KVIFF FILM REVIEW: Henrik Ruben Genz’s ‘Terribly Happy’

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By Ray Bennett

KARLOVY VARY, Czech Republic – Set in an insular community on the windswept plains of southern Denmark, Henrik Ruben Genz’s “Terribly Happy” plays like a modern-day Western with a solitary lawman squaring off against corrupt townsfolk.

It’s a crafty piece of work with escalating tension as the naïve and troubled new marshal learns that the locals prefer to take care of lawbreakers in their own way, which usually involves the quicksand at a nearby bog.

The film’s sly use of characters that bring to mind old Westerns combined with a plot that becomes increasingly more of a horror picture could carry it to some success on the art-house circuit.

Jakob Cedergren plays the new cop in town but the secret is soon out about his recent incarceration in a psychiatric ward after threatening to shoot his errant wife. The town’s doctor, preacher and merchant go out of their way to make the newcomer step softly and accept that there are matters he should not be concerned with.

But when an attractive and flirtatious blonde (Lene Maria Christensen) complains that her womanizing and heavy-drinking husband (Kim Bodnia) beats her, the by-the-book officer is drawn into a situation it would be best to avoid.

Genz and cinematographer Jorgen Johansson establish the mood of the film effectively from the start helped by Kara Bjerko’s twangy music. Cedergen captures the bemusement of a city boy new to the provincial ways of the outpost in the country’s South Jutland region while Christensen and Bodnia make a deceptively complicated pair.

The film gets seriously weird as it goes along but without losing its sense of direction or taste for offbeat humor. The Western theme plays out cleverly and there’s a neat substitute for a gunfight as the two main adversaries square off in a bar downing boilermakers.

Venue: Karlovy Vary International Film Festival; Cast: Jakob Cedergren, Kim Bodnia, Lene Maria Christensen, Lars Brygmann; Director: Henrik Ruben Genz; Screenwriters: Henrik Ruben Genz, Dunja Gry Jensen, based on the novel by Erling Jepsen; Director of photography: Jorgen Johansson; Production designer: Niels Sejer; Music: Kaare Bjerko; Editor: Kasper Leick; Producer: Thomas Gammeltoft; Production: Fine & Mellow; Sales: Nordisk Film; No MPAA rating, running time, 105 mins.

This review appeared in The Hollywood Reporter.

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KVIFF FILM REVIEW: Nan T. Achnas’s ‘The Photograph’

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By Ray Bennett

KARLOVY VARY, Czech Republic – Singapore-born director Nan T. Achnas’s tender and contemplative drama “The Photograph” tells of an ailing picture taker determined to find a successor before he dies and the sympathetic trollop who becomes an unlikely candidate for the job.

Achnas directs at a gentle pace, allowing cinematographer Yadi Sugandi to frame compelling images and capture two strong lead performances. Evocative and touching, the film should be welcome at festivals and art houses everywhere.

Lim Kay Tong plays Johan, a Chinese man who has lived in Indonesia since he was child and makes his living operating a rundown photographic studio. Into his life comes a sunny but unlucky hooker named Sita (Shanty), who takes up residence in the dusty attic above his studio.

Sita struggles to escape the clutches of her thuggish pimp (Lukman Sardi) and daydreams of being a singer so that she can make money to help her daughter and sick mother, who still live in the countryside.

Johan knows that he is dying and is driven to find an apprentice in order to fulfill a vow that, if he breaks it, he believes he will offend his ancestors and deny him an afterlife. He posts notices relentlessly seeking an apprentice all over town. His obsession is fueled by a dark secret, which is revealed in the last reel, involving the long-ago deaths in a railway accident of his cherished wife and child.

The film compares effectively the actor’s ability to register a great deal without speech or movement and the young woman’s nervous energy. As she points out, he spends his time contemplating the past while she must deal with today and tomorrow.

Sita’s pitiful attempts at being a singer and interviews with would-be photographers provide some welcome humor but the vile world of the country’s sex industry is never far away. Achnas also takes time to linger over the longing for absent family members that both characters share in different ways.

The photographer’s secret is revealed in an unsentimental but gripping sequence that makes sense of his conviction that he owes a great debt he must pay if he is to find redemption. The film suggests that passing along to the restless young woman the patience and confidence required to take photographs is payment enough.

Venue: Karlovy Vary International Film Festival; Cast: Lim Kay Tong, Shanty, Lukman Sardi, Indi Barends; Director: Nan T. Achnas; Screenwriter: Nan T. Achnas; Director of photography: Yadi Sugandi; Production designer: Menfo; Music: Akasn & Titi Sjuman; Editor: Sastha Sunu; Producer: Shanty Harmayn; Production: Salto Films; Sales: FilmSharks Int’l.; No MPAA rating, running time 94 mins.

