Cork'08 - IFB Oscailt shorts

The final part of my personal Cork round-up concludes with the Oscailt programme, a collection of shorts made in the Irish language (plus one).

FEILEACHAN [DRIVING LESSON] (Cecilia McAllister) - a girl and her mother try to come to terms with the latter's mental illness, though not necessarily successfully. I'd like to have seen this fleshed out a bit into a longer film and explored further, but when the only complaint I have about a film is that I wanted to see more of it, it's not really much of a complaint. (8/10)

AN RANGER (PJ Dillon) - An Irishman returns from years away with the army to discover that his family has died during the famine. His quest to uncover the truth leads down a dark road in this gritty little gem. There's no melancholy examination of the great famine here - just anger, bitterness and a very good film. (9/10)

AN FOIREANN CODLADH (Danann Breathnach) - A young man thinks he's found the perfect home when he moves into his new house in a quiet Irish town. The peace doesn't last though and he soon finds himself battling his neighbours, including the church across the road. A quirky sense of humour and a likeable lead performance make it a pleasurable experience. (7/10)

NOLLAIG SHONA [Merry Christmas] (Orla Murphy) - A young man's break-up bitterly affects his Christmas arrangement, in particular his odd relationship with a Christmas tree. I can't fault the imagination involved and it certainly has its moments, but parts of it were just a little too wilfully weird for my taste. (6/10)

There was a late addition to the programme in the form of a short entitled "Paddy's Tale" or something like that but unfortunately I can't remember exactly what its name was. The fact that I don't speak a word of Irish may be hindering my memory somewhat. If anyone can remember what it was called or who directed it, please post a comment here to let me know so I can recognise it properly.

The film, whatever it was called, concerns a small boy who loses himself in a world of Irish myths and legends with his grandfather, but can't come to terms with his widowed mother remarrying. These two strands of his life clash at first but ultimately tie together in an affectionate and touching film that I thought was very good indeed. If only I could remember what it was called. (9/10)

Finally, filling a gap on the programme but not technically part of the Oscailt series (rather it's part of the "Short Cuts" initiative) was THE GERMAN (Nick Ryan). Starring up and coming Brit star Toby Kebbell (DEAD MAN'S SHOES, ROCK'N'ROLLA, CONTROL) as a pilot in World War II, the film sees the young Brit crash during a battle with a German, whom he then pursues on foot. The aerial battle is thrilling and well executed, Kebbell turns in a good performance and the ending brings a wry smile to the face. (8/10)

And that's all the stuff I saw in Cork. Back next week!

Cork'08 - Irish Film Board Shorts

Okay, I've covered the "Irish Shorts" programme, but I've still got a couple more to do. Here's the "Irish Film Board Shorts" programme.

UNCLE BILL'S BARREL (Eoin Ryan) - Two famous Irish traditions (wakes and drinking) combine with some strange goings on in a rural community when a deceased man's special booze supply is cracked open. Stylish and funny, it's like a comedy fusion of classic Irish literature and 70s Hammer films. (8/10)

Unfortunately Kealan O'Rourke's FAIRY CATCHER wasn't quite ready in time for the festival but they did show a little teaser trailer and it looks very promising indeed.

THE MAN INSIDE (Rory Bresnihan) is an intriguingly weird short that details what happens when a man finds himself locked inside his apartment one morning and is unable to escape. There was something about the film that didn't quite sit right with me, and I can't figure out what. The acting is competent enough and the visual style of it (particularly the imaginary city in which the lead character lives) combines well with a quirky atmosphere (helped by a real mish-mash of accents) to give the film a unique feel. I certainly can't fault the story either, since it takes a decent concept and follows it through to a wonderful ending. There was just something about it that didn't quite stick together but I'll be damned if I can put my finger on it. (7/10)

TWO POINT FIVE BILLION (Jamie Hannigan) is similar. The story is an interesting one (ADAM & PAUL writer and star Mark O'Halloran is a scientist who comes a cropper during a time travel experiment), the acting is good (O'Halloran convinces, and the film gets bonus points for including a brief role for Laura Way, quite possibly my favourite lady in the whole of Ireland). Again, there's just something missing but alas I lack the critical nous to determine exactly what it is. Still a very good film though, it's just not quite top marks from me. (8/10)

The above films were accompanied by two documentary shorts, VISITING DAY (Ciaran Deeney) and WATER BODIES (Jennifer Keegan). I'm afraid neither of them really appealed to me. I was never entirely clear on what was going on or what I should take from the former (a look at the effects of imprisonment on the family of the prisoners), and the latter (a fly on the wall observation of two sites of pilgrimage) didn't really grab me. Maybe it's just because I wasn't that interested in the subject, but it seemed to me like fifteen minutes of people wading around in water and nothing more. Shame, as it looked very nice. VISITING DAY gets 4/10 and WATER BODIES gets 5/10.

Cork'08 - Irish Shorts 5

The final collection in the "Irish Shorts" strand represented another quality batch of shorts, though this time with a bit more emphasis on humour.

