Country (15) Screen at D'Olier Stret, Omniplex Santry, IMAC Dun Laoghaire, Dublin; Omniplex, Galway; Omniplex, Limerick; Diamond, Navan
Certain coincidences connect the new Irish film Country, which opens today, with another Irish production, Saltwater, and the British Billy Elliot, both of which were released a fortnight ago. In each film the pivotal character is a boy undergoing dramatic rites of passage and living with a much older brother and a father who is a brooding, troubled widower; all three mark the first feature films made by their directors.
Written and directed by Kevin Liddy, Country is a beautifully crafted family drama set in rural Ireland at an unspecified time somewhere between electrification and decimalisation. It is viewed through the eyes of a lonely boy, Jack (remarkable newcomer Dean Pritchard) who lives with his widower father, Frank (Des Cave), a recovering alcoholic who beats him, and Jack's older brother, Con (Gary Lydon) who is involved with the local publican's daughter (Marcella Plunkett). Jack's aunt Miriam (Lisa Harrow) returns from her city job to the village for the funeral of her brother, Jack's uncle and his closest friend in life, and her arrival in this all-male household proves cathartic. There are dark secrets to be revealed and confronted, and the drama is played out against a strong sub-plot dealing with anti-Traveller prejudice.
The setting and themes of Country inevitably evoke the work of John McGahern, as filmed in Amongst Women, and Korea, but they also follow logically from writer-director Kevin Liddy's own accomplished short films, Horse and A Soldier's Song. The intimate, simmering drama of Country contrasts images of freedom in nature with the confinement and repression of human lives as it authentically captures an atmosphere of suspicion, curiosity and emotional stiflement among characters haunted by the spell of the past.
Liddy elicits firm, telling performances from his well-chosen cast which also notably includes Laurence Kinlan (from Salt- water) as the spirited Traveller boy who befriends Jack. The film is shot in a series of striking visual compositions by Donal Gilligan, and accompanied by an affecting, understated score by Niall Byrne. Brothers Steve and Joe Wall, formerly of The Stunning, turn up as members of the dance-hall band, Eddie Stack and the Gliders, and contribute four period pastiches to the soundtrack.
Michael Dwyer
Kadosh/Sacred (members and guests only) IFC, Dublin
Following Devarim and Yom Yom, which were set in Tel Aviv and Haifa respectively, Kadosh is the final film in writer-director Amos Gitai's trilogy exploring the "human landscapes" of Israeli cities. This is an austere and intense but revealing and compelling picture of contemporary life in the Orthodox enclave of Jerusalem, and of the dilemmas faced by women in a patriarchal society. The focus is on two sisters. One, Rivka (Yael Abecassis), is made to believe her life is a failure because, after 10 years of marriage, she has yet to produce a child. The other, Malka (Meitel Barda), is in love with an ex-soldier who has left the community after serving in Lebanon, but she finds herself facing an arranged marriage to a dogmatic rabbinical student. Gitai's extensive experience as a documentary-maker is evident in the precise, methodical approach he brings to bear on these issues - as he explores ideologies constructed by men to ensure their domination (a feature common to so many religions) - and in his impeccable eye for detail and in the slow-burning unfolding of the drama. Carefully measured and eschewing self-righteous indignation, the sombre and moving Kadosh never feels the need to moralise in its lucid perspective on an insular culture. That, however, does not make its impact on the viewer any less shocking.
Michael Dwyer
Romeo Must Die (18) General Release
From the producer of the excellent The Matrix, Romeo Must Die is a stylish martial-arts action-movie, and another take on the Romeo and Juliet story of two warring families and the romantic relationship that transcends their differences. Featuring the Asian star Jet Li, in his English-language starringdebut, and the recording artist Aaliyah, Romeo Must Die wins in slickness what it loses in its muddled plot.
