Barber
- 2023
- 1 Std. 30 Min.
IMDb-BEWERTUNG
5,1/10
1117
IHRE BEWERTUNG
Füge eine Handlung in deiner Sprache hinzuVal Barber, a private investigator, is hired by a wealthy widow to find her missing granddaughter.Val Barber, a private investigator, is hired by a wealthy widow to find her missing granddaughter.Val Barber, a private investigator, is hired by a wealthy widow to find her missing granddaughter.
- Regie
- Drehbuch
- Hauptbesetzung
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In Irish crime drama "Barber" Aiden Gillen (likeable as ever as he channels Richard Gere) is a grizzled ex-police private dick who's hired by Diedre Donnelly to track down her missing granddaughter, which leads him into a relatively simple #metoo related case with classic elements like a dodgy politician, corrupt police (Liam Carney) & a powerful bullying stepfather (David Herlihy). Meanwhile Gillen has his own issues to deal with, as society (Dublin's in particular) changes around him. It's sluggish, tv-standard fare but Gillan and its interesting broad subject matter (from writers Fintan Connolly (who also directed) & Fiona Bergin) make it passable enough.
It's a story of redemption with misconceptions ageing and intelligence dawning. Barber tells us how difficult it is to heal the wounds of lives and how victims of difficult trauma struggle alone while sharing the same spaces. A great family drama that promotes acceptance and understanding in a unique smart manner. No superficial action sequences just raw and risky private detective work. Movie takes a good look into the characters surrounding the tragedy. Excellent performance by Aidan carrying the whole story effortlessly above the level of average. A slow story to enjoy especially for the uniqueness.
An off kilter private dick story anchored by an authentic and rich central performance and surrounded by a winning support cast. Consistently stylish without affectation, hard working and blessed with an easy sophistication it is staggering to think of its narrative scope and shooting schedule, budget, etc. At times surprisingly densely written the archetypal is suffused with a hurt that convinces and enobles this broken family as they desperately try to not drown in their dysfunction. Connolly at this stage (third feature with the artistic, naturally talented DP Owen McPolin) is now easily one of the most distinctive directors in this country and with each film is growing in maturity yet still retains the sparkle of youth as the image and sound purrs with a primary coloured sensuality. Fiona Bergin, producer of said team, expands her ownership by cowriting this moody meditation on dealing with pain through tenderness, do yourself a favour and catch it on the big screen in April. A class ac.
The film is a family drama related to crimes of sexual violence. This is a drama in the detective genre, affecting social conflicts and the "MeToo" movement, in particular. The film is for fans of the genre, if you are not interested in theses of this kind, then this is not for you. The characters are interesting, the dialogues are meaningful; the detective story fades into the background of the plot and returns to the finale - a kind of plot elevator. The actors are wonderful, the main character is charming, and a kind father; the daughter is sweet and touching. But cinema is for a fan of the genre, yes, the picture is good, but not for me.
The film feels like a car collision. There is the noir feeling of it, the grizzled ex-cop private eye, the Irish accent, the dark pool of Dublin streets and police corruption. And then there is the gay cop/husband/father drama, the #metoo story of underage girls masturbated at, the young daughter disabled by a motorcycle accident, the rigorous mask wearing. The thing is, this could have worked, but instead it felt like two discordant notes clashing. And the worst part of it all is the ending, the ridiculous "twist", if one can call it that, of which I don't want to talk for fear of spoiling the chance that you would enjoy it, but which kind of invalidates any good will one might have had toward the victims or any measure of competence you would have assigned to the main character.
I like Aidan Gillen, not just as Littlefinger, because I've seen him in a lot of things, doing good work, so that elevated the film a little. But without his charisma, this is a weird film to be watching, it feels like a whiny generation production where people go to the police for seeing a schlong and bullies are fighting back by slapping people and talking badly about gay rights. It was like a noir policier movie for kindergarten kids. The tension was there, but it just felt totally weird and delusional, like written by a teen on a phone.
Bottom line: a social justice agenda driven film that somehow didn't feel offensive, just endearing, like watching a little dog trying to trick you he didn't bite your shoes. Had potential, it went nowhere.
I like Aidan Gillen, not just as Littlefinger, because I've seen him in a lot of things, doing good work, so that elevated the film a little. But without his charisma, this is a weird film to be watching, it feels like a whiny generation production where people go to the police for seeing a schlong and bullies are fighting back by slapping people and talking badly about gay rights. It was like a noir policier movie for kindergarten kids. The tension was there, but it just felt totally weird and delusional, like written by a teen on a phone.
Bottom line: a social justice agenda driven film that somehow didn't feel offensive, just endearing, like watching a little dog trying to trick you he didn't bite your shoes. Had potential, it went nowhere.
Wusstest du schon
- WissenswertesSet during the COVID pandemic
- Zitate
Kate Barber: He's a spoken word poet.
Oxana Popov: What's that?
Kate Barber: It's like poetry ...
Val Barber: - only not as good...
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Details
Box Office
- Weltweiter Bruttoertrag
- 16.038 $
- Laufzeit
- 1 Std. 30 Min.(90 min)
- Farbe
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