THE ROOSTER, THE CROCODILE AND THE NIGHT SKY (Padraig Fagan) is a fairy tale of sorts, though told with thoroughly modern sensibilities. Innovative and imaginative animation combines with a madcap sense of humour to tell a delightful tale of rooster versus crocodile in a battle to reclaim the night. (9/10)

TERMINAL COMMUNICATION (Michael Fortune) is another one that I covered at Stranger Than Fiction but it's worth reiterating that it's a very, very funny film that wrings maximum humour from a straightforward situation. (9/10)

THE HERD (Ken Wardrop) is a documentary laced with large amounts of humour in which a man and his mother discuss the appearance of an out-of-place animal among their herd of cattle, with both offering very different opinions. Another film that will make you laugh out loud. (8/10)

GRANNY O'GRIMM'S SLEEPING BEAUTY (Nicky Phelan) combines modern CG animation with more traditional techniques to create an Irish take on the famous fairy tale, with dark humour throughout. (9/10)

SOUND AND STONE (Damien O'Donnell) uses the sights of everyday Dublin to bring life to a unique rendition of a traditional Irish song. Deceptively simple but very enjoyable. (8/10)

HAPPY HOUR (Barrie Dowdall) - Okay, not so funny this one. Four conversations in a pub, delivered straight to camera by talking heads, intertwine to tell of an impending event that will affect all of them. Deliberately sparse with the visuals, but a clever little script. (7/10)

OF BEST INTENTIONS (Brian Durnin) is another tale that weaves together a group of seemingly unrelated characters' lives in one smart little film. Visually accomplished and very satisfying. (8/10)

THE DOOR (Juanita Wilson) - although it wasn't my favourite of the bunch I can't grudge it the prize that it won at the festival as this short, focussing on a man who lived through the Chernobyl disaster, is a lovely little film and tells its story in a tasteful, touching manner. (7/10)

Cork'08 - Irish Shorts 4

My coverage of the shorts at Cork continues with what was probably the strongest selection yet...

ATLANTIC (Conor Ferguson) - occasionally you'll see a film that just totally blows you away with its brilliance. Back in Galway it was JANEY MARY. ATLANTIC is the latest (and luckily I ran from here to the Opera House for HUNGER only to discover the film was getting an airing before that movie too - bonus!). The fact that I believe there is no sound on Earth as lovely as a lady with an Irish accent probably helps since the entirety of the speech in the film comes in the form of a haunting, romantic voice-over by Marian Quinn. However, putting it all down to that only trivialises the other aspects of the film, such as the impeccably beautiful direction, the heartbreaking story and a mesmerising performance from Liam Cunningham, who delivers his all despite only being on screen for a few minutes and not having any dialogue. Three minutes of cinematic perfection. (10/10)

SANDPIPER (Jimmy T Murikami) - nothing could really follow ATLANTIC but this was certainly an entertaining film all the same. A small boy looks after an injured bird. The film is brought to life by bold, colourful animation and an air of sweet innocence. (8/10)

JAMES (Connor Clements) - this is a dark tale of a young schoolboy who clearly has a lot on his plate but with nobody to listen to his problems. Not a happy tale, but a really good little film. (8/10)

I (Ann Marie Brennan) - A man is in love with the woman who lives opposite, though they've never spoken. And now she's moving out. Simultaneously heartbreaking and humourous, a wonderful tale of unrequited love with a difference. A terrific little film. (9/10)

AVATAR DAYS (Gavin Kelly) - a fairly simple and, dare I say it, even mundane idea (some people who play World of Warcraft discuss their hobby) is brought to life by an ingenious way of presenting their stories. (8/10)

UP FOR AIR (Richie Conroy, Mark Hodkinson) - this is another one that I've already mentioned after I saw it in Galway this year but interestingly I actually found I liked it an awful lot more second time around. Amusing. (8/10)

BRIXTON BOB (Devin John Doyle) - two men discuss love and reggae on a fishing boat. The story didn't really click with me - it felt somehow unfinished - but the location shooting is impressive and a potentially drab setting (a trawler at sea) is far more colourful than it has any right to be thanks to some decent photography. (7/10)

MARTIN (Sean Branigan) - a man with a history of violence tries to change his ways when he hears from his estranged family. Well made film which puts human drama ahead of any gimmicky visual tricks, but bloody hell it's bleak. (7/10)

I hope to finish rounding up the rest of the short films I saw tomorrow night, but if I fail then I guess you'll have to wait until the middle of next week I'm afraid.

Cork'08 - Irish Shorts 3

Continuing my round up of the short films I saw at Cork this year...

