The Front Line

When I read the storyline on the back of the cover I was sold and had to watch it. I mean it is an Irish film. We have seen some absolute peaches of films come out of Ireland recently. Think of Mickeybo & me, Inside I'm dancing, Garage, Adam & Paul etc... This is up there with them. In the beginning of the film the plot line is a bit thin and the movie is a slow mover but it gathers momentum and pace throughout until the bitter end of it. The acting is credible as is the developing interaction between its main characters. There was no point in the film after the first 20 minutes that I thought 'this can't ever happen'. A big round of congrats to the crew and actors for a thoroughly enjoyable film. And it makes you think and reflect on top of it all!!!

Who would have thought it possible? A shoot-em-up with serious soul. Writer/director David Gleeson's decision to offer Dublin-based heist-movie THE FRONT LINE as his attempt to build on the promise shown in his debut, COWBOYS & ANGELS, might initially have smacked of the formulaic. But the good news is that the end product bristles with freshness and cinematic sophistication.

There's nothing new about a heist movie with a hard edge, but THE FRONT LINE comes with a hard edge and considerable heart.

Convincing performances and visually strong production values ensure the thriller aspect of the first half will bring you to the edge of the seat. Unlike so many comparable efforts, however, THE FRONT LINE gives you something to think about when you get there.

Just as it seems inevitable that entertainment levels will flag, disturbing revelations about Joe's true identity elevate proceedings to an absorbing consideration of that most fertile of territories for great art – the sometimes thin line between the divine and the depraved.

Ebouaney and McSorley are strikingly good in the central roles, and while some of the observances about Dublin-based gangsters seem a tad far-fetched, this is but a minor quibble.

Gleeson has delivered a terrific film that reminds us what big screens were made for.

I saw this movie as one that tried both to entertain and to be political. This mix could be dangerous in the sense that both of these goals very well could be ruined. But I think that the movie succeeded on both accounts.

Joe Yumba is a black man who arrives to Ireland from Congo and is granted permission to stay and find work to his joy and relief. He seems honest but at the same time you get the feeling that he is hiding something. He is very soon put to the test as the local mafia wants to exploit him to rob the bank where he has found work as a security guy. Through the story that follows you slowly get to know what he has been through in Congo.

In some respects it resembles many action movies but the characters in this one are more vibrant and believable than what you are used to in the Hollywood productions and this is really what makes this movie stand out.

I give this one 7/10.

Regards Simon

Ps. When you read reviews that gives max score check to see if the user has made more than one review. If not consider the possibility of a lobbyist. If you agree consider putting this post scriptum at the bottom at your own reviews.

This isn't a bad attempt at an Irish crime movie. While James Frain hams it up as a baddie, Eric Ebouaney is very watchable as an asylum seeker looking to settle in the city. He is man with a secret just trying to get by and escape his past in the Congo. His wife and son arrive to be with him, but all is not what it seems. Taking a job as a security guard at a bank, he is soon in the thick of it, the victim of a from the headlines tiger kidnapping. When things go awry as they invariably do in this genre piece, there is hell to pay. Getting into bed with a gang of African racketeers – a first in an Irish film – the film subtly examines the plight of a refugee in an alien country, albeit against a heightened backdrop. The performances from Ebouaney and Hakeem Kae Kazim are good, though the Irish characters, particularly the police, are a little stiff. Camera-work is good and the soundtrack contemporary. The twist at the end is okay. Certainly an improvement on the director's first outing Cowboys and Angels. Warning: Brendan Gleeson is not in this film.

What starts off looking like a routine action thriller about a bank heist gradually becomes something much more. Eriq Ebouaney is a security guard at a bank, whose family is kidnapped to force him to assist in the robbery.

The film is in many respects a revisiting of the John Wayne/John Ford classic The Searchers, in that the viewer gradually realizes that the ostensible plot (the bank robbery) is not really at the center of the film. Just as in The Searchers, where the film is really about Wayne's search to find his own humanity and not his niece who has been captured by the Comanches, so too in The Front Line, Ebouaney's pursuit to rescue his family is his search to find his own redemption as a human being. Over the course of the film, because of the fine performances and direction, we are drawn into Ebouaney's internal pain and love, and we almost want to say to him "Be at peace. Your soul is good." This is a remarkable and moving film. Successful on many levels. Ebouaney's performance is stunning. The plot, which begins as a bank robbery, becomes a story that is breathtakingly beautiful, powerful, and unforgettable.