The film opens with the murder of a young Chinese man, who turns out to be the son of an Asian gang boss and the first casualty of a war between Asian and African-American mafias. The gangs are vying for control of the waterfront in Oakland and a multi-million dollar deal with an English executive. As the war gets dirtier and dirtier, Han (Jet Li) hears of his brother's death while in prison in Hong Kong. He escapes and makes his way back to the US in search of revenge. There he meets Trish ODay (Aaliyah), the daughter of the African-American Mafia boss, and a relationship begins between the two outsiders, who cannot support the murderous exploits of their own people.
What is refreshing about Romeo Must Die is that all the central characters are either black or Chinese - the one WASP character is minor. The innovative approach to the old martial arts format is also original, employing novel use of special effects, a lesson probably learned during the making of The Matrix.
However, the film does push things beyond the realm of the believable, as each fight scene becomes more and more over the top and the plot twists become incredible and incoherent. What the war is about, exactly, is not apparent, and the business deal both gangs are in pursuit of is not clearly defined. That said, Romeo Must Die has a strong cast, and a stylish production, a slick soundtrack and some sharp fight scenes will keep you in your seat, even when the plot drags and you're tempted to leave.
Ian Kilroy
Manchester United: Beyond the Promised Land (PG) UCI, Tallaght
Unless you're a fan of a certain red-clad English football team, you'd be well advised to stay away from this hagiographical documentary which charts the course of Manchester United's 1999-2000 season. The first 20 minutes in particular, with its highly unattractive, gloating fans (the worst of them an Irish barman working in New York) singing the praises of their beloved Reds, is likely to have any ABUs in the audience heading for the doors.
But the level of support Alex Ferguson's men command in Dublin probably means this one-print release will justify the expense.
Beyond the Promised Land gets slightly more interesting after a while, particularly in its portrayal of the club's incredibly lucrative global appeal, its plans to extend its brand name further in the Far East, and the commercial practicalities of transferring its main sponsorship deal from Sharp to Vodafone. There's the kernel of a potentially interesting television documentary here, if the questioning had been more acute. Of course, that's not what this film is all about, and bland interviews with Becks, Keano, Giggsy and all pad out Beyond the Promised Land to feature film length. Most disappointingly, the actual football footage is mostly taken from TV, which makes the whole idea of a cinema release rather pointless.
Hugh Linehan
Road Trip (18) General Release
Take a car, put some young Americans in it, give them a destination, put them on the road, and hey presto, you've got a road movie. Impose a deadline and you've got a race against time. The form is as old as film itself. With Road Trip, the producer of National Lampoon's Animal House hoped to update the form for the 1990s. The story is simple enough. Josh (Breckin Meyer) and Tiffany (Rachel Blanchard) are childhood sweethearts. They swear to remain faithful when they go to separate colleges, one to New York, the other to Texas. But the temptation of college promiscuity proves too much for Josh. He buys a girl in a college party auction, spends the night with her and, at her suggestion, videotapes their lovemaking. A mix-up of tapes results in the evidence being posted to Josh's girlfriend in Texas, and the race begins to intercept the videotape before it reaches its destination. A car is obtained, plus a few laddish buddies, and the road-movie kicks off.
The main plot is placed in the ill-conceived framing device of a student - Tom Green of MTV fame - giving a college tour and recounting the story of the road trip as the greatest story ever told. Green's character, Barry, also figures in the movie's main story as a wacky and off-the-wall student. If you're a fan of The Tom Green Show you'll love him - personally I found his performance unfunny and even embarrassing.
With its gratuitous nudity and jock humour, Road Trip is squarely aimed at the male adolescent market. Its jokes are infantile and border on the offensive - and as the boys clock up the mileage, the film quickly runs out of steam. Even the rite of passage of nerd Kyle (D.J. Qualls) into a jock is embarrassing, with all the comedy based on the actor's physical appearance.
Road Trip may be doing the business in the US, but with a certificate of 18 here it is doubtful an audience that may have enjoyed the film will be able to see it. That might be no bad thing.
Ian Kilroy
Re-released today at the IFC, in a new print with a remastered digital soundtrack, Rob Reiner's influential 1983 mockumentary This is Spinal Tap remains a regularly hilarious and spot-on spoof on rock stars as it follows the comeback tour of a vain English heavy metal band.
