#the banshees of inisherin review

[spotlight-report]

"The Banshees of Inisherin" Movie Review

"A perfect tragicomedy about the decline of a friendship" Check our "The Banshees of Inisherin" Movie Review @Banshees_Movie starring @BarryKeoghan #BrendanGleeson #ColinFarrell #KerryCondon

The films of Martin McDonagh are remarkable for their blend of deadpan comedy and convincing pathos. The Banshees of Inisherin is no exception. When Pádraic (Colin Farrell) is snubbed by his only friend and drinking partner Colm (Brendan Gleeson), he refuses to believe the friendship is over, and Colm takes drastic steps to make sure he gets the message. He threatens to cut off a finger for every…

[agentnico]

The Banshees of Inisherin (2022) Review

Before we start, serious question - WTF is a banshee??!

Plot: On a remote island off the coast of Ireland, Pádraic is devastated when his buddy Colm suddenly puts an end to their lifelong friendship. With help from his sister and a troubled young islander, Pádraic sets out to repair the damaged relationship by any means necessary. However, as Colm's resolve only strengthens, he soon delivers an ultimatum that leads to shocking consequences.

Slowly but surely the awards season has begun, and right off the gate we have a strong contender with The Banshees of Inisherin, which is a mouthful of a title, though that is acknowledged in the film by one character, who observes that it sounds interesting with all the ‘sh’s. And he is not wrong! Also, I have now learnt the meaning of ‘banshee’, it means a female spirit whose wailing warns of a death in a house. So yep, that’s some casual foreshadowing in the title. However I’m not here to review film titles, I’m here to talk about the motion pictures themselves! So, this one reunites the entire main team of In Bruges, which was a 2008 crime comedy about two hitmen hiding out in a town in Belgium after a crime gone wrong. Those two hitmen were played by Colin Farrell and Brendan Gleeson, and they now return in The Banshees playing very different characters, though not losing any of the chemistry that made this duo pairing work in the first place.

Martin McDonagh who wrote and directed In Bruges is also back and at the helm, and even though the cast of this film are all great and we shall get to them, the real star here is McDonagh who brings his absolute A-game from both the fantastically written screenplay and direction. It’s nice to see McDonagh back in this more smaller scale indie-like medium, as for a while he was taken away by big Hollywood projects such as Seven Psychopaths and Three Billboards Outside Ebbing, Missouri, and though those were enjoyable, I did find them a bit overstuffed and messy. McDonagh comes from a theatrical background as a playwright, so naturally in his experience he works better in simplicity. In Bruges was located in one small town with a very simple premise, and that worked wonderfully. He’s also directed a short film (also starring Gleeson) called Six Shooter which is actually on YouTube now which I’d say is very worth your time. And again - small scale and set mainly on a train. So with The Banshees McDonagh once more returns to his roots so to speak, by setting the scene on this remote tiny Irish island where a very small population live, so much so that everyone knows everyone. Irish Civil War is raging on in the mainland, however all is quiet on the western front so to speak, as this island is separated from all the bloodshed with only some gunshots heard in the distance, creating this very isolated and lonely feel, with the latter playing a major ongoing theme throughout the movie. So what could possibly go wrong in the island of peace and harmony?

Before anything else lets address the island itself. The Irish landscapes are absolutely gorgeous and the cinematography takes full advantage of this natural beauty. Like this is an wonderfully pretty looking movie. Throughout all the farce and madness, the camera never shies away from showing off the green plains, the bright blue skies, the rocky cliffs, the various animals running about. Speaking of the animals, there are some really adorable ones here, especially a pony and a dog that literally pull at your heartstrings. As a whole though the film really makes the island of Inisherin feel like a character in itself. So props to McDonagh and the cinematographer Ben Davis for really honing in on those photographic landscapes. 