This review appeared in The Hollywood Reporter.

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KVIFF FILM REVIEW: Vladimir Michalek’s ‘Of Parents and Children’

of parents x650By Ray Bennett

KARLOVY VARY, Czech Republic – An ageing and cantankerous father and his devoted but conflicted son chat, argue, drink, reminisce and rehash old differences while strolling through Prague in Czech director Vladimir Michalek’s rewarding drama “Of Parents and Children.”

Paced leisurely but conveying rich characterizations with a contrasting subplot involving the younger man’s girlfriend and a son he never knew, the film will be well received in art houses and on the festival circuit.

Josef Somr, as the dad, and David Novotny, as the son, work considerable magic as they banter and tease each other on the day they spend together every three weeks. Mum died many years ago after taking the boy and marrying a Bolshevik numbskull during Czechoslovakia’s Soviet domination.

There are still secrets to be shared about what happened, though, as forgotten resentments resurface while the two of them wander through the streets and parks of Prague. Somr can switch quickly from being stern to openly affectionate while Novotny’s tough-guy looks mask a sympathetic vulnerability.

The womanizing son and the lonely father share tall tales about fatal women and nasty ailments that they know will spark a reaction in the other. Finally, the son reveals that an old girlfriend has informed him that he fathered a now-grown boy and while he frets over being a father, the old man contemplates being the grandfather he never expected to be.

Meanwhile, the younger man’s current girlfriend is visited by the newly discovered offspring and since he resembles her lover closely only being 20 years younger, their meeting becomes increasingly complex.

Based on a novel by Emil Hakl, the film is necessarily episodic but thanks to sturdy filmmaking, some very funny moments and fine performances, there is a growing attachment to the characters and being with them feels like time well spent.

Venue: Karlovy Vary International Film Festival; Cast: Josef Somr, David Novotny, Mariana Kroftova, Lubos Kostelny; Director: Vladimir Michalek. Screenwriters: Vladimir Michalek, Emil Hakl, Jiri Krizan; Director of photography: Martin Strba; Production designer: Martin Vackar; Music: Michal Lorenc; Editor: Jiri Brozek; Producers: Michael Smrek, Jan Dobrovsky; Production: Open Field Pictures. Sales agent: AQS; No MPAA rating, running time 112 mins.

This review appeared in The Hollywood Reporter.

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KVIFF FILM REVIEW: Sam Karmann’s ‘True Enough’

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By Ray Bennett

KARLOVY VARY, Czech Republic – Set to an engaging jazz beat, Sam Karmann’s French treat “True Enough” is a wise and witty riff on the perils of infidelity full of droll playing and memorable lines.

Shrewd and sophisticated, the tale of three couples dealing with the temptation of straying will appeal to audiences who like their adultery performed with Gallic flare. The film’s philosophy is summed up in a piece of dialogue: “You can love someone forever but not all the time.” It should fare well in art houses around the world.

Central to the story are performances of jazz standards by fictional singer Pauline Anderton whose promising career ended in a car accident in the 1970s. Portrayed in black-and-white footage by Catherine Olson, wife of director, co-screenwriter and costar Karmann, the late star’s singing inspires noted Parisian biographer Vincent (Andre Dussolier) to find out more about her mysterious death.

In the process, he meets aggressive television presenter Anne (Karin Viard) who would prefer to make a TV documentary exploiting the woman’s tragic end. Anne is not in the best state of mind as her marriage to easy-going Thomas (Karmann) is threatened by her lingering attraction to ex-husband Marc (Francois Cluzet) despite his new marriage to Anne’s close friend Caroline (Julie Dularme).

Vincent also is distracted by concern over his gay lover back in Paris but when he discovers there is a darker secret surrounding the singer’s death, Anne joins him on a quest for the truth although their searching is complicated by dalliances on all sides.

Karmann and co-writer Jerome Beaujour based their film on a novel by Stephen McCauley, which was set in New York and Boston and involved a deceased pop singer. Setting it in Paris and Lyons with a jazz flavor adds considerably to the story’s appeal and it plays out as good jazz should, aided by Pierre Adenot’s excellent score.

The acting is engaging throughout with Dussollier’s seen-it-all wisdom and Cluzet’s talent for appearing constantly distracted especially effective. Viard and Karmann deliver some of the best lines effectively including an exchange in which the errant wife admits, “There are things you don’t know about me,” to which her husband replies: “And that’s just fine.”

