraphobia. Tommy spends his time hiding out in his apartment and attending intense therapy sessions. When the same gang that attacked him before comeback and seemingly intend on kidnapping his daughter his fears are only heightened. Tommy must now conquer his fears to save himself and his newborn daughter.
The film and story line move quickly with hardly any wasted time or breath. I strongly recommend for all horror fans and fans of psychological horror, this one certainly won't disappoint!
Not as bad as the previous user has stated, and seeing that he is Irish, you would think he would have a bit more encouragement for Irish funded films. Granted it is certainly not perfect, but the scary scenes are genuinely scary and the film does provide a jump here and there. The lead performance was strong enough for an upcoming actor and I liked the idea of a weak main character. The bargained price Brian Cox priest character was a bit too much though and the scenes involving him really took from the film. Overall very watchable and with more of a budget this could have been a whole other film....which is probably a bad thing
I was teetering between 6 and 7 here, and settled on the latter because
this IS a genuinely scary and disturbing film. We've definitely had a
shortage of that lately in this genre - so it was nice to have some
moments where, even at 39 years-old, I felt a little uneasy.
"Citadel" has many strengths and a few weaknesses. I'll touch on a bit of each while trying not to give too much away from what is a basic storyline. Now, it didn't have to be basic.
I think where the film misses is diving a bit further into the villains of this frightening tale. The back-story there is a bit vague to say the least, and the rest of the story doesn't do much to clear it up.
I'm sure that the budget constraints limited the production in certain ways, BUT I think all involved deserve more kudo's than criticism. After all, the intent with these types of films is to scare, and this is as "uncomfortable" as I've been watching a film in quite some time.
Think of a darker, scarier spin on Harry Brown. "Citadel" actually borrows quite a bit from "Harry Brown".
The film is extremely brooding - never really stepping into the light for more than a few seconds. I think it's definitely a strength. The film does have it's own sense of Style.
You have the feeling during this film that you are completely alone. There is no help coming, and you'll have to fend for yourself.
The film is without question under-rated at present on IMDb. I pulled up the rating on my phone after renting it from the redbox, and due to time, I nearly put-off watching it altogether. Glad I fit it in. I've seen 62 films from 2012 so far, and this is definitely in the top 20 for now. It's one of the better entries into the horror genre over the last few years, and could have been incredible if they would have just finished the film.
The ending needed a bit more carnage and revenge to put this over-the-top into the "true-gem-of-a-sleeper" category. They were so close... literally a few heads being axed-off and an explosion away from sheer low-budget glory, and a 9 ranking. Why do I get the feeling we'll see an American version of this that spends 10 times the money but has no sense of style or scare value?
The acting is way above average for this type of thing, and it's that acting and the mood that keeps it afloat. The lead and the priest are great. There are only 4 speaking roles in the whole film! 4! Rather than nit-pick the plot and the ending(which are easy targets) - let's step back and enjoy some of the strong characteristics of this film.
You might like this if you liked:Candyman(better), Winter's Bone(better),The Road(about even or ever-so-slightly better), Eden Lake(about even or ever-so slightly better), The People Under The Stairs(even), and The Brood(even).
If you want a sleeper horror film to rent - it's usually a dangerous proposition. That's one of the many reasons why I can recommend this one. Far from perfect, but boy this little low-budget Irish entry packs quite an uneasy punch.
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