That being said, besides the landscapes the narrative itself features little to no beauty. This is actually a really dark tale - a tragedy of male friendship gone sour. You really do feel sorry for Farrell’s Pádraic, as he is “one of life’s good guys”, and witnessing him descend into madness starting from being hurt, sad and confused when his friend all of a sudden doesn’t want to be friends with him no more, it is indeed tragic. What’s worse is both men have good points as to why one wants to get the friendship back and why the other wants it to end. Gleeson’s Colm is depressed by a sense of time slipping away, and determined to do something creative with whatever years he has left. As such he’s ridding himself of the “aimless chatting” of “a limited man”. Whilst Pádraic, well, the guy just wants his friend back, you know? That’s all he wants. Naturally both of them are very extreme in their decisions, with Colm especially being very blunt and at times shocking with his choices, but that again is a comment of the stubbornness of men. So much so that Pádraic doesn’t even notice the loneliness and sadness of his smarter sister Siobhán (played by Kerry Condon), or his dismissal of the town fool Dominic (Barry Keoghan) as the island’s premier dullard (an assessment that is tragically untrue) mirrors his own mistreatment by Colm – an unjust hierarchy of hurt. 

That being said, through all this darkness this movie is f****** funny!! It’s hilarious from the lines of dialogue to the character expressions, this movie is one if the not the funniest movies of this year. There are plenty quotable laugh-out-loud moments, ranging from oddball comedy to satire. And here is also where the cast absolutely excell. Colin Farrell’s facial expressions throughout this movie, as he tries yet fails to process why his friend isn’t his friend anymore are nothing short of hysterical. Brendan Gleeson as Colm, though the less flashier role and relies on him being more stoic and calm, still results in humour through the sheer fact of how much this guy does not care. And the things he ends up doing throughout the movie are done so non-chalantly, when others would be horrified and traumatised. Kerry Condon is also powerful as the only real voice of reason in the movie, as she speaks on behalf of the audience as she exclaims “you can’t just stop being friends with someone! It’s not nice!”. But the real scene stealer is Barry Keoghan as the ‘foolish’ Dominic, who is very eccentric in his movements, but also has this endearing quality to him that he asks or says things very honestly without reading the room, and its funny of course but also you do feel sorry for the chap. He really gets the brunt of it all so to speak. Also all the other cast of characters you meet on this island all to provide moments of amusement and humour.

Overall The Banshees of Inisherin balances its dark themes with absurdism so-so well, and the cast are all at the top of their game, the cinematography is sublime, the writing is on a whole ‘nother level. Equally hilarious yet tragic, I honestly find it difficult to find a fault in this one. Even the ending that really dials up on the dark madness feels deserved and the only direction for these characters to go, especially with the Irish folklore and myths behind it. Immensely enjoyed this one. Naturally after my viewing I had to head to the nearby pub and have a pint of Guinness. Seemed only right.

Overall score: 9/10

[dualredundancy]

[rickyvalero]

'The Banshees of Inisherin' Review

‘The Banshees of Inisherin’ Review

Martin McDonagh’s partnership with the duo of Colin Farrell and Brendan Gleeson is as iconic as Edgar Wright, Simon Pegg, and Nick Frost. McDonagh has made films in between, such as “Seven Psychopaths” and the Academy Award-Winning “Three Billboards Outside Ebbing, Missouri” (my personal favorite of his). It has been too long since we have seen these three together, and the brilliant satirical…

[scottsstuck]

My favorite films of 2022

Aftersun

The Banshees Of Inishirin

Please Baby Please

Bones And All

After Yang

Everything Everywhere All At once

Nope

Decision To Leave

Top Gun Maverick

RRR

Cha Cha Real Smooth

Marcel The Shell With Shoes On

Guillermo Del Toro's Pinocchio

Ambulance

Barbarian

Good Luck To You Leo Grande

Official Competition

Crimes Of The Future

Jackass Forever

Pearl

[filmsfromreel]

2023 Best Picture Nominees Ranked From Worst to Best

A late list from us at Reel, but a interesting night with some suprising winners meant plenty of time to reflect and discuss, eagerly anticipating the slate of films this year.

Whether or not you agree with the awards it’s safe to say that this year’s nominees for Best Picture were an eclectic group of films all bringing something different to the table. From franchise epics to dark comedies, from war films to music biopics, you cannot deny the quality on show. But, even though all the films were individualistic, some were better than others. Here is our ranking of the Best Picture Nominees from worst to best. 

10. Avatar: Way of the Water 

Most of the naysayers of James Cameron’s epic Sci-Fi sequel have been silenced as the film became the 3rd highest grossing film of all time. Absolutely nothing can take away the huge financial success of Cameron’s 3-hour water adventure, but, for all the vast landscapes, exciting action and visual wonder it offers, the film still gets bogged down by what plagued it’s predecessor.