PIROGUES (Alice Bohl) - Beautifully animated tale of two couples who seem worlds apart but will end up closer than they think. A genuine work of art. (8/10)

WHAT YOU DIDN'T SAY (David Tynan) - The third short film I've written about by this guy and I'm now really beginning to think he's got some issues. Once again, young love proves to be a scary place as two youngsters try to communicate their feelings but fail miserably. A lot funnier than it sounds though, and once again stylishly presented. (8/10)

MONA: A GHOST STORY (Terry O'Leary) - looks and sounds terrific, but I just didn't connect with it. (5/10)

FETISH PHOTOGRAPHY: QUESTIONS ANSWERED (Suzana Zalokar) - not as dirty as it sounds, and that's exactly the point of the film. Examining why people like such things and more importantly why women appear in it, this short sheds new light on a misunderstood topic. (7/10)

THE MORSE COLLECTORS (David Cooke) - I already covered this one at Galway, but it was a pleasure to see it again. Two kids in wartime Northern Ireland discover a haunting secret communication... (8/10)

WORN (Rebecca Daly) - interviews with a family, about their shoes. More interesting than it sounds but not really my cup of tea. (6/10)

FALL (Paddy Jolley) - Things fall out the sky and break. Okay, it's very arty and all that, but this one I just didn't get at all. Others did, so maybe I'm in a minority. Fair play, it looked nice though. (5/10)

SPACEMEN THREE (Hugh O'Connor) - Obviously had a bit of a budget, this one. Pat Shortt is the unwelcome Irish scientist stuck on a space mission with two astronauts who really don't want him there. A fairly average script is bolstered by slick presentation and a reliably amusing performance by Shortt. (8/10)

Cork coverage to be continued...

Cork'08 - Irish Shorts 2

In case you're wondering, no, I've not forgotten to post a "part 1" or anything. I'm going by the titles of the programmes in the festival, and Irish Shorts 2 was the first of them that I managed to get to. The good news is that I managed to squeeze in a lot of them in the few days I was there, so let the short film coverage (with appropriately short reviews) begin. I can't be bothered writing huge amounts for every film so I'll just settle for giving a mark out of ten. Yeah, I know, it's really lazy and tabloid-like but it gets the point across more than my inadequate writing is likely to.

MY DAY (Eamonn O'Neill) - striking animated short that shows a bus journey turn into a nightmare. We've all had one. Good stuff. (7/10)

COUNTDOWN (David Tynan) - An adaptation of the poem "Countdown to Ecstasy" which blends stylish visuals with some atmospheric electronic music to illustrate the last days of an ill-fated young romance. (8/10)

TEDDY BEAR (David Tynan) - Same director as above and again it's another tale of young love gone wrong, this time brimming with tension but somehow manages to combine bleak despair with dark humour. And a teddy bear. (7/10)

DOYLE (Alan Early) - A man takes a trip into the country and lets himself go, but there are dark things going on. Gritty but not without humour, though it didn't really do much for me. (5/10)

(ENOUGH) (Barry Dignan) - A young couple have an argument in a restaurant. Nobody notices. Very funny but also rather touching. It's interesting to note that the film is supposed to play with subtitles but a technical cock-up meant it didn't; interesting because after it screened again, corrected, a lot of people thought it was deliberate and I actually heard some folk say they preferred it without! With or without subtitles, it's terrific. (9/10)

OUT OF THE BLUE (Michael Lavelle) - A man finds a telly in the sea, and so begins a weird kind of romance. Combining quirky humour with out-and-out fantasy, this is a really novel take on the romance genre and proved popular with the audience too. Including me. (8/10)

MR CROCODILE IN THE CUPBOARD (Morgan Bushe) - a hit goes wrong for a couple of small-time crooks. Left me feeling a bit "so what?" to be honest, but there's no denying it's technically well enough made and has reasonable chemistry between the two leads (Darren Healy and the always great Gerard McSorley). (5/10)

LOWLAND FELL (Michael Kinirons) - a young girl's birthday is spent in the country with two boys she meets, and things begin to get a bit... interesting. I began to lose interest in the story towards the end, but it's beautifully shot and one of the more visually distinctive presentations of the programme. (7/10)

Cork coverage to be continued...

Cork'08 - A TALE OF THREE LEGS

In the documentary A TALE OF THREE LEGS, the last of the features I saw in Cork, we're introduced to Colin Carroll, an Irishman who is on a mission to take silliness seriously.

After an accident left the young solicitor with a broken back, Colin gained a new outlook on life and upon recovering set about embarking on several daft adventures that probably qualify as living life to the full, in some bizarre kind of way. He became Ireland's first sumo wrestler; the world champion of elephant polo; he began planning the "Paddy Games", an alternative to the Olympics with events such as high-dive belly-flop and 100m crawling; and he set out to break the world record for a three-legged marathon.

It is this latter quest that forms the focus of A TALE OF THREE LEGS as Colin and his running-mate (the third leg) John Meade aim to break the world record on their home soil (the Cork marathon).

It's easy to approach this documentary with a certain air of cynicism - is this guy for real or just an attention-seeking idiot who belongs on a second-rate reality show? - and the casual abandon with which he and his brother laugh off the number of cars they've managed to write off doesn't do much to erode this vision of irresponsibility.

However, it's just too difficult not to warm to Colin as the film unfolds. Here is a man who has seen what life without the gift of walking looks like and is determined never to take that for granted. Yet he achieves this not in a po-faced, earnest kind of way but rather in a way that sees him making the full use of his rediscovered abilities while bringing a little sunshine and, yes, silliness into the lives of others.