Venue: Karlovy Vary International Film Festival; Cast: Karin Viard, Andre Dussollier, Francois Cluzet, Brigitte Catillon, Julie Delarme, Sam Karmann, Catherine Olson. Director: Sam Karmann; Screenwriters: Sam Karmann, Jerome Beaujour, based on the novel by Stephen McCauley; Director of photography: Matthieu Poirot-Delpech; Production designer: Frederique Hurpeau; Music: Pierre Adenot; Costume designer: Brigitte Faur-Perdigou; Editor: Phillippe Bourgueil; Producers: Jean-Philippe Andraca, Christian Berard; Production: Les Films A4; Sales: Films Distribution; No MPAA rating, running time 95 mins.

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KVIFF FILM REVIEW: Anna Friel in ‘Bathory’

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By Ray Bennett

KARLOVY VARY, Czech Republic – Legend has it that Countess Elizabeth Bathory was a murdering monster, the scourge of 16th century Europe, slaughtering virgin girls by the score and bathing in their blood in order to stay young. Slovak director Juraj Jabubisko’s over-the-top English-language epic “Bathory” says history got her all wrong and she was the victim of a terrible libel.

Colorful, bloodthirsty and absurdly comic, the film had its world premiere at the Karlovy Vary International Film Festival and could reap substantial international box-office rewards from indulgent audiences with a taste for that kind of thing.

Elizabeth (Anna Friel, pictured) was adept with sword and dagger, which she needed to be in that bloodthirsty epoch. She was not averse to a little torture, as who wouldn’t be with treachery on all sides. And she wasn’t above stabbing a rival to death with a pair of scissors when the occasion warranted.

The Guinness Book of Records apparently lists her as the worst serial killer in history but screenwriters Jakubisko and John Paul Chapple say that men who wished to steal her land and riches created her evil legend. It happened a lot in that part of the world in those days with Protestants and Catholics at odds with each other but joining forces to fight the Muslim Turks.

Given the short shrift the Christians give to their followers in this picture, the invaders seem like a better option but it’s not a film to weigh such matters, The important thing is all the scheming that goes on to unseat Elizabeth from her power and wealth following the death of warrior husband Ferenc (Vincent Regan).

Emblazoned with the rich gothic reds of Hammer Films, there are lots of hacked limbs, rolling heads, dank dungeons, tortured serfs, heaving bodies and bats and rats. “Bathory” is a preposterous romp as it follows Elizabeth through her tempestuous marriage; a love affair with an Italian artist who turns out to be Caravaggio (Hans Matheson); domination by a dubiously spooky healer (Deana Jakubisko-Horbathova); and betrayal by her late husband’s trusted ally (Karl Roden).

English actress Friel looks altogether too petite to dominate the macho men who surround her but she gives it her best shot while grappling with a Transylvanian accent that threatens to strangle her every time she opens her mouth. The testosterone pumps as furiously as the blood on the male side of the cast while the females burst bodices and prepare to become corpses.

Veteran Czech actor Bolek Polivka has fun as an elderly monk spying on the Bathorys on behalf of the church but who spends most of his time inventing helpful machines such as roller skates and parachutes. Those scenes at least seem intended for laughs.

Venue: Karlovy Vary International Film Festival, Cast: Anna Friel, Karel Roden, Hans Matheson, Deana Jakubisko-Horbathova, Vincent Regan, Franco Nero, Bolek Polivka; Director: Juraj Jakubisko; Screenwriters: Juraj Jakubisko, John Paul Chapple; Directors of photography: F. A. Brabec, Jan Duris; Music: Jan Jirasek; Costume designer: Roman Janecka; Editor: Chris Blunden; Producers: Mike Downey, Deana Jakubisko-Horbathova, Thom Mount; Production: Jakubisko Film; Sales: Sola Media; No MPAA rating; running time, 140 mins.

This review appeared in The Hollywood Reporter.

 

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FILM REVIEW: ‘Mamma Mia!’

mammamia 1 2008By Ray Bennett

LONDON – No matter how many blockbusters there are, Universal Pictures’ screen version of the global hit stage musical “Mamma Mia!” is the most fun to be had at the movies this or any other recent summer.

Teenage boys may be glued to the latest action adventure, but the rest of the family will be having a rollicking good time and dancing in the aisles to Swedish pop group ABBA’s irresistible songs. It’s a delightful piece of filmmaking with a marvelous cast topped by Meryl Streep in one of her smartest and most entertaining performances ever.

After its world premiere in London on Monday, the film opens in the U.K. on July 4 and in North America on July 18. It will surely follow the stage show around the world in pleasing audiences and coining what one of the infectious songs celebrates: “Money, Money, Money.”