For all its otherworldly qualities the film’s biggest problem is in its humanity. The multitude of characters, and their stories, feel like mere splashes in the ocean Cameron has created for us. While the visuals deservedly won big on Oscar night, there really isn’t enough consistency in Avatar’s vast 3-hour runtime, making the journey feel like a slog more so than the thrill-ride everyone was promised. 

9. Triangle of Sadness

Ruben Ostlund’s third feature had early signs it may follow a similar trajectory to the one Parasite had 4 years ago. Winning the Palme D’Or and getting nominated for a number of other awards across the globe, it looked like Ostlund would be celebrating deep into award season for his film. However, with no wins at this year’s Academy Awards, Triangle of Sadness has faded into the darkness as far superior films took the spotlight. This may just be circumstantial but arguably it’s because, despite being captivating in parts, this is Ostlund’s weakest effort.

When compared to The Square and Force Majeure, both of which have an enigmatic quality to their stories, Triangle of Sadness regularly smacks you on the head with its themes. Even when Ostlund is showing us some of the finest direction of the year (particularly in the dinner scene on the boat), it still gets dragged out to the extreme – hitting home ideas that were already communicated 10 minutes before. Having said that, Ostlund remains one of the most interesting filmmakers working today and despite Triangle of Sadness feeling weaker than his other efforts, there are still moments of brilliance scattered throughout.

8. The Fabelmans 

The biggest takeaway from Spielberg’s reflective life story is that the Director has never lost his touch. Sure, some of his more recent ventures pale in comparison to Schindler’s List, Jurassic Park and Jaws, but his understanding of the medium and how audiences connect to it are the shining light in The Fabelmans. Scenes in which Sammy Fabelman watches his audience react to his films are wonderfully constructed, making it clear that the legendary director has never lost his love for cinema. 

However, this film was always going to border on the self indulgent. If you compare this film to the reflective efforts of Cuarón’s Roma and Brannagh’s Belfast, The Fabelmans struggles to find a core reason to tell its story. Its backdrop dabbles with elements of depression, anti-semitism and bullying but never fully explores them and while Spielberg is telling the story with his heart on his sleeve, it still can’t find a genuine reason for the story it’s telling.  

7. Top Gun: Maverick

One of the year’s biggest surprises was the quality on show in David Kosinsky’s sequel to the cheesy 80’s classic. While it still adheres to its predecessors rules of topless sport and needless high-fiving the film’s technical aspects very often leave you in awe. The sound, visual effects and action set-pieces are wonderfully put together to create so much energy and tension – but the most surprising part of this sequel is the emotional attachments it holds to the first film. 

Tom Cruise’s performance as Maverick is reflective and softer while never losing the rashness of the character, and the emotional beats between Maverick and Goose’s son (named “Rooster”) win you over every time. This could have so easily turned into just another sequel, but Kosinsky’s controlled direction and modern approach make for a mature follow up that surpasses the original with ease. 

6. Elvis

Over the past few years we’ve had a slew of mediocre music biopics, often boasting a great central performance but never understanding their subject, which makes it a delightful surprise to have a film like Elvis come along. Baz Luhrmann took the story of an icon and told it with the energy and glamour that make the Director so distinct. But, what’s even more impressive is how the film understands just how emphatic Elvis Presley was as an icon. 

The film is by no means perfect, with Tom Hanks not quite hitting the mark as well as his co-stars, but this should be the definitive blueprint for music biopics to come. From his room-shaking begins to the darker days of his time in Vegas, Elvis tells us the story while never forgetting to inject the passion and personality that made Elvis Presley one of the most iconic performers of all time. Also, it’s impossible not to be impressed by Butler’s spellbinding performance.

5. Women Talking 

Sarah Polley’s chamber piece rightfully took home the Best Adapted Screenplay award for her talky adaptation of Miriam Toews novel. The script that Polley wrote is a beautiful balance between character, theme and discussion, lending personality and importance to create one of the most timely films of the year.

While Polley’s script is what shines the most it cannot be understated how important her direction is. Instead of being flashy and overbearing she opts for quiet and observational direction that allows her characters to shine with their own heartbreaking individuality. Like all great chamber pieces, Women Talking densely packs its small setting with so much – leaving you eternally affected by the film’s outcome. 