There are plenty of people to testify what a stand-up guy he is, but then they're his family and friends, you kind of expect that from them. What wins you over however, is the enthusiasm and charm with which Carroll talks about his ambitions to break all sorts of records and be remembered for the right reasons. He's a natural, entertaining speaker and while there certainly appears to be some small degree of attention-seeking egomania about him, he primarily comes over as being the real deal. In some strange way he manages to convince you that he's totally genuine and yet at the same time totally taking the piss.

The film isn't perfect. For one thing, there are a couple of scenes in it that really don't ring true, most notably the set-up regarding John's short temper. Also, the marathon is presumably chosen because it provides a neat little story to form the narrative heart of the film but means we don't really hear too much about the Paddy Games - a shame, as they sound every bit as interesting. (There is a website out there if you're really interested though)

All in all however, the film presents itself as being a documentary with a serious message at its core, but that core is surrounded by a great deal of laughter and daft entertainment. In that respect it would seem to be a perfect match for its leading man.

(And for those of you wondering after what I wrote in my Cork preview, yes I did manage to get to my flight on time after seeing this film)

Cork 2008 short film coverage coming soon...

Cork'08 - HUNGER

Before I start to talk about HUNGER, I should mention that it was preceded by Conor Ferguson's short film ATLANTIC, but since I saw that during the shorts programmes I'll cover that one whenever I get round to covering the shorts. (I'm kicking off with all the features first.)

HUNGER is the story of the last few weeks in the life of Republican hunger striker Bobby Sands (Michael Fassbinder, abusing his body to Christian Bale-like proportions for the part), who died as a result of his protest back in the early 80s. He, and some of his colleagues, were protesting in order to try and have the British government recognise IRA prisoners as political prisoners.

The film is nice in one sense of the word, and very definitely not nice in another. It's nice in that it looks, sounds and feels incredible - not that surprising given that it's the work of artist-turned-director Steve McQueen. It's very definitely not nice however in terms of the unflinching detail of what went on in the prison and what happened to Sands as the strike took its toll.

It's only fair that you should know this going in because there are two things liable to put people off. For one, you'll need a strong stomach - prepare for everything from excrement-covered walls to horrific medical close-ups.

The second obstacle (to some) is, for want of a better description, the "arty" approach it takes. There are lots of visual flourishes, dialogue-free scenes, long takes and so on. The sort of thing, in other words, that usually make Carlos Reygadas films unwatchable but here are used successfully by combining them with things actually happening.

I guess there is a third potential obstacle too, which is the subject matter itself, but whatever your feelings are about the whole Britain-Ireland thing, this film is unlikely to change your mind either way.

In this respect the film is remarkably balanced. On the one hand we have prison officers horribly maltreating the prisoners; on the other hand we're left in no doubt that their job isn't exactly the most comfortable either. As for Sands, the film does not offer an opinion on whether his actions were right or wrong, it merely presents what he did and why.

In addressing this particular aspect, the film offers one scene that is the undoubted highlight. In an ambitious and stunning twenty minute, single-take scene, Sands discusses the implications with a priest (Liam Cunningham). While offering humorous banter to begin with, the conversation descends into the meaty detail before long, and sets the tone for the rest of the film.

The film was followed by a Q&A with Cunningham and the screenwriter of the film Enda Walsh. It was witty and informative, although turned a little sour at one point when an audience member took exception to the attitude of the pair (wrongly, in the eyes of most of the audience). Cunningham addressed the man's point and put the matter to rest with a well-made and reasoned response, so it's a shame that Walsh then had to start a rant about something else which ended up with an incredible outburst of casual profanity that left much of the audience around me rather taken aback, before having another pop at the questioner, just as it seemed the matter was closed. It was rather a shame since Walsh had been very informative and entertaining up until that point.

Still, this should be about the film and the film is certainly a triumph. Just don't expect it to be everyone's cup of tea. If it's a more conventional and event-driven approach you're looking for, you'd probably be best sticking with SOME MOTHER'S SON. If you're in the mood for a brave, breathtaking piece of cinematic art, give HUNGER a try.

Cork coverage to be continued...

Cork'08 - DAVID FARRELL: ELUSIVE MOMENTS

The first film I managed to see at this year's Cork Film Festival was DAVID FARRELL: ELUSIVE MOMENTS, a documentary receiving its world premiere at the festival (appropriately enough given the local interest in some aspects of it).

Farrell, in case you didn't know, is an acclaimed photographer. I say this as if I have a clue but I'll be honest, I'd never heard of him before this festival. That's not meant to sound like I'm putting him down, I just don't follow photography. Truth be told, I'd struggle to name a famous photographer.

Or that was the case before this film, obviously. Now at least I can name one. And yes, from my totally limited point of view, I can see that he is indeed a very good one.

