Film Review - Limp

2013 was not a vintage year for Irish film. There were some exceptions of course but a small handful of films aside, the quality was down on 2012 which was an excellent year. It is an odd thing in a lot of ways exclusively reviewing Irish films. You really want them to be good and when they are not, you do not want to kick them around and hurt their chances to get wider distribution. At the same time you do not want to over-hype a film and disappoint an audience. This has been the case in the past and nothing makes an already sceptical audience even more tentative when approaching the next ‘great’ Irish film. All that can be done is to be fair, if you do not like something, say so but crucially explain why. It sounds simple but it is not done as much as it should be. So as I approached my first film of 2014 I was hoping for something to give me that feeling of optimism, something to make me think that 2014 could be our year. My first film of 2014 was Shaun Ryan’s Limp and if this is the standard that is being set it looks like being a fine year indeed.

Limp tells the story of Mr. Grot (Eoin Quinn) who lives the most solitary of lives. Seemingly permanently in his own head, his days seem punctuated with whatever fantasy he can concoct. We can tell early on that something is very wrong. The pulsing soundtrack (take a bow Chris Zabriskie) accompanies Mr. Grot on a shopping expedition to some women’s clothes shops. Of course he could be buying a present for his wife or girlfriend but something in the way he touches the dresses make you suspect he is not. It is this moment early on in the film that is key to the success of Eoin Quinn in the central role. Calm and quiet but silently screaming, the curdling loneliness and flashes of anger flit across his face every so often. He comes home after buying a dress and director Ryan shows his confidence with a superb long take in which we discover the full horror of Mr. Grots living arrangements.

It is not a spoiler to say that Mr Grot has a dead woman in his apartment. A former co-worker Catherine (Anne Gill) has been missing for a while and while we do not see what happened to her we do see the aftermath. That in a nutshell is where the power of Limp resides. It is a kind of horror film but not gruesome in the slightest. It is about the horror of decay, be it spiritual, mental or physical. It leaves so much to the imagination, forcing your mind to turn over the possible details. We see scenes either real or imagined from Mr. Grot’s point of view. These have a nightmarish and hallucinatory quality. This gives an insight to the growing sickness in Mr. Grot's mind. There is a genuine question that takes shape midway through the film. Will the ‘happy’ couple reside in the apartment until someone comes knocking or will Mr. Grot make a decision that will change everything.

There are a couple of minor problems with Limp. The first one is that the film is only about an hour long. I have no idea if this will make distribution more difficult but I hope not as it is a film that deserves a proper release. I also have a problem with some of the names in the film. The name Mr. Grot could have been a little less on the nose. I also could live the rest of my life without seeing working class ‘scumbags’ being called Anto and Jacinta. Filmmakers, working class people have other names, they do not all end with a vowel. But these are minor quibbles.

Shaun Ryan has assembled a fine film here. There is even a series of scenes not obviously connected to the main narrative that are revealed to be not quite what you think they are. For this I applaud the filmmaker. He has obviously watched enough horror films to know that the power of them lives in the lack of information given. Limp is more of a mood piece than a classical horror narrative and is all the better for it. The two main actors give fine performances with Quinn in particular an uneasy presence. The film is scratchy and nervous just like its lead character. Limp is a very good calling card on what looks like quite a low budget. I for one look forward to what he does next.

My Irish film awards for 2013

Although it pains me to say it, it has not been a particularly vintage year for Irish film. There were none released that were particularly bad per se, more that there was precious little to get excited about. That being said, for the second year in a row 2 Irish films will make it into my top 20 films of the year (one in my top 5). So positivity is necessary here. The ones that were good were really good. Instead of doing a list, I am going to do what I did last year and give out arbitrary and imaginary awards to those who deserved them. It is more fun to come up with silly names quite frankly. So without further ado…

The make me laugh and cry award (aka best Irish film of 2013) - Good Vibrations

This is a film that blindsided me this year. It tells the story of Terri Hooley, record shop owner, music producer, dreamer and bad husband who brought punk to Belfast in the 1970s and 80s. This film is an absolute joy to behold, emotional without being cloying, harsh without being brutal. There are tears and laughs in equal measure but crucially they are earned with a terrific tone and a great screenplay. Richard Dormer is terrific in the main role. The scene when he hears a certain record for the first time is just beautiful to behold. This is an absolute triumph and it is easily the best Irish film of 2013.

The ‘What’s Up Doc?’ award – Broken Song

The best Irish documentary this year was the wonderful Broken Song directed by Claire Dix. It tells the story of a group of young lads who rap. They are predominantly from the Finglas/Ballymun area of Dublin. Git and Costello have a father/son relationship which they both seem to draw on for lyrical inspiration. They also try to mentor some of the younger kids of the area. The songs themselves are lyrically brilliant, the content reflecting lives lived and dreams that slipped away. Into this comes singer/songwriter Willa Lee, who has a voice most singers would kill for. But he is also a troublemaker and a little bit too lazy. Dix delves lightly into their pasts but without reducing the film to working class misery porn which can happen in films such as this. At its heart, Broken Song is a simple story well told. And it is all the better for it.