Credit goes to the original show’s creators, producer Judy Craymer, director Phyllida Lloyd and writer Catherine Johnson, for seeing their vision through to such a polished and enjoyable picture. Hanging a tale of a woman whose daughter might have been fathered by one of three attractive men on a bunch of ABBA songs sounds simple, but its simplicity is as deceptive as the masterfully crafted songs themselves.

Streep plays Donna, a former singer, who has raised daughter Sophie (Amanda Seyfried) alone at a fading resort on a remote Greek island. Sophie finds her mother’s diary from 20 years earlier and discovers that there are three men who might be her father. About to be married to boyfriend Sky (Dominic Cooper), she sends invitations to the celebration to all three on behalf of her mother but without telling her.

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Pierce Brosnan, Colin Firth and Stellan Skarsgard, as the possible dads, show up on the island where Donna is readying the wedding, helped by her two best pals (Julie Walters and Christine Baranski). The scene is set for songs, dancing and romance, all staged brilliantly, with many energetic and colorful performers, and beautifully shot.

The Benny Andersson and Bjorn Ulvaeus songs have memorably sturdy lyrics that the filmmakers weave with great skill into their story. All of the players perform with gusto including Skarsgard, ex-007 Brosnan and noted Mr. Darcy Firth who, far from embarrassing themselves, sing well and deserve high praise for being such good sports.

Seyfried (from TV’s “Big Love”) and Cooper (“The History Boys”) make appealing juvenile leads while Walters and Baranski contribute greatly to the film’s good-natured comedy. Each has a big solo number with Baranski belting out “Does Your Mother Know?” to a randy beach bum and Walters entreating a reluctant groom with “Take a Chance on Me.”

Streep is sensationally good in rendering the whole yarn credible and in making dramatically moving songs such as “Slipping Through My Fingers,” sung to her departing daughter, and “The Winner Takes It All” to a lost love. It’s no stretch to think of her performance in Oscar terms, ranking with previous musical winners such as Liza Minnelli, Barbra Streisand and Catherine Zeta-Jones.

And when Streep teams with Walters and Baranski for dynamic and crowd-pleasing numbers such as “Mamma Mia!” “Dancing Queen” and “Super Trouper,” there’s not an audience anywhere that won’t be smiling.

Opens: July 4 in the U.K.; July 18 in North America (Universal Pictures); Cast: Meryl Streep, Pierce Brosnan, Colin Firth, Stellan Skarsgard, Julie Walters, Dominic Cooper, Amanda Seyfried, Christine Baranski; Director: Phyllida Lloyd; Screenwriter: Catherine Johnson; Director of photography: Haris Zambarloukos; Production designer: Maria Djurkovic; Music: Stig Anderson, Benny Andersson, Bjorn Ulvaeus; Costume designer: Ann Roth; Editor: Lesley Walker; Producers: Benny Andersson, Judy Craymer, Gary Goetzman, Tom Hanks, Bjorn Ulvaeus, Rita Wilson; Executive producer: Mark Huffam; Production: Littlestar Prods., Playtone; Running time, 108 mins.

This review appeared in The Hollywood Reporter.

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EDINBURGH FILM REVIEW: Robert Carlyle in ‘Summer’

Summer 2008By Ray Bennett

EDINBURGH – Robert Carlyle and Steve Evets make a credible pair of survivors at the nasty end of life’s social stick as an ill-tempered dyslectic looking after his quadriplegic buddy in Kenny Glenaan’s uneven slice-of-life drama “Summer”.

Their story is told at three different ages with two sets of youngsters playing them as kids and teenagers. The summer of the title is the only time that Shaun (Carlyle) recalls with pleasure when his younger self (Sean Kelly) was in love with a bright young woman named Katy (Joanna Tulej).

The film cuts back and forth between the three periods although not always seamlessly. The young actors do well to match their accomplished elders even if, apart from Tulej, they don’t look as if they’d grow up to be the adults. Though spiced with some black humor and ultimately optimistic, the film’s generally downbeat mood will make it a difficult box-office prospect.

With Daz (Evets) dying slowly of liver and kidney failure, Shaun thinks of that one happy summer amongst many blighted by a broken home and the anger resulting from having his dyslexia go unrecognized. As he reaches out to find the adult Katy (Rachael Blake), his memory drifts back to those days and the way they were ended abruptly by Daz’s tragic accident.

Carlyle and Evets create a believable couple of losers and Tulej shines as the young Katy but it’s all pretty grim along the way.

Cast: Robert Carlyle, Steve Evets, Rachael Blake, Michael Socha, Sean Kelly, Joanna Tulej; Director: Kenny Glenaan; Screenwriter: Hugh Ellis; Director of photography: Tony Slater-Ling; Production designer: Jane Levick. Music: