krocheav

Here is an uncommon film. One full of surprises of the intellectual kind, told with a refreshingly candid approach to its celebrated character, with lashings of wit, humour, and challenging intellect. The conversations between classmates, the hard-boiled atheist, Lewis, Philologist J. R. Tolkien, and Shakespearean expert Hugo Dyson are both challenging and riveting, not to mention life-changing.

Lewis's two friends are at opposite ends of relative philosophies, and they engage in debates that see night into morning. The film follows Lewis through boyhood, midlife, and into his mature years. While all are perfectly played, the standout is Panama-born American Max McLean as the older Lewis, who also co-wrote the screenplay (with director Norman Stone) from his own original.

These are all world-renowned personalities, which makes for a captivating motion picture journey that should engage any age group who likes their entertainment to offer insights into the lives of classic novelists, without overstaying its welcome, being preachy, or lacking a touch of stylish humor.

It's difficult to say too much about this movie in case it spoils some plot twists. What initially appears to be another routine Bank Heist, then attempts to add a new dimension to its well-worn situation. But in the attempt, do the filmmakers try to be too smart for their own good? Director Mike Lee seems to be remaking "Dog Day Afternoon" - with a new angle added. While I think his movie looks better than Dog Day, his plot also ends up shooting itself in the foot.

There may be some clever-looking touches, but as you look back on them, most are just too far-fetched to be convincing. In fact, nearly all the main situations make virtually no sense at all or are never explained. We have come to expect that director Mike Lee's 'Joints', will be somewhat off the wall - yet this venture is quite familiar and expects us to accept several script 'set-ups' as being believable.

In what looks like a shrewd attempt to throw us off thinking too much about the final outcome, Lee and his editor add numerous flash-forwards to the investigations that followed the robbery. This editing device looks a lot like an attempt to confuse us into accepting their robbers rather 'long-bow-to -draw' escape and withdrawal plan.

The cast is in fine form, and it's a good-looking movie - but is also tough entertainment, even with its softer (yet not easy to believe) outcome. It closes with the admirable 'incorruptible' investigative detective (Washington) acting in an uncharacteristic manner. Of course, when considering the original crime (vile Nazi theft) and the way the authorities react to it, perhaps his actions might be more acceptable.

Even though it offers a 'different' slant to the end result, it's still heavy going, with complete disregard and a barrage of nonstop life-threatening four-letter words cruelly metered out to the hapless victims, not to mention the cowardly violence.

Those who don't think too much about their entertainment won't be bothered, others might be disappointed, and perhaps rightly so.

It's not easy to describe a film like The Quiet Girl, as at the outset, it seems minimalist, but like its title, it quietly creeps up on you and captivates. If you're looking for car chases, explosions, violence, and foul language, you won't get it here; if seeking a rich study of raw human emotion, you couldn't go further. Stylistic cinematography guides us into the life of a shy young girl from an impoverished, dysfunctional farming family. We see that she's ostracized by her peers for her unkempt appearance and lack of personal confidence.

An enforced foster stay with unknown relatives begins uneasily, but is the beginning of an introduction to the richness of relationships she has been denied. Here is classic writing at its prize-winning best. Author Claire Keegan's story is given a strong adaptation by director Colm Bairead in his feature film debut, allowing a superior cast to breathe depth into their life-like characters. What is achieved in this unassuming mini-masterpiece is quietly astonishing. Recommended for lovers of high-quality, discerning motion picture art - and the first Irish film nominated for an Academy Award.