“As God is my witness,” says Scarlett O’Hara in, “I’ll never be hungry again.” It is no coincidence that (16s) revolves around Scarlett’s namesake, the mobile upward Rory O’Hara (Jude Law), whose job, as he puts it to a taxi driver, is that of a “poor child suitor to be rich”.
A stockbroker struggling to be successful on Wall Street, London-born Rory brings his family – wife Allison (Carrie Coon), daughter Sam (Oona Roche) and son Ben (Charlie Shotwell) – to Margaret Thatcher’s home in London in the early 1980s, where deregulation was on the verge of turning the city into a financial Wild West.
Handsome and charming, Rory easily regains his harness under the guidance of his former boss Arthur (Michael Culkin) and rents a farm in a leafy suburb so that Allison can open his own equestrian business. But pretending to be rich is expensive, and soon cracks start to appear in the facade that Rory took decades to build.
Written and Directed by Sean Durkin,Gradually lays bare Rory’s claims: the more he tries to persuade the world of his worth, the more transparent he becomes, and especially to Allison, who repeatedly bailed him out when his promises didn’t keep.
Patiently told, with an emphasis on long scenes and nuances of characters, the story explores the erosion of a marriage and the decay of the family unit, as children, left to fend for themselves in a new country and a new culture, are struggling to cope with the seismic changes in their lives.
Jude Law is superbly portrayed as the chameleon Rory, who is as dazzling as he is superficial, with Carrie Coon in formidable form as a sour bride who only belatedly realized that she had invested too much in her marriage to unplug the plug now. (cinema / streaming output)
Redemption of a thief
(16s) stars Aaron Monaghan as Jimmy Cullen, an Irish emigrant who returns to his hometown of Ballylough in Cavan, “the saddest town in the world” and the site of the public shame that forced Jimmy to flee years ago. Barely back home, however, Jimmy accidentally kills the abusive father (Hugh O’Brien) whom he had planned to confront before committing suicide; but just as Jimmy and his brother Damien (Kieran Roche) are about to bury the old tyrant, a lawyer steps in to tell them that their father’s will states that he cannot be buried in the rain.
With no sign that Cavan’s rain never stops, Jimmy is forced to put his suicide on hold, fully aware that the whole town of Ballylough wishes him dead. It all sounds darker than a Beckett debut, but this feature debut from writer-director Philip Doherty is actually a comedy and arguably the funniest Irish film of a generation.
The humor is black as coal, certainly, and not only irreverent but sacrilegious: Jimmy begins the story as the Judas who betrayed Ballylough in his time of greatest need, but is gradually reconfigured as a Messiah-like character who must make the ultimate sacrifice in giving one’s own life.
Aaron Monaghan wanders through the refugee-like film from one of El Greco’s most tortured religious paintings, his impassive delivery becoming more and more funny as Jimmy’s fate becomes more and more desperate, and There is strong support from Kieran Roche and Aisling O’Mara, who plays Masha, an immigrant from Eastern Europe who is the city’s resident singer and drug dealer.
The real star, however, is the ambitious and scabrously funny storyline by Philip Doherty, which simultaneously delivers a parody and love letter to the small town of Ireland.
Located in the mid-1990s and opened in Fort William in the Scottish Highlands,(16s) follows six Catholic schoolgirls – Orla (Tallulah Grieve), Finnoula (Abigail Lawrie), Manda (Sally Messham), Chell (Rona Morison), Kylah (Marli Siu) and Kay (Eve Austin) – as they head around to Edinburgh for a choir competition.
Unsurprisingly, the girls swap their school uniforms for short skirts and skinny tops as soon as they step into the Big Smoke and embark on a mad hormone rampage through the streets of Edinburgh, determined to hunt down potential boys and get started. to exchange saliva.
Rough, rude, and irrepressible, nowhere are the girls as wise as they like to think as they navigate some of the city’s less salubrious sites, but while this coming-of-age story – adapted by Michael Caton-Jones from Alan Warner’s novel – is full of talk about sex, her heart and soul is the wonderful chemistry that exists between the group of rowdy young women who are determined to live their lives on their own conditions.
Thinkon an alcohol powered bender and you won’t go far wrong.