Tag Archives: rural

CINEMA REVIEW: THE BANSHEES OF INISHERIN (2022)

CINEMA REVIEW: THE BANSHEES OF INISHERIN (2022)

Written and Directed by Martin McDonagh

Produced by: Graham Broadbent, Peter Czernin & Martin McDonagh

Main Cast: Colin Farrell, Brendan Gleeson, Kerry Condon, Barry Keoghan, etc.

Cinematography: Ben Davis

Edited by: Mikkel E. G. Nielsen

Music by: Carter Burwell

*** MAY CONTAIN SPOILERS ***



The Banshees of Inisherin (2022) is Martin McDonagh’s latest cinematic masterpiece. Not only is it one of the best films of the year he has, as with Three Billboards Outside Ebbing, Missouri (2017), constructed one of the most formidable screenplays of many a year. As a playwright McDonagh has won many awards for his works. His debut film, In Bruges (2008), was a deceptively simple story of two hitmen on the run which, with rich thematic power, became a darkly hilarious existential cult classic. His follow-up Seven Psychopaths (2012), a heady mix of criminals versus writers in a meta-fictional Hollywood-based narrative was brilliantly written and acted, if slightly lacking thematic clarity. Like Three Billboards Outside Ebbing, Missouri (2017), The Banshees of Inisherin (2022) is a highly emotional human drama which contains intelligent allegory, incredible characterization, and cracking dialogue.

Set in 1923 on an island off of Southern Ireland called aptly Inisherin, the film opens by focussing on genial everyman farmer, Pádraic Súilleabháin (Colin Farrell) and his daily routine. After tending to his animals, he usually calls for his friend, Colm Doherty (Brendan Gleeson) to go to the island pub, the J.J. Devine or Jonjo’s. In England there is an idiom called, “sending someone to Coventry.” This means to ignore or ostracize an individual or individuals. So, basically Colm chooses to do this to his long-standing friend, Pádraic. This shunning completely bemuses Pádraic and despite Colm’s pleading for Pádraic to respect his wishes, he continually seeks an answer to his former friend’s decision.



After this intriguing premise is established, what follows is a tremendously original, darkly funny and emotionally penetrating succession of scenes. The exchanges between the two characters begins as bickering but then descends into some seriously disturbing acts of recrimination. Attempting to make them see sense are various eccentric characters on the island who provide many witty and absurd exchanges that McDonagh specialises in. Further, Pádraic’s sister Siobhán (Kerry Condon) is almost the one voice of reason as the feud escalates. As she tries to diffuse the conflict, even Barry Keoghan’s young idiot, Dominic Kearney, the initial comic relief in the film, attempts to make these two men see sense.

Visually, The Banshees of Inisherin (2022), is incredibly rich. The territory displays gorgeously photographed shots of the rocks, the sea, the stone roads and the lush green countryside. But while there is a sense of expanse and freedom initially, the feeling of isolation pervades. As the story continues the characters feel more and more segregated by the sea and their own or other’s decisions. None more so than Farrell’s Pádraic. A simple man who just wants to do his work and get drunk with his friend, he finds he is sequestered by Colm’s desire to self-isolate and concentrate on his music. Here, Farrell and Gleeson give tremendous character work. Farrell especially has rarely been better as Pádraic’s attitude turns initially from shock to bitterness over the journey of the narrative.



A film director’s job is for me about making key creative choices. Martin McDonagh makes brilliant choices while working from his own exceptional script. I loved everything about The Banshees of Inisherin (2022). The look, the performances, the pacing, the locations and Carter Burwell’s phenomenal score are absolutely first class. I haven’t even mentioned Barry Keoghan’s memorable supporting turn. He surely is one of the most naturally gifted actors of his generation. Not to forget other striking characters in the ensemble such as the creepy, Mrs McCormick (Sheila Flitton), an old harridan who acts as a portent for death on the island.

Martin McDonagh expertly combines a superb ear for dialogue, a psychologically absorbing analysis of the human condition with elements from Waiting For Godot and Channel Four situation comedy, Father Ted. Above all else, The Banshees of Inisherin (2022) is a darkly, spectacular cinematic experience which works on many levels. On one level it is about the isolation of island life and its inhabitants. On another it’s about the death of a friendship. While on yet another level it is about the analogous absurdity of civil war and how conflict can start for the merest of reasons. While the best cinema is certainly about showing and not telling, McDonagh proves again that dialogue-driven films can produce cinematic theatre, comedy and tragedy of the highest order.

Mark: 10 out of 11


CULT FILM REVIEW: HOUSE/ハウス – (1977)

CULT FILM REVIEW: HOUSE (1977)

Directed by: Nobuhiko Obayashi

Produced by: Nobuhiko Obayashi, Yorihiko Yamada

Screenplay by: Chiho Katsura

Story by: Chigumi Obayashi

Cast: Kimiko Ikegami, Miki Jinbo, Ai Matubara, Kumiko Oba, Mieko Sato, Eriko Tanaka, Masayo Miyako, Yōko Minamida

Music by: Asei Kobayashi, Mickie Yoshino

***MAY CONTAIN SPOILERS***



This Japanese film from the late 1970s is absolutely nuts, but a riotous genre mash-up of rites-of-passage, horror, musical, martial arts, romance, fantasy, comedy and anti-war genre movie styles. If you are a fan of the work of Takashi Miike’s both energetic and often insane genre films, you can definitely see how, House (1977), may have had a major influence on his and many other Asian filmmaker’s cinematic works.