My ignorance of photography as an art form actually didn't hinder my enjoyment of the film; quite the opposite. I've never had a problem looking at photographs and saying yes, I like that or no, that's rubbish, but this is as far as it has ever gone. If there's one benefit of me taking in this documentary it's that I have gained a greater appreciation for the kind of things that photographers at the top of their game have to put up with.

That of course strikes me as being perhaps a weakness of the film if you're already an accomplished photographer though. Not to worry however, as it proves to be just as interesting a portrait of Farrell himself, an interesting character who clearly some interesting approaches to the things he photographs and its nice to hear him explain it all.

If like me you know nothing about photography you'll probably end up a little bemused by some of the more technical detail but still learn something about the art and the man; if you're already well-versed in it, well, at least you'll find out about how one particular master goes about things.

If there's one flaw with the presentation itself it's that Farrell's photographs are so good, the film itself looks rather dull and uninspired by comparison. Then again, maybe that's a testament to Farrell's ability rather than any shortcomings of the film.

It doesn't strike me as the sort of thing that is likely to have too many cinema showings, but watch out for it on Irish TV I guess.

Cork coverage to be continued...

Best of 2007 - the top five!

[Excerpt from a post originally made on the "Tales from the Freakpit" blog]

Just time to finish this off before I disappear for a couple of days...

If you've been reading my blog carefully and for long enough, you'll already know what my favourite two movies of 2007 were. But here's the top five anyway...


1. ONCE
Plain and simple love story with great music, a lovely setting (Dublin, for once looking like the magical city it is, rather than a haven for gangsters and junkies) and characters that you can't help but warm to. Low on budget, high on charm.

Cork & Horrorthon - previews and problems

A brief interruption to my summary of last year's best films... I know, just as it was getting to the exciting part.

I think I've made a pretty good job at keeping some regular updates going here over recent days, given my usual standards. Hopefully therefore you'll forgive me then when I tell you that it might be a bit quieter over the next few days.

It's all in a good cause though. First of all I'll be spending a few days at the Corona Cork Film Festival, before returning back home briefly and then jetting back out again for the Horrorthon at the Irish Film Institute in Dublin.

There's a whole bunch of interesting stuff coming up at Cork (and I'm sure there's already been some by the time I've got round to posting this) but for me, my brief stay will allow me to see a few late night efforts (NOCTURNE, SYMPATHETIC DETAILS and THE GOOD, THE BAD AND THE WEIRD); the eagerly awaited HUNGER (yeah, it's out here in a couple of weeks but I couldn't wait); a couple of documentaries (one about photographer David Farrell and the slightly less serious A TALE OF THREE LEGS - though this will leave me a hell of a dash for my flight home); and an absolutely huge number of Irish short films, including the Irish Film Board selection and the Irish language programme, Oscailt (which I have no idea how to pronounce).

As for Horrorthon, my thoughts on some of the films are below (but I'll cover all of them on my return), along with the horrible dilemma I face as a result of the packed schedule.

Opening night film QUARANTINE is a remake of the Spanish zombie film [REC], which despite good reviews I completely failed to see. So it's another pointless American remake, and yet maybe because I've failed to see the original I might be able to cut it a little slack.

It'll be nice to see cult classics like THE FUNHOUSE and EVIL DEAD II on the big screen, but I'm not sure about SAW 5. Sure, I love those films, but since it opens at the cinema at the same time I might skip out of the IFI for some food instead. TIMECRIMES is also showing after that, which I may skip for food since I've already seen it. On the other hand I may watch it again since it's one of the best films of this year.

That leads to my first major dilemma. Screening at the same time are NIGHT OF THE LEPUS and SEER. The former is a hilariously bad 70s revenge-of-nature flick, the latter is a new Irish horror. And there's the problem. NIGHT OF THE LEPUS, which is currently near the top of my to-be-blogged-about pile so will appear here soon, with a cinema audience will be too much fun to miss - but on the other hand, SEER is an Irish film, which of course I always try to support, and I've no idea when I'll get the opportunity to see it again.

More classics are on offer with CHILD'S PLAY and THE HUNGER. The former I've never seen on the big screen; the latter I have, but would happily watch it again. They're also showing THE IGUANA WITH THE TONGUE OF FIRE, which I covered here recently. Sure, it's not a great film and it'll be projected from that rubbish DVD, but I can't resist seeing it again, especially not with a Dublin audience.

Then it's dilemma time with the late night screenings again. NIGHT OF THE CREEPS I've seen before but would love to see on the big screen with an audience; but it's up against GHOSTWOOD, another Irish horror. Damn it!

DEMONS 2 presumably gets shown since they showed the original last year and do you know what? I can't even remember if I've seen it. It should be fun I'm sure.

BRAM STOKER'S DRACULA is one that has not been reviewed well in the past but sod it, I've never seen it so here's as good a place as any. Documentary NOT QUITE HOLLYWOOD sounds interesting too.

I guess I can't comment on what the surprise film will be, but it's got to be better than last year's preview of SHROOMS. Well, unless they go for another advance peak at a forthcoming Irish film and we end up watching some load of pish like ALARM.