4. All Quiet on the Western Front

Edward Berger’s adaptation of Remarque’s novel takes a modern approach in its filmmaking to really hit home the timeless themes of the classic source material. Every battle scene is wonderfully constructed in order to capture the “War Is Hell” mantra of the film while never losing those individual struggles we see from the leading characters.

There are different threads that the film pulls on that don’t work quite as well as the core story, but these merely provide extra layers to a film that’s already packed densely with story. War films have to really do something special to stand out these days and Edward Berger has ensured that his film stands head and shoulders above a lot of films of a similar ilk.

3. Tár

At times Todd Fields’ near 3-hour character piece can feel strenuous. The script never hides away from the world it’s set in, often allowing long stretches of dialogue about Classical music to play out in front of its sturdy camera, but the film succeeds because of its subtle character evolutions. You’d be quick to dismiss this film as a discussion on “cancel culture” or even the separation of Art vs. Artist, but really what it’s doing is building everything into its central character.

Smartly made and marketed like a biopic, the film takes a grounded approach of talking about people who are considered otherworldly. Every action, conversation and thought Lydia Tár experiences is slowly etching away her mythical persona as one of the greatest composers of all time – until it all implodes in glorious fashion. The film will likely be remembered for Blanchett’s wonderful performance, but there is a quiet complexity to Tár that stays with you for a long time. 

2. Banshees of Inisherin

Martin McDonagh’s newest film is arguably his finest work. In Bruges loyalists will always argue against that, but McDonagh’s signature style has never felt more fluid than in Banshees of Inisherin. Not only that, but the razor sharp humour wonderfully compliments the quiet melancholic tone – as well as the allegory for the Irish Civil War. 

McDonagh surrounds himself with the familiar faces of Colin Farrell and Brendan Gleeson who, along with the addition of two wonderful performances from Kerry Condon and Barry Keoghan, anchor this film’s themes perfectly. The chemistry seeping from every scene shared between the cast amplifies the humour but also gives the film a sense of community, reaffirming the bigger questions of death and legacy, as well as the impact we have on those around us. 

1. Everything Everywhere All At Once 

Easily the most original and unpredictable film of the year – maybe even of the current decade – The Daniels’ bizarre vision of the multiverse is told with veteran control. You easily find yourself in awe of the film’s barbaric narrative, but what’s even more impressive is the it’s ability to find so much heart at the centre of its chaos. 

Amongst the confetti action, hotdog fingers and hundreds of other elements The Daniels pack into their film there is a quietly controlled narrative between Mother and Daughter, exploring their lack of connection and the solace they find in that shared experience. It’s a narrative that is extremely hard to balance at the best times but doing it with so much craziness surrounding it – as well as challenging a suffering marriage as well – is why this film easily stands as the best film nominated for Best Picture. Everything Everywhere All At Once won big at the Oscars and for the first time ever there isn’t a soul out there that can argue against with the wins.

[dm3mol-1]

this is what my twenties feel like

[wjednejosobie]

Instagram: wjednejosobie

https://instagram.com/wjednejosobie?igshid=YmMyMTA2M2Y=

[dangersquirrel]

I don’t know if this account has been too stagnant to get any attention, but in the off chance this finds people who would appreciate it, here are my Oscars 2023 predictions, rankings, and reviews:

[letterboxd-worth-a-damn]

[johnschneiderblog]

An injustice everywhere, all at once

Just what kind of a world do we live in when a movie like “Everything Everywhere All at Once” wins just about every Oscar they hand out, while “The Banshees of Inisherin” gets skunked ...?

My theory: herd mentality. Once the hype machine gets rolling, no judge wants to get left behind. So, a disjointed, nightmarish hodgepodge becomes the darling of the Academy while a powerful, poetic movie like “Banshees” gets tossed on the pile of also-rans.

After I recommended “Banshees” to son Justin, he was so taken with it that he watched it twice, thought about it for a week, then posted a video review/analysis on YouTube - his first ever.

You can watch it by clicking on the photoa

[tinyreviews]

It’s a rare philosophical movie done well. One of those that makes you ponder, chock full of quotes. But it’s just so sad and tragic. Close to a Must Watch.

