The Eclipse

This chilling and thoughtful thriller from top Irish playwright McPherson exemplifies what movie makers who've earned their chops on the stage can bring to the big screen. The characters are three-dimensional; sharp, efficient dialog defines the relationships and moves the plot forward; life in a recently bereaved family, a small Irish town, and a literary festival is acutely observed.

The Eclipse maintains a spooky tension throughout and in a few instances will have you jumping out of your skin. (One minor criticism: Loud incidental music is constantly deployed to manipulate viewers, a perennial flaw of many mystery and horror films.) However, this is not a traditional ghost story but a psychological drama filtered through the perspective of the widowed father masterfully portrayed by Ciaran Hinds. It's probably not too much of a stretch to compare The Eclipse to In Bruges, the debut film of Martin McDonagh, another acclaimed U.K. dramatist, in the way it exploits the conventions of genre even as it defies formula to tell a more original, gratifying story.

A bonus: The cathedral-dominated town of Cobh, Cork County, provides a stunningly picturesque backdrop to The Eclipse, while adding to the overall isolated, claustrophobic atmosphere.

I never post movie reviews or blog about movies, but since I've been seeing so much hate on this website towards a really good film...I figure I'll give it a shot.

I saw this film at last year's Tribeca Film Festival, and it was, by far, the best movie at the whole festival. Before going in, all I knew was that The Eclipse was written and directed by playwright Conor McPherson. Not only does this film showcase McPherson's film-making talent, but it is also character actor Ciaran Hinds' first leading role--who ended up winning the Best Actor Award at the end of the TFF.

The film is a love story, a tragedy, and a little bit of a thriller. It blends all of these elements not only flawlessly, but effectively! You never know what to expect as each new scene unfolds, and as a result, every time you try to trust your sensibility towards cinema, the film does a 180º and we are suddenly in the middle of a horror film. If that's not engaging cinema, i don't know what is!

While I admit the "widowed father" set up is a bit tired, the film is so much better than that, and you sort of forget about that element once the film begins to move (unlike, The Boys Are Back).

Finally, with all of the elements considered, the film is a mere 88 minutes long. McPherson is able to mess with our sensibilities, throw in story elements from left and right, create fleshed out characters, and do it all within a small running time--the work of a true craftsman.

Ultimately, The Eclipse is a film that is not to be missed. Magnolia took their sweet time releasing this little gem, and I'm so happy to finally see it in limited release and OnDemand. I wish it would get the bigger treatment that it deserves, but if you can find it, by all means see it.

"The Eclipse" is a surreal walk in the shoes of a few Irish villagers. Some have criticized this piece for being somewhat disjointed and confusing. I must heartily disagree! It is simply a limited time in life of a few very interesting people in Ireland at a Literary Conference and how those lives rode a little rougher when disturbed by the supernatural.

For those who have forfeited pieces of your heart a bloody chunk at a time after losing someone dear, this movie will inspire. Our psyche, often in partnership with our dreams, can work through some regret, pain, loss, guilt and loneliness by gifting us very real visions in which we touch or hug that loved one, possibly even sharing meaningful words with them. In 2006 my sister died in a fire. On and off, for a few years, I experienced the sound of her calling my name in the night shortly after I fell asleep. This happened several times, waking me, bringing me to actually look for her. In fact, many years before that, I had the opportunity to be with and hold my infant daughter, who died of SIDS when she was 5 months. I held her preciousness in my arms and played with her several times over a matter of years. This always seemed to occur in the twilight of my sleep. At first, I experienced the loss of her, magnified when I awoke, knowing it was a dream; after a couple of years, I unexpectedly became grateful for the privilege to spend that time with her. Since my loss, I have talked with so many people who have experienced similar incidents. I can almost imagine these phenomena taking themselves just a step further. Can't you?

The enigmatic Ciaran Hinds has held my attention since I first noticed him in Jane Austen's "Persuasion". He seemed an unlikely, oafish sort for the part. I was wrong. The man, as I have witnessed since, is a great character actor and quite a strong, yet vulnerable, lead.

The music was beautiful and apropos, the subject matter intriguing, the acting well done and as a note of interest, the writer, Billy Roche, was the host of the literary event. While he was just short of invisible, he managed to create some comic relief. This was an eccentrically mysterious movie you will either love or not. It IS definitely worth the time to give it a try.

The Eclipse has lots of good things about it, but in the end, the pieces don't hold together. Part of the problem is the editing and writing. There are many long shots - beautiful - with the most peculiar music playing, a mixture of bad Benjamin Britten and Philip Glass, and it goes on and on, setting a vague, angsty, weird mood. The story is a wisp, and the writing, while good, doesn't fill the film. The interior sets as well as the gorgeous Irish country side are beautiful, but some scenes are so badly shot that you can hardly see what's going on.

I kept watching because - besides expecting a payoff - the acting and characters are appealing. Hinds is great - he holds a lot in, myriad emotions flicker across his face, he clearly has a large interior life. The female lead grew on me, although her character is odd and prickly. Quinn, fabulously good, plays a character who's just a plot device to get the others in the right places, but he's so vivid, full-realized, pathetic and despicable at the same time, that the plot should have served him better. When the three leads get together, the film changes, and it's charged, strong, unpredictable, real, surprising.

We care about the emotional subject - unresolved grief, the spiritually or psychologically open states we can find out selves in, and how to move on and in to our lives. But it's as if half the film got left on the editing floor - the half with more acting and less music. It's like there are holes in the movie, filled with music. I know there was more there, but we can't see it. Worth checking out anyway for the acting.

I recently saw this at the 2010 Palm Springs International Film Festival. The story is loosely based on a short story by Billy Roche from his short story collection 'Tales from Rainwater Pond' and adapted for the screen by playwright/writer/director Conor McPherson. Set in Cobh County, Ireland, they are holding an annual literary festival and widowed father of two, Michael Far (Ciarán Hines) as a volunteer, has been assigned to drive several prominent novelists coming to the festival including reluctant attendee, supernatural novelist Lena Morelle (Iben Hjejle) and an even more reluctant attendee in Nicholas Holden (Aiden Quinn). The married Holden and the single Morelle have had a romantic affair in the past. Holden and Far start off on the wrong foot while Morelle has an attraction to Far. Far's father-in-law is dying and Far has been seeing ghosts of those who are dead and those who are not yet dead. Nicely photographed by Ivan Reynolds there are a lot of interesting elements going on here but the story never seems to find itself on film. There are dramatic moments and some light subtle comedy but also some classic horror movie devices that seem out of place with the mood of the film. It almost ventures into being a psychological thriller and then pulls back. Quinn is a great actor but he's too over the top in this role. Hinds and Hjejle are in turn great but there is little on screen chemistry between them. There are many lose ends here that leave the audience scratching their heads and I don't think this film ever really finds its audience. I would give this a 6.0 out of 10.