Nothing Compares

I first heard Sinead here in NY on WLIR-FM in 1987 with the release of her first album, "The Lion on and the Cobra." She was also played on college radio and it wasn't until the Prince song, "Nothing Compares to You" that she became a rock star. The film shows the incident when she would not allow the National Anthem to be played before a concert and its repercussions. Later, while appearing on SNL, she tore up a picture of Pope John Paul II and, excuse me, all hell broke loose. As a struggling Catholic, I was not offended by the gesture and history has proven her to be accurate after the many molestation cases came to light with the cover ups by the Vatican. I only wished for more and longer segments of her music. Her voice is magical and this film a gritty and honest portrayal of her life.

Nothing Compares (2022) by Kathryn Ferguson is beautifully crafted tribute to one of the most iconic singers of my generation. Sinead's story is both epic, tragic as well deeply inspiring and the director here captured the true value and respect she so rightly deserves. The film gives us a greatly balance montage of performances by Sinead and the political environment surrounding her career and whether you are new to Sinead's work or a lifelong fan honestly i'd say this is a film to see. If you are gonna see one doc this year let it be this one. It's certainly has revitalised my interest in Sinead and well frankly I am in awe of her bravery and passion. Well done to the director, I look forward to her future projects, I know they will be equally as worthy. 8 0ut 10.

As someone who grew up as a teenager in Ireland during the time period that is the focus of this film, even 15 year old me had a hint of awareness that SOC was possibly the victim of a society, that just wasn't ready or willing to face up to the reality of the issues she shone a light on, both in our own country and further afield.

What this film does is show the world that the things she did weren't some random acts of self-sabotage, or even worse, publicity stunts to prop up her career. She used the global platform she had to speak up for those who could not be heard, to give them a voice when nobody was listening. She didn't do this at the expense of her career as she was so publicly derided for, this was exactly what she was put on this planet to do. Music and art were the platforms that enabled her do it and she did it in the most dramatic fashion imaginable.

The problem for Sinead was that she was so far ahead of her time, living in a time when thou dare not speak truth to power, in a world where social media platforms and hashtag movements didn't exist. If there was anybody in her corner, we simply didn't know about it at the time as they too had no voice. The world's media simply constructed the version of Sinead they wanted us to see.

It's a beautifully immersive film that in time I think will really vindicate a genuine social justice warrior in the court of public opinion.

And about time too.

She deserves it.

This documentary is worth a view if you respect Sinead as an artist, grew up in her heydays, or take an interest in the history of feminism and women's rights.

I have always liked Sineads music a lot, and have been interested to learn more about the music she made in those mysterious years after her 'cancellation' by conservative voices following her tearing up the picture of pope JP II during het performance at Saturday Night Live.

Unfortunately, that scene from the nineties is the end of this movie, so the desire to learn more of the much less documented later period stays undocumented.

The movie mainly focuses on her youth, rise to fame and her heydays and her downfall, the latter two of which are all too familiar subjects already. The other two parts (youth & rise) are interesting, also as a context for what would follow later, as they explain well how Sineads activist side grew.

As is the case with the music of the last.30 years, her life of those years is also missing from this documentary. Conversion to Islam, rumored lesbianism and the very sad death of her son recently are not here, and that's a journalistic choice that can only be respected.

However, there would be a lot of years & material left for a sequel to this documentary, describing the years post 1992. Maybe less commercially viable, but I'd watch it!

Finally, I've always respected Sinead as an artist and as a human, and this documentary has further solidified that image of her. A troubled mind, but a wonderful principled and sincere person - and a unique artist.

Haven't been a big Sinnead fan, I never followed her "controversy" over the years - but I did notice her desperate Facebook appeals a few years back. It's hard really to even begin sharing my impressions, so let's just say (after many others) this documentary is a fitting tribute to an remarkable woman who glows. She obviously never wished to be a "pop star", and her artistic expression achieved what it was intended for, to not only be therapeutic but keep her alive. That she did become a pop star and an icon was inevitable - she is captivating - an epitome of sincerity and compassion, wrapped in beauty - and it's tremendously sad her struggle intensified over the years. This is, however, to be expected with complex post-traumatic stress being left untreated, and the abuse she suffered on from the patriarchy-enslaved public. We can't begin to fathom either what it was to tear the main image of it, the Pope, or to suffer the backlash. A recent crucifiction of a woman by the inane patriarchy fan boys and girls is the Amber Heard trial, so the heartbreaking fact is that nothing's changed - and the only means of instant emancipation of a woman is simply to be vocal. To scream if necessary. Would feminist icons like Gaga and others be possible today if not for Sinnead? We can't speculate, but it's clear she was the first. It's encouraging to know that the climate in Ireland has also changed.

The boys are simply terrified, and likely due to inept mothers like Sinnead's - and these mothers, and women in general who have operated themselves from compassion in awe of patriarchy, bear the guilt. It's symptomatic that a woman on TV, Sinnead's accuser, said angrily that child abuse in her case had been justified.

I see that Sinnead was quick to be deemed bipolar by dubious psychiatrists, which was later reversed, and she's now branded "borderline". Current psychology, however, tends to summon all Cluster B disorders under the umbrella of CPTSD. And that's curable through mere compassion, support, and a feeling of safety. Her big heart is what's kept Sinnead sane, and she IS saner than anyone who tries to cover child abuse. Let's say the majority of the music business, not to mention the Catholic church.

Big kudos to Kris Kristofferson... Sinnead's first husband also speaks of her with such warmth. It makes me happy that these filmmakers have made the steps to reinstate a true icon.

I see she's recently written an autobiography, described as "full of heart, humour and remarkable generosity", and she has an album coming. She is still OUT THERE. How many of us have dared?!... "Thank you for breaking my heart and making it stronger."