“Whenever I felt as though I had a handle on director Niall McCann’s tricks or the limits of the film’s form, there was another surprise waiting for me,” writes Luke Maxwell.
A reluctant banker goes rogue in this Dublin-set thriller. The debut picture is “a little sloppy in its plotting, but never dull and always visually pleasing”, writes Luke Maxwell.
This new film dramatises Charles Dickens’s writing of A Christmas Carol in a style that’s “silly and sincere all at once”, writes Luke Maxwell. In it, Dublin does a fine job as a stand in for 1840s London.
The film-makers have crafted an “intriguing knot out of their shoestring budget”, which brings the audience “uncomfortably close to these desperate characters, but we want to be there”, writes Luke Maxwell.
And cinema-goers in Coolock like it weird. “Guests in Coolock would … ask for a little tub of the [nacho] cheese so they can dip their popcorn into it,” says Sinead O’Neill of Odeon Cinemas.
Mixing the social-problem and horror genres, this new film explores one of Ireland’s most notorious murder cases, and its effects on those it left behind.
This film about the renowned Dublin-born architect offers great insights into his philosophical approach, but few into his inner self, writes Luke Maxwell.
An unlikely and at times harrowing love story, “Maudie” presents the life and times of Canadian folk-art institution Maud Lewis. It’s a film that looks for the little sparks of light in the dark.
“The Farthest”, a new documentary, is the moving story of NASA’s Voyager mission. It is “hard science on the outside but gooey on the inside”, writes Luke Maxwell.
Dan Doherty, the man behind the soundtrack to the new film, left the civil service and devoted his life to making music. “I didn’t give a fuck about anything else really to be honest,” he says
