Angeline Ball

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Bronagh Gallagher and Angeline Ball - Bronagh Gallagher, Angeline Ball Dublin, Ireland - The original cast members of the hit 1991 Irish film 'The Commitments' reunite at The Late Late Show and other guests at RTE Studios Friday 4th March 2011

Bronagh Gallagher and Angeline Ball
Bronagh Gallagher and Glen Hansard
Bronagh Gallagher and Angeline Ball
Bronagh Gallagher, Andrew Strong, Angeline Ball and Glen Hansard
Bronagh Gallagher, Andrew Strong, Angeline Ball and Glen Hansard

Angeline Ball - Angeline Ball and Guest Dublin, Ireland - 'Irish Film and Television Awards' at Convention Centre Dublin - Arrivals Saturday 12th February 2011

Angeline Ball
Angeline Ball
Angeline Ball

Angeline Ball, Bronagh Gallagher, Commitments and Glen Hansard - Angeline Ball (Imelda Quirke) Dublin, Ireland - The original cast members of the hit 1991 Irish film 'The Commitments' (Robert Arkins, Michael Aherne, Angeline Ball, Dave Finnegan, Bronagh Gallagher, Felim Gormley, Glen Hansard, Dick Massey, Ken McCluskey, Andrew Strong) gather at Liberty Hall to announce a string of 20th Anniversary Reunion Concerts. Wednesday 6th October 2010

Angeline Ball, Bronagh Gallagher, Commitments and Glen Hansard
Angeline Ball, Bronagh Gallagher, Commitments and Glen Hansard
Commitments, Angeline Ball, Bronagh Gallagher and Glen Hansard
Glen Hansard, Angeline Ball, Bronagh Gallagher and Commitments
Commitments, Angeline Ball, Bronagh Gallagher and Glen Hansard
Andrew Strong, Angeline Ball, Bronagh Gallagher, Commitments and Glen Hansard

Holy Water Trailer


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The Commitments Review


Very Good
Released in 1991, The Commitments was Alan Parker's third film about pop music. His first, Fame, was a frothy coming-of-age-musical that made the most of its youthful enthusiasm despite a disease-of-the-week-style script. The second, Pink Floyd: The Wall, was a depressive, insular, and angular pastiche of moody myth-making that was interesting mainly for people who fried their brains listening to "Shine on You Crazy Diamond" a hundred times too often. The Commitments sits somewhere in the middle: An engaging, open-hearted entertainment that pulls off two neat tricks. First, it's one of the few movies about rock-pop-soul music that seems to have the right idea about why and how bands come together, with some fine performances from rank amateurs. But more impressively, it finds some great humor in a setting that's defined by grinding poverty.

The setting is North Dublin, where Jimmy Rabbite (Robert Arkins) is trying to simultaneously shrug off his parents' bad taste and the dole-driven life that surrounds him. Jimmy carries a deep and abiding love for soul music of the pre-Motown era - Wilson Pickett, Jackie Wilson, and so on - though he understandably has a hard time convincing his friends and family that soul isn't an exclusively black music. In a video store, Jimmy plays old-school soul tapes to the unbelievers before uttering the film's funniest and most poignant line: "The Irish are the blacks of Europe. Dubliners are the blacks of Ireland. North Dubliners are the blacks of Dublin."

Continue reading: The Commitments Review

The General Review


Good
It was a critical darling but I can't figure out why. Based on a true story, Gleeson plays the lovable oaf of an Irish folk hero and two-bit gangster Martin Cahill. The bulk of the film involves a couple of "daring" robberies Cahill and his working-class gang pulled off and the heat the police, the IRA, and the UVF bring down on him. Cahill as a character is a bizzare one, notably due to the two women he keeps and an eccentric personality, to say the least. But the film is flat, partially owing to its well over 2-hour running time but mainly due to the ultra-thick Irish accents, poor sound quality, and the fact the Gleeson spends most of the movie with his hand covering his face. Large chunks of The General are completely incomprehensible. And I'm not about to watch it again.

Bloom Review


Bad
This latest attempt to translate James Joyce's Ulysses to cinema (the first attempt was Joseph Strick's misfire back in 1967) again goes to show that literature is a completely different and often incompatible art form. Joyce's novel is a virtuoso of language, rich in melodic temperament, lewdness, profundity, metaphor and Homeric references. It elevates the mundane events of a single day in the life of three Dubliners to something epic; but shown onscreen it reduces Joyce's handiwork to simply portraying mundane events.

A Jewish everyman, Leopold Bloom (Stephen Rea) wakes up on the morning of June 16, 1904, goes through his day running various errands, nearly gets into a fight with a one-eyed drunken citizen (Patrick Bergin), has a few earthy encounters with women on the beach and whores in the brothel, doesn't think about his wife (Angeline Ball) cheating on him that afternoon, and becomes a father figure to a young artist (Hugh O'Conor), whom he saves from getting into trouble with Dublin riff-raff.

Continue reading: Bloom Review

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Holy Water Trailer

Holy Water Trailer

Watch the trailer for Holy Water Killcoulin's Leap isn't exactly the most exciting of Irish...

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