Behold the state of the Irish male. Brendan Grant attempts to capture the unique idiocy of the twenty-something Irish lad with his new comedy-drama Get Up And Go.
The Canal is worth a visit but do not be surprised if you find you’ve seen this all before.
The Emperor’s New Clothes is a polemic on the banking crisis and the ever-growing divide between rich and poor presented by Russell Brand and Michael Winterbottom.
In Pigeon, characters live merry lives, they have it good, they just don’t realise it. That’s funny stuff.
We sat down with Grainne Humphreys, festival director for JDIFF to find out more about this year’s event and what goes into making a festival happen.
Fifty Shades of Grey is a movie that acts hardcore when it’s barely soft porn.
We spoke to Terry McMahon about suffering, art and control, themes which appear in his moving second feature Patrick’s Day.
Irish filmmaker Ian Lawton is putting together funding for a feature length, part-animated documentary called The Dharma Bum. The documentary investigates the travels and travails of Laurence Carroll, a free-thinking, atheist Irish hobo born in the 1850s who upped sticks for Burma, and traded booze for Buddhism, becoming known as read more…
We spoke with the director of Dublin Doc Fest, Tess Motherway, to find out about what’s in store for the third year of this growing festival.
Whiplash brings the work of David Mamet to mind in its attention to detail and coarse dialogue.
Rupert Wyatt’s The Gambler is as muddled as its past and totally out of touch with the original themes
Clint Eastwood once again lets his politics get in the way of the truth.
A work of curation rather than creation.
Steve Carell plays John du Pont, a multimillionaire intent on making his Pennsylvania estate, the titular Foxcatcher, the home of the US Olympic wrestling team.
It’s lean (by Peter Jackson standards) and mean and what’s more, it’s the best of a trilogy that has struggled to find its way.
Huh? Oh, Tim Burton’s made a biopic of Margaret Keane (Amy Adams), who made hideous paintings of children with big eyes in the 50s and 60s…
Rather than the violence of capitalist socio-economic relations, the ‘violence’ of the title refers to the truck-jackings that hamper Abel’s business’ growth prospects.
The only aspect of the film that went universally appreciated was the soundtrack.
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