The Banshees of Inisherin is a 2022 black tragicomedy film written and directed by Martin McDonagh. It stars Colin Farrell and Brendan Gleeson, with Kerry Condon and Barry Keoghan.

[heywoodsays]

Top 10 Films of 2022

It was a good year for film. There were 449 movies released in the United States and Canada in 2022, with several making waves. Perhaps one of the unintended consequences of the pandemic is that movies are now released with a stronger intent to really bring people out to the theater.

Whether that trip to the cinema is a chance to escape, to learn, to be entertained, or to be moved, good movies meet that intent. But the truly great movies transport us and even transform us.

They often accomplish this on an emotional level — gripping us and taking us along for the ride. Or they can do it through stunning visuals and technical prowess. The best films know how to do them both. Here are the 10 films from 2022 that drew me in the most.

10. Marcel the Shell with Shoes On

Dean Fleischer Camp

Based on the series of shorts of the same name, this full-length stop-motion feature from the creative minds of Dean Flesicher Camp and Jenny Slate is surprisingly the year’s most charming and heartwarming film. In a year where intense dramas dominated, and when even lighter fare had a darker tone, Marcel the Shell with Shoes On is a lighthearted, humorous, and yet profound exposition on belonging, family, grief, and modern culture.

9. L’événement (Happening)

Audrey Diwan

Set in 1960s France, when abortion is still illegal, a promising university student has her life upended when her doctor informs her that she’s pregnant. Without feeling didactic, Happening presents an honest, intense, and often distressing reminder of what such a world looked like for women. Produced before the repeal of Roe v. Wade in the United States, the film could not have been released at a more poignant time.

8. 헤어질 결심 Heeojil gyeolsim (Decision to Leave)

Park Chan-wook

A talented detective forms an unexpected relationship with a murder suspect in this romance-thriller-murder mystery. It’s stylistically beautiful, gripping, and sexy without ever needing to show anything sexual. The performances are usually subtle with a few moments of appropriate melodrama. Decision to Leave exemplifies Chan-wook’s penchant for storytelling, managing to say so much in every shot.

7. Women Talking

Sarah Polley

At times, Women Talking feels more like a stage play presented on screen. But it never compromises the film’s cinematic beauty. Instead, it immerses you into the dialogue and the bleak reality of life for these women. Masterful performances necessarily help the intense and heavy dialogue resonate with the viewer. In my mind, the biggest error of this year’s Oscars is the omission of Polley as a Best Director nominee.

6. Aftersun

Charlotte Wells

Charlotte Wells’ first feature-length film is a touching exploration of belonging, depression, memory, parental love, and preadolescence. Headed by excellent performances by Paul Mescal and Frankie Coro, Aftersun engages you from start to finish, slowly revealing its hand but never giving away everything. It’s a slow boil that doesn’t quite hit you until you the end, which really is the point.

5. The Banshees of Inisherin

Martin McDonagh

Banshees is one of the year’s best examples of storytelling. Indeed, its script is its strongest asset, brilliantly juxtaposing comedy with tragedy. The film also boasts one of the strongest casts of the year, with exceptional performances from Colin Farrell, Brendan Gleeson, Kerry Condon, and Barry Keoghan. Add in beautiful shots of Ireland and an Oscar-nominated musical score, you’ve got yourself an all-around winner.

4. The Fabelmans

Steven Spielberg

I’ve always been partial to Spielberg, but I truly believe his recent semi-autobiographical work is a masterclass in directing. He infuses each frame with meaning and beauty. The movie’s most pivotal emotional moment (when Sammy discovers his mother’s secret) is accomplished without any speech whatsoever, told instead through the back-and-forth of raw film reel. Spielberg helps us fall in love with the movies all over again. So beautifully shot, they should be studying The Fabelmans in film schools for years.

 3. Everything Everywhere All at Once

Daniel Kwan and Daniel Scheinert

This year’s likely Best Picture Oscar winner is deserving of the many accolades it has received so far. The most wild, creative, and technically brilliant film of the year, EEAAO weaves through different universes, demonstrating a mastery of styles in a multitude of genres. The film is perfectly cast, its four Oscar-nominated performers leading the way. It’s funny, heart-wrenching, thought-provoking, action-packed, well… everything… all at once.