The ‘overnight sensation’ award - Paul Duane

If you do not know who he is now he will be more familiar to you in 2014. Duane has had a superb year with Barbaric Genius released on DVD, a superb documentary (Natan) on the way, and a TV show about to air on RTE and BBC 4 (Amber). If that is not enough Variety only went and named him on their highly prestigious 10 Directors to watch in 2014 list. He is an all round good egg and very entertaining on Twitter (@MrPaulDuane). Mark my words this time next year he could be announced as the director of Transformers 5. We can only hope he can resist the lure of Hollywood and keep making the quality Irish films he has been making.

The ‘this kid’s got something’ first film award - Gerard Barrett Pilgrim Hill

Pilgrim Hill was released to talk of an instant classic and of a serious talent to behold. The talk of a masterpiece doesn’t help either the filmmaker or Irish film in general. Pilgrim Hill is not a masterpiece but it is a good enough film to suggest the birth of a major Irish filmmaker. The story of Jimmy Walsh and his life on his farm is lean, beautifully shot and very confident. It has a feeling of authenticity rarely seen. You get the feeling that Barrett and lead actor Joe Mullins know this terrain very well. They have carved out a memorable and low key film with a great central character at the heart of it. I cannot wait for Barrett’s next film to come along.

The 1^st Annual ‘just release the f*cking film will ya’ award – Tin Can Man

This is an easy winner. It is Tin Can Man by Ivan Kavanagh. It will be the same winner every year until this film gets a cinema release. Seriously people you have no idea how good this film is. Hassle your local TD. It needs to be seen.

A couple of honourable mentions. Citadel by Ciaran Foy was a very interesting film that fell away into genre conventions a little too much. But there is more than enough to suggest that he will make something excellent in the future.

It has not been on general release yet but the excellent documentary Where I Am by Pamela Drynan is a terrific and humbling story of what happened to American writer Robert Drake. It did screen in the IFI over the summer so I do not know if is getting a general release. It has been an excellent year for Irish documentaries as evidenced by the above choices and I have still to see The Summit! I will do so soon.

So that is it for 2013. Keep your eyes peeled on the blog for an article on Irish cinema in 2014 which I will publish over the next couple of weeks.  

Film Review - Stalker

Director Mark O’Connor arrived at the Galway Film Fleadh with a bang in 2012. Armed with a manifesto and two films under his arm he wanted to shake up the Irish film industry a little bit. The two films were King of the Travellers (released in cinemas this year) and his latest film Stalker which is yet to be released. The manifesto got quite a bit of press and Stalker was second in the best Irish feature award (no shame in being second to the excellent Good Vibrations) and was widely praised at the time. So why hasn’t the film arrived on our screens? Irish films need publicity to stand a chance of being seen at the cinemas and considering the marketing budgets are miniscule surely festival goodwill is an opportunity to help with the marketing a little bit. This is an argument that will run and run about why we do not see Irish films at the cinema and it is one I am sure I will be returning to. But coming back to Stalker, what does Mark O’Connor have in store for us? Well for me Stalker is as fascinating an Irish film as I have seen in quite some time.

Stalker tells the story of Oliver (John Connors), a homeless man wandering the streets who befriends a young boy called Tommy (Barry Keoghan) who he helps fight off bullies. Tommy’s life is in a bad way with a drug addicted mother and a crazy drug dealing uncle Rudyard (Peter Coonan). Oliver vows to help Tommy but his intensity scares Tommy a little. Plot wise that is about it but this is a film less inclined towards plot and more towards tone and feeling.

In my reviews of O’Connor’s previous films Between the Canals and King of the Travellers I mentioned that his films feel a little rough around the edges. That may have sounded like a criticism and in some ways it was. But it is also a compliment in that it gives his films a particular feel and tone that not all Irish filmmakers have. In Stalker he is aided by some beautiful camera work by Eoin Macken which initially brings a touch of the fairytale to an otherwise dark film. In the final third the camera work is used in a heightened fashion which also serves the ending well. So the look of the film is excellent - what about the rest of it?

John Connors is superb as Oliver; completely convincing as someone with some serious mental health problems. He is also co-writer here and he is a real talent. He commands the screen in a very naturalistic way and it looks effortless. Barry Keoghan is also very good and is an actor to watch. The two share some scenes that are intense and emotional. Peter Coonan is his usual manic self and his character Rudyard is an odious one. But Coonan plays it a little too broad and over the top at times and I would like to have seen a little more control in the performance.

The film does have some issues. There is a scene set in a cinema that is a little unconvincing. While I liked the idea of the scene, the way it plays out doesn’t really ring true. I don’t want to give away any more details that would spoil it but it comes across as a little too on the nose in relation to the state of modern Irish filmmaking. Perhaps it is the script that is at fault here as it gives Oliver too much information to impart. It is the only time in the film that Oliver sounds like he is explicitly delivering the words and viewpoint of the writer rather than just talking. There is also a bit of a problem towards the climax when the plot and narrative take over. Stalker (and indeed O’Connor) is at its best when it is freewheeling along without any real narrative concern. The utterly strange feeling is more than enough to sustain real interest. But the film rallies to deliver a really intense and feverish climax that works very well indeed.

There is a real feeling here that with Stalker, Mark O’Connor has finally found his cinematic voice. Stalker has a more experimental feel and this benefits O’Connor hugely. This approach may well produce a masterpiece in the future. And with the wonderful John Connors writing and starring with him he may well have found his muse. I for one look forward to the next two films arriving in Galway.