And then the late night dilemma again. This time it's whether to see British horror film GNAW or if I again go for all out laughs with a screening of THE IMPOSSIBLE KID, sequel to FOR YOUR HEIGHT ONLY. I've not watched the sequel, though I do own it on DVD, but seeing the original with an audience was one of the most enjoyable experiences I've ever had in a cinema.

On the final day, there's classics aplenty with DAWN OF THE DEAD (the original) showing along with JAWS 2. Admittedly I don't know if that's a classic or not because it's years since I saw it. It's probably crap.

MUM AND DAD gives me a food break - I saw it at the EIFF and it's not very good at all - and MIDNIGHT MEAT TRAIN looks like it could have potential.

Full thoughts on these films and others will follow when I return, but in the meantime I'll just leave you to ponder my dilemmas... hilarious, fun-packed horror classics or my devotion to Irish cinema? Promising new British horror or dodgy midget James Bond rip-off? And if I go to an 11am screening of A TALE OF THREE LEGS at Cork, will I make it safely onto my flight home at half past one? And how do you pronounce Oscailt anyway?

Only time will tell, but if you've any valuable advice please feel free to leave a comment. Maybe I just need a little guidance.

Best of 2007 (10 to 6)

[Excerpt from a post originally made on the "Tales from the Freakpit" blog]

8. KINGS
A group of Irishmen living in England get together at the wake of the first of their group to die, and reminisce about the plans they made when they first left their home in the 70s. Tinged with a palpable melancholy, the film is a heartbreaking look at a group of men who don't belong in England but know that the Ireland they left no longer exists.

Best of 2007 (20 to 11)

[Excerpt from a post originally made on the "Tales from the Freakpit" blog]

20. THE LAST KING OF SCOTLAND
The film suffers a little from compressing such a huge timeframe into such a brief period, but otherwise it does a reasonable job of adapting Giles Fodden's novel and an excellent job of entertaining. Whitaker's Oscar-winning performance manages to capture Idi Amin in all his fascinating, crazy glory.

19. SMALL ENGINE REPAIR
Shattered dreams and broken friendships simmer away in a blend of country music, alcohol and engine repair workshops. Something's got to give. Delightful emotional drama.

Best of 2007 (30 to 21)

[Excerpt from a post originally made on the "Tales from the Freakpit" blog]

GARAGE

30. GARAGE
The writer and director of ADAM & PAUL team up to deliver another belter of an Irish film in which a village simpleton gets into a whole heap of trouble and seems totally oblivious to it all. Like ADAM & PAUL, it's bleak and poignant at the same time. Pat Shortt's performance is excellent.

Best of 2007 (40 to 31)

[Excerpt from a post originally made on the "Tales from the Freakpit" blog]

36. POITIN
Bob Quinn's tale of dodgy characters carrying out their nasty deeds in Connemara was actually a film from the 1970s, however the version I saw at Cork in 2007 was the new director's cut, so I'm chucking it into my top forty of 2007 on a technicality!

POITIN

32. SEACHD: THE INACCESSIBLE PINNACLE
The first theatrically-released film in Scottish Gaelic was more than just a script translated into the language. It was unashamedly a Scottish film with so many national traditions and stories woven throughout. A celebration of the whole of Gaelic culture which was unfortunately denied the widespread release it deserved.

31. NO REGRETS IN THE WEST & WITHOUT WORDS
Yep, I know I've banged on about these before and that you're probably sick of me going on about Irish short films and all that, but these two were special and really deserve a mention. So I'm going to break the rules and stick them in here together despite them being two entirely separate films.

VHS Lives! SOME MOTHER'S SON (1996)

Back for one night only, it's the return of VHS LIVES!

Tying two of my interests together (i.e. Irish cinema and the joys of old VHS tapes) I decided to sit down and watch this tale of the Troubles, a controversial but critically acclaimed drama that remains unreleased on DVD to date.

Although co-written by Irish film stalwart Jim Sheridan, the directing duties are given to Terry George, probably best known for his Oscar-nominated film HOTEL RWANDA.

Like that movie, SOME MOTHER'S SON is another story ripped from the headlines about a man standing up for his principles. Slightly more controversially this time, that man is a young cellmate of Irish hunger striker Bobby Sands.

The star of the film however is Helen Mirren, the mother of the young man in question, who finds her life turned upside down when her son is imprisoned and ultimately prepares to die for a cause that she can't bring herself to fully support.

Films revolving around either the IRA or related subject matter have always been touchy in the UK and this one is no exception. Its standing in the UK however is probably not helped by the inclusion of a two-dimensional villain (the nasty Englishman out to crush the Irish rebels) played by Tom Hollander. I don't have a problem with making the Brits the bad guys, but making your bad guys at least vaguely human or three-dimensional would be better from a cinematic point of view. This guy may as well have walked straight out a pantomime.

