Red Roses and Petrol

I saw this film at the Westwood Film Festival in L.A. and I was blown away.

Red Roses is the kind of film that *should* be getting made these days: strong characters, seamless writing, great performances. Malcolm McDowell plays an admired but flawed Irish patriarch, whose three children and loving wife (elegantly played by Olivia Tracy, who is gorgeous) reunite at his wake and come to terms with their not-always-rosy relationships to him and each other. We come to know McDowell's character Enda Doyle only through videotapes he has left, which doesn't diminish his screen presence one bit – he is as riveting here as he was 35 years ago in A Clockwork Orange. As the alcohol flows, the family's dysfunction is gradually revealed until eventually we understand why none of Enda's university colleagues or local pub companions has chosen to join the family at his wake. The standout performance here is by Max Beesley as the prodigal son Johnny - with a presence reminiscent of a tougher Ewan MacGregor he could be MacDowell's real-life son. He nails the hard exterior formed by years of compensating for his father's tough love. Heather Juergensen (Kissing Jessica Stein) out-Irishes her real Irish counterparts (no distracting accents here), and Susan Lynch and Greg Ellis are both strong and convincing as the favorite first-born sister (though no angel, she) and her awkward boyfriend dancing as fast as he can to please everyone.

A central story point is the role of a mysterious beautiful girl known to have kept company at the university with Doyle (Catherine Farrell – yes, Colin's sister). Has the mother been unaware all these years of Enda's indiscretions, or has she chosen to live in denial just to survive? This subplot is expertly played out as the film unfolds.

Red Roses and Petrol is an engaging, if sometimes gut-wrenching, portrayal of a real family coming to terms with real issues. Go see it if you can.

Unbelievably poor screen adaption of Joseph O'Connor's play is a candidate for WORST FILM OF THE NEW MILLENNIUM.

Full of cliches, unbelievable situations, cardboard characters. AND SO TOTALLY BORING!!!!!!

Nothing about the situation, the characters, rings true.

In short, don't waste your time.

A MAJOR DISAPPOINTMENT!

I love dysfunctional family dramas, but only when they're done well. Many are not, simply because I don't buy the fact that it's a real family and they never seem to have that natural family connection and it just never sells me. Maybe it's because I'm European myself, and can relate to this kinda family more, but I bought this hook, line and sinker. The acting was amazing, and the banter between siblings was so spot on, I was really impressed. It felt like the director really put care and love into this project. It's not a mind blowing piece of cinema, but it's definitely a heartfelt and actually pretty fun movie. It's definitely worth a watch, oh and it has a great soundtrack! Flogging Molly FTW!

I recently saw this film at a special screening. I didn't know what to expect but was ultimately very happy that I attended the event. The story about a dysfunctional family rings true, as the relationship between siblings is portrayed in a very believable way. I really enjoyed the acting by the entire cast. I especially liked seeing Malcolm McDowell playing such a different type of character. It should also be noted that the soundtrack was very good, especially my introduction to "Flogging Molly" and it's always nice to hear new songs by Susanna Hoffs of "The Bangles". Even though the film had a few slow spots, overall, the film was very moving, yet not overly sentimental.

Saw this yesterday at AFI and came away disappointed in this screen adaptation of Dublin playwright Joseph O'Connor's play. There is some good casting, particularly with Malcolm McDowell and Max Beasley - they look like they could be father and son. However, I never felt much chemistry between Malcolm McDowell (Enda) and Olivia Tracy (Moya), and she seemed to be too youthful to be his wife!

This ensemble piece frequently felt like seven characters acting in their own version of this play, with many soliloquies rather than engaging dialogue. The writers burdened their actors with trying to bring life to these 2-dimensional characters. Dialogue or scenes often didn't ring true - like when Enda does his impression of Elvis or when Moya can't explain to her daughter what more there is to marriage.

Scenes were long and empty, almost as if trying to stretch out the limited substance. Character development was shallow and fell short on insight. I don't feel I got the emotional payoff in the end for some of the more intense scenes - instead it felt manipulative. Technically, there were continuity and questionable editing issues, which weakened the movie.

Bottom line - it didn't have a consistent ring of authenticity about it!