2. Tár

Todd Field

As a brilliant, accomplished, but problematic symphony conductor, Cate Blanchett is note-perfect in a career-best performance. She’s essential to the film, as you can’t imagine anyone else doing the role justice. Indeed, Field wrote the role for her. Some have reduced the film to a commentary on cancel culture, but that is a gross oversimplification. Tár is intelligent, nuanced, intriguing, and beautifully shot.

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Before the big reveal, here are some that nearly made the list:

Honorable mentions

Triangle of Sadness

All Quiet on the Western Front

Elvis

Guillermo del Toro’s Pinocchio

Top Gun: Maverick

And now...

1. Close

Lukas Dhont

The close friendship between two 13-year-old boys is torn apart, first when social influences get in the way, and then ultimately by a decision with permanent consequences. Lukas Dhont’s second film (after 2018’s Girl) perfectly captures the love and fragility of boyhood friendships and honestly portrays the unpredictability of grief. Close never preaches and never tells you how to feel. Beautifully shot, heart-wrenching, and emotionally gripping, Close confronts some of the most intense challenges of youth with a maturity that escapes most coming-of-age films. Augmented by stellar performances, Close is highlighted by the debut of Eden Dambrine, who gives the best performance I have ever witnessed by a young actor.

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Next, look for my 3-part series of Oscar picks for the ceremony on Sunday, March 12.

[mediaconsumernightwriter]

What’s More Important: Celebrity or Being Nice?

I went to watch Banshees of Inisherin for the second time today. All because of one scene. I needed to watch that scene in a theater again (though I had watched it at home twice already) and fortunately my cinema was still showing it. For 5€ on Tuesdays and Wednesdays, promotion on all the Oscar nominees until the ceremony.

The scene in question is one where Colin Farrell’s character (Pádraic) gets drunk and accuses Brendon Gleeson’s character (Colm) of not being nice anymore. It has made the rounds on TikTok. It is more than that to me, though. It proposes an existential question: what is more important, to be remembered in 50 years for your accomplishments or to be remembered by the people that surround you for “being nice”?

The whole movie centers around this question and I think answers it quite plainly, if not in its story, then in its abundant usage of the word “nice” in its script. It’s there from beginning to end. Pádraic is described as nice for the whole of the movie (until he breaks) by everyone who knows him. Colm is only described as such by Pádraic in this scene, in the past tense (“You used to be nice”). A lot of what he does is described as “not nice” actually.

Let’s talk about both options the way they do in this scene. Colm makes the case for celebrity, for being remembered for your music, your paintings, your poetry. Leaving art to be remembered by the future generations, like he appreciated Mozart after two centuries. Of course being celebrated in 50 (or, let’s say 100, because I hope I’m still alive in 50) years would be a very good thing, having made such an impact in the history of humans that you are remembered by millions after you and all your loved ones die.

But, while watching this scene for the first time, the answer was so obvious it startled me. I want people to remember me for being a good person, like Pádraic. I found myself agreeing with him no matter what he said, because in my heart I felt that it was right. The fact that “niceness doesn’t last” didn’t scare me. I wanted to be remembered as “nice” to the people around me. I wanted my mother to remember me as nice, my dad, my friends, people I encounter at the grocery store. I try to be the least annoying person a service worker will encounter that day. To me, all that Pádraic said was ultimately true.

You know what doesn’t last? Us. What good does remembrance do to a dead body? How many artists we remember today lived and died in poverty? How many people who made art, who accomplished something in their lifetime, do we not remember anyway? But the people we love are here now and we are here now and we should strive to be the best people we could for the people around us.

[average-guy-reviews]

The Banshees Of Inisherin (2022)

"On a remote island off the coast of Ireland, Pádraic is devastated when his buddy Colm suddenly puts an end to their lifelong friendship. With help from his sister and a troubled young islander, Pádraic sets out to repair the damaged relationship by any means necessary. However, as Colm's resolve only strengthens, he soon delivers an ultimatum that leads to shocking consequences."

From the moment I first saw the trailer I was hooked, and needed to see this film. I thought, a little, that I had an idea of what I was in for. I could not have been more wrong. Every other time I have been to the silver screen this year I have just watched a film. This? This was heartbreaking cinema at its finest. It leads you on a journey, draws you in and makes you feel deeply for each of the main characters........and then it plunges an ice cold finger of heartbreak deep into your chest. It is pure drama, with just a sprinkling of lighter moments...though they are few and far between.