In fact, acting is a big issue with this film. As the titular character, Aiden Gillen (star of the equally controversial TV series QUEER AS FOLK) does not convince. It's not that there's much wrong with his acting exactly. He just lacks screen presence and has a habit of being overshadowed by the rest of the cast. I can't fault him from a technical standpoint, he just doesn't register highly on the charisma scale.

On the other hand, actors such John Lynch (playing Sands) and Ciarin Hinds (Sinn Fein leader), who are usually so reliable, do the best with what they've got but are woefully underused (which might not have been such an issue had Gillen been able to carry more of the film).

Leave it then to Helen Mirren to rescue the film. As reliable as ever, Mirren is at the top of her game in the role of the worried mother who gradually becomes more involved in the trouble.

The film moves along at a reasonable pace and holds the attention throughout. You can't help but roll your eyes however as the Irish pipe music gets trotted out again. Visually, the film feels very small and looks rather drab - even allowing for the fact that I'm watching it on an old VHS tape - which has the unexpected benefit of really suiting the prison scenes but slightly reining in everything else.

What will be really interesting to see however is how the film holds up against the Bobby Sands biopic HUNGER, which has scooped various festival prizes and hits UK cinemas at the end of this month (I hope to catch it before then at Cork). If nothing else, the attention might at least awaken interest in a DVD release of SOME MOTHER'S SON, at which point I can finally bin this old tape.

THE IGUANA WITH THE TONGUE OF FIRE (1971)

Dublin doesn't look this yellow in real life

I love giallo movies.

Gialli, to give you a drastically oversimplified description, were thrillers that were made in Italy predominantly in the 70s and were marked by stylish direction, shamelessly exploitative sexual content, gruesome violence and some crazy plot twists, among many other things. The most famous (among the public at least) contributor to the genre was probably Dario Argento but many, many directors plied their trade in the genre and pretty much anyone who's anyone in the world of cult Italian cinema of the 1970s dabbled in giallo material at one time or another. There are a number of blogs out there who cover them in depth, if all this chat has given you an appetite for more.

So, yes, I love gialli. I also happen to love Dublin, as regular readers will know, so when I discovered that there was a giallo made in Dublin I was rather excited. When I then discovered that said film had just been released on DVD I practically soiled myself with excitement.

Okay, so neither the film nor the DVD presentation of it are exactly top of the giallo class, but I was delighted to see it all the same.

Directed by Riccardo Freda, the film centres around a murder case being investigated by an Irish policeman played by Italian cult movie veteran Luigi Pistilli. Just when you thought you were used to the bad dubbing in these films, you get Luigi Pistilli dubbed with the voice of an Irishman. Priceless.

The case is made more complicated by a number of factors, such as Pistilli being a washed-up has-been, the murder being linked to a high-powered ambassador and the fact that, like all good giallo movies, everyone in the film appears to be really suspicious.

The DVD itself is not great. The picture quality is watchable but varies from okay to below average, in some places appearing to be taken from either a video copy or a really bad print. Oversaturated colours and soft, murky shadows are the order of the day. The sound is equally patchy, but overall the presentation is acceptable for a film of such rarity and it is at least in anamorphic widescreen.

As for the film... well, it's certainly not a great example of the genre. Things look hopeful when, just five minutes in, a murder occurs involving acid in the face followed by a graphic throat-slashing. Incidentally, if this sort of thing sounds repulsive to you, you probably don't want to watch any more gialli.

But back to the film. That opening murder gets our hopes up but from then on in, highlights are too thinly spread out over the film and all too often the most horrific stuff happens off screen - not what we giallo fans pay our money for! That said, there's still other tasteless stand-out scenes, not least of which is the scene in which a young school girl is graphically assaulted. Granted, the girl was probably an adult playing well below her age, but it's still a perfect example of the sleazy anything-goes attitude that makes gialli so engrossing/gobsmacking.

The conclusion, when it comes, is somewhat typical of giallo material in that it is totally and utterly barmy, although you could just about argue that the clues were all there if you looked really, really hard.

Stelvio Cipriani supplies a decent score, Pistilli is always fun to watch and there's some great old footage of 1970s Dublin (if, like me, you like that sort of stuff) but overall it's a weaker effort with the occasional memorable moment.

Scottish Films on TV & George Morrison recognised

Another brief update for anyone with an interest in Scottish or Irish films. I do wonder if there's actually anyone else out there in the wide world of films who does have an enthusiasm for both Scottish and Irish films. I suspect it's just me. Anyway...

I mentioned previously the news that came out about George Morrison being invited into the European Film Academy. Well I've just seen the story on Filmbase's website, along with news about an Irish TV screening of WAITING FOR THE LIGHT, so click here to go and read it.

Meanwhile, back home, STV will be showing three recent Scottish films shortly. They are BLINDED, a pretty decent thriller starring Peter Mullan; NIGHT PEOPLE, an earnest little drama that I really enjoyed when I saw it recently (it'll probably get a write-up on this blog shortly); and GAMERZ, which I just mentioned yesterday. This news comes from Scottish Screen so click here to go and read that story.