Initially receiving negative reviews, but big box office in Japan on release, House (1977), opens by introducing a set of seven teenage girls called, Gorgeous, King Fu, Prof, Melody, Fantasy, Mac and Sweet. The names give them their major characteristics too. Kung Fu for example loves martial arts, Fantasy is a daydreamer and Melody loves music etc. You get the idea. As each character is introduced in a basic fashion, the energetic performances of the actors and the quirky screenplay develops their characters beyond the initial stereotypes. Gorgeous is especially well developed as she is suffering the loss of her mother and has rejected her father’s choice of stepmother. Eschewing her kindly father’s protestations, she decides to visit her aged Aunt in the countryside.



When Gorgeous’ friend’s school trip is cancelled due to several bizarre plot turns, and a couple of crazy musical numbers later, the girls join her on the visit to the creepy house. When they finally arrive Gorgeous’ aunt behaves extremely oddly. She rarely gets visitors and only has a white cat for company. When the girls begin to disappear one-by-one and Fantasy’s daydreams begin to turn to nightmares, the true horror of the situation takes shape. The house itself is a malevolent force and has trapped the girls. What appeared to be a lovely summer vacation is now the total opposite.

Now, what I have described actually seems quite normal in terms of the narrative content. It’s a standard horror plot of characters imprisoned by supernatural forces and trying desperately to stay alive. However, director, Nobuhiko Obayashi, who devised the story with his daughter, presents a series of images and sounds David Lynch would have been proud to have devised. These include: a mirror attacking the viewer, a watermelon being pulled out of a well appearing like a human head, a pile of futons falling on and attacking a character, a carnivorous piano with biting keys and all manner of surreal fights and deaths. Allied to this the eccentric and jolly music works against the horror and suspense, so one is both laughing and disturbed simultaneously.

Ultimately, House (1977) is one wacky viewing experience, but it also taps into themes of friendship, romance, grief, as well as drawing on the horror of destruction Japan suffered when the atomic bombs hit Nagasaki and Hiroshima. It is fast paced with an abundance of imaginative ideas, film styles and practical effects throughout. Thus, if you love the work of aforementioned Miike, Lynch and Sam Raimi, you are bound to want to stay in House (1977) for the rapid eighty-eight minutes duration.


THE LEVELLING (2016) – SKY CINEMA REVIEW

THE LEVELLING (2016) – SKY CINEMA REVIEW

Directed by: Hope Dickson Leach

Written by: Hope Dickson Leach

Starring: Ellie Kendrick, David Troughton, Jack Holden

Music by: Hutch Demouilpied

Cinematography: Nanu Segal

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I grew up watching visions of the English countryside as represented by television shows such as H.E. Bates’ The Darling Buds of May and James Herriot’s All Creatures Great and Small. With such rural narratives you were never far from a beautiful landscapes, wonderfully sunny skies and country folk working together, on the main, as a community. Hope Dickson Leach’s independent British drama is an altogether different beast. It’s a muddy, grieving, bloody and filth-ridden exploration of how tough family and farming existence is.

Featuring some fantastic performances from Ellie Kendrick and David Troughton the story is very simple. Clover (Kendrick) returns from Veterinary College following the sudden death of her brother. While her father is steadily drinking himself to death, she tries to make sense of her sibling’s apparent suicide. Her father, an army man and farmer is living in a caravan next to the battered family home. The farm business is sliding to bankruptcy and their home has been rotting since the Somerset floods a couple of years before. All round their property and livestock are threatened by damp, disease and death.  In short: this is NOT The Darling Buds of May.

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Ellie Kendrick, who I recognised from several TV shows including Game of Thrones, absolutely owns the character of Clover. She is seen as weak and unreliable by her father but is in fact an intelligent and resilient character who is prepared to work hard and dig deep for some respect. The plot itself reminded me a lot of the Michael Caine gangster classic Get Carter (1971); accept with a female lead and more cows. As Clover attempts to steady the fortune of the farm, caused in part to mis-management by her father and brother, she also turns detective, stealthily delving into circumstances relating to her brother’s death.

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Overall, Hope Dickson Leach has made a really touching personal story of grief. This is a very emotional story about a family torn apart by death on personal and financial levels. I don’t know much about farming life, but while it may be idealized in certain books and films the reality is much tougher. Animals, while commodities are often culled because of disease and farmers are at the mercy of the weather. Moreover, it would appear to be much tougher for women too progress in a male-dominated world which favours sons over daughters.  What the film ultimately shows too, in many brilliantly acted and directed scenes, is we must transcend our differences and work together as one – as family – in order to survive.

(Mark: 8.5 out of 11)