Set early in the 20th century, with the Irish Civil War as a backdrop, the film is set on the small island of Inisherin. It's the kind of place where everyone knows everyone, and information spreads like wildfire. Focussing on Pádraic, played by Colin Farrell, and Colm, played by Brendan Gleeson, it tells the tale of two friends. Gleeson's character suddenly announces that he no longer likes, or wants to be around, Farrell's Pádraic. He feels like he wants to concentrate on writing music so that he'll be remembered long past his death...."No-one remembers you for being nice!"

I've always been impressed by both men, despite some questionable performances in the past, but they opened my eyes, and my heart, with their skills on screen in this film. They are quite simply brilliant. The chemistry between the actors is electric, despite the anatgonistic relationship the characters have. Farrell is playing in a style I have never seen him in before. He brings a heart-wrenching character fully to life, a character who is not the brightest and, at first, doesn't understand why his old friend no longer likes him. His is a path I wouldn't want to follow and Farrell marches us down it whether we want to go or not, and by the end I was both grateful and disheartened to have walked that walk. Farrell is excellent.

Brendan Gleeson, as the gruff fiddler Colm, is on fine form. Playing a man that is clearly smarter than Pádraic he has the unenviable job of trying to explain why he no longer likes his friend. As an audience it's clear, and Gleeson's delivery of his explanations is exquisite, as is the build up of frustration. Colm makes a promise to Pádraic about what he will do in a certain situation and, without specific spoilers, he is a man of his word. Gleeson gives us a masterclass in emotional build up, and his and Farrell's performances should be on any curriculum for dramatic acting.

There are two more performances that need to be noted. Barry Keoghan, as Dominic, is cast as the village "gom" (idiot) and is both frustratingly annoying, and loveable to a degree. Early on we discover he is a victim of domestic violence at the hands of his policeman father. Keoghan's performance never wavers, and it is easy to cultivate an emotional attachment to someone who doesn't really understand why he is treated as he is, as well as simply accepting that it is what it is. I don't know Keoghan's work well but this is a damn fine performance.

The last of the four main characters is Pádraic's sister, Siobhán, played by Kerry Condon. To call her the least of the four is both accurate and yet unfair, because her performance is by no means anything that should be looked at as the least. A much smarter sister she has to deal with her brother's difficulties in navigating what is happening. She helps him, sometimes in ways he may not know, and Condon is delightful to watch as she weaves her way through her character's life. She is a welcome addition to an all round wonderful cast.

The film itself has been crafted beautifully. Martin McDonagh, in the director's chair, made decisions that blended everything together seamlessly. His choices of shots across the green, yet dark, landscape of Inisherin, and the amalgamation of music into the story is just so well done. I really hope he is as proud of this film as he deerves to be. He has given me a glimpse into a society I could never have seen, and I thank him for that.

This is a slow film, with a long build up. I don't say this to be negative. Far from it. The pacing of the film is perfect for the story, and the build up of tensions and difficulties is done as well as it may be possible to do. I have been in action packed films and been bored, but at no point in this slow, deliberate, movie did i ever feel less than engaged.

Overall this is brilliant piece of cinema. Excellent performances and a great direction have brought a new story to the screen that i believe could eventualy go down in the books as a classic. I thoroughly enjoyed it, and don't do this lightly, but it is getting a 10/10, with a maximum recommendation to go and see it if you can. I know it won't be for everyome, and that's okay. It was for me, and I am more than glad to have seen it.

[ghostlightreviews]

On the surface, it’s a story about two friends who have fallen out and taken the falling out to a horrendous extreme. This might be just exactly what the film is about, the cloying and oppressive vibes of being stuck in a small island community whilst actively trying to end a relationship.

Banshees of Inisherin is more like poetry than a novel. It sits, fractal in its metaphor. Split in its subtext. McDonagh places the work in front of you and lets you figure out which of the many elements you relate to most. Maybe it sits one way in your first viewing, and another the next. Maybe it’s not that deep and is just another woeful tale of men unable to communicate with each other. The pride and loneliness that comes packaged in the patriarchy.  

Read full review here:

4/5