Scottish & Irish films: an update

I've had a real run on Scottish and Irish film recently, haven't I? Good. Long may it continue. Anyway, today's blog entry is another one of those public information announcements where I alert you to developments with some of the films I've covered before (usually at festivals).

SEACHD: THE INACCESSIBLE PINNACLE was a Scottish film that I loved when I saw it at the EIFF last year, the first to be shot in Gaelic. Its cinema release was limited to say the least, it was incredibly snubbed for Oscar consideration by the dimwits at BAFTA and it crept out onto DVD with barely a whisper by way of publicity. All of which is both a shame and an outrage. Anyway, I notice that clips from it have popped up during adverts on the newly launched Gaelic-language digital channel BBC Alba, so keep an eye on the schedules there. Given that BBC Alba helped to finance it, I'm assuming it's going to pop up on the station at some point!

Scottish geek comedy GAMERZ was another one that didn't get much in the way of publicity or cinema coverage, but I note that it has now come out on DVD and can be purchased cheaply.

After its playing at this year's EIFF, the Scottish independence movie STONE OF DESTINY is released to cinemas here from October 10th. As long as you don't mind it being fairly lightweight or the fact that the two young leads are played by non-Scots with dodgy accents it's an enjoyable little romp.

Now on to the Irish stuff.

I recently covered Alan Cooke's documentary HOME - well, I happened to notice while shopping in Dublin last weekend that it appears to have snuck out on DVD. Just in case you're interested.

Dublin boxing documentary SAVIOURS goes on release in Irish cinemas as of today.

ALARM, which I saw at Galway but didn't much care for, is to be released in Ireland from November 7th.

ANTON, which I also saw at Galway and definitely is worth seeing, goes on selected release in Ireland from October 10th.

Finally, if you're in the mood for something really weird and nutty, there's a screening of the experimental film DREAM DIARY at the IFI on October 19th, which I believe is the first screening since I saw it at Cork last year. If you like things like ERASERHEAD it'll probably be worth a whirl.

Short films @ Stranger Than Fiction 2008

[Excerpts from a post originally made on the "Tales from the Freakpit" blog]

Finishing my round-up of this year's Stranger Than Fiction film festival at the IFI in Dublin, here's a few (very) brief thoughts on the short film selection from Sunday morning. Well, apart from Rouzbeh Rashidi's THE BLIGHT, which was unfortunately abandoned due to some technical issues.

HEADFORT (Brendan Casey) is a look at the life of the kids in an Irish boarding school. They're all rich and posh and while the film is interesting in itself it's even more striking when shown in contrast to the lives of some of the people in the other short films on offer here (such as the film above). Truly a case of "how the other half live".

GOD & NAPOLEON (Ciaran Deeney) is an observation on the life of an Irish bachelor living out in the middle of nowhere in a rundown cottage (think along the lines of Pat Shortt in GARAGE - except real). It's beautifully shot and although I spent the first minute or two thinking I was going to get very bored very quickly, it had quite the opposite reaction. By the end I was fascinated and truly drawn into the film. A nice film and a deserved prize winner.

WALKING DREAMS (Evan Barry) sees a beautiful young woman ballet dancing while a voiceover from a paralysed woman plays in stark contrast. Another beautifully shot piece and another deserved prize winner. The music was also haunting but if anyone out there knows where I've heard it before, please leave a comment and tell me. I'm sure it was in a film or a trailer for something, and I can't remember what. And now I'm getting really annoyed.

THE PUPPETEER AND THE INVENTOR (Donal O’Mahony & Mischa Langemeijer) documents the work of the titular couple who, between them, have created some startling work including a robotic tramp which is scarily realistic and a robotic/puppet monkey that is also half way between scary and hilarious. Illuminating stuff.

THE DAY I SAW YOU (Aine Ni Fhaolain) is an observational piece following daily life in Dublin, accompanied by an effective music score. Imagine an Irish version of BARAKA and you've probably got a fair idea what to expect. Parts of it veered a little close to invasion of privacy for my liking but that didn't stop me enjoying it. On the contrary, I thought it was an excellent film and, for whatever this is worth, it was the film I voted for in the audience award ballot.

THE RICHNESS OF CHANGE (Colin Murphy) is a series of short vignettes about the lives of people of various ethnicities in Ireland. It's interesting and there's nothing wrong with the presentation per se, but it does feel a little bit like it's been put together to bludgeon schoolkids with a message.

BINGO (Michael Fortune) is a simple little film relating the odd practice of "drive-in bingo". To be honest I couldn't decide whether this was a true event or something the director just made up for a laugh, but either way it works. The presentation is simple but effective and the result is an odd but funny spectacle.

TERMINAL COMMUNICATION (Michael Fortune) is another humour piece from the same director, and once again uses a simple presentation to find humour in an everyday situation. Anyone who's ever been left thoroughly bemused by stupid roadmarkings won't be able to help themselves laughing at this film, which uses sped up footage recorded over a period of time at a badly-labelled junction in Ireland to demonstrate the different ways of dealing with the problem. A terrific little film, it received a special mention from the jury and got a very positive reaction from the audience too.