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The original cast members of the hit 1991 Irish film 'The Commitments' reunite at The Late Late Show and other guests at RTE Studios

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

The original cast members of the hit 1991 Irish film 'The Commitments' reunite at The Late Late Show and other guests at RTE Studios

Bronagh Gallagher, Andrew Strong, Angeline Ball and Glen Hansard - Back Row (L-R) Kenneth McCluskey, Dick Massey, Bronagh Gallagher, Glen Hansard, Angeline Ball, Andrew Strong. Front Row (L-R) Dave Finnegan, Michael Aherne, Felim Gormley 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, Andrew Strong, Angeline Ball and Glen Hansard

The original cast members of the hit 1991 Irish film 'The Commitments' reunite at The Late Late Show and other guests at RTE Studios

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

Angeline Ball

'Irish Film and Television Awards' at Convention Centre Dublin - Arrivals

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

'Irish Film and Television Awards' at Convention Centre Dublin - Arrivals

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

Angeline Ball

Holy Water Trailer


Watch the trailer for Holy Water

Continue: Holy Water Trailer

The Commitments Review


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


OK
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


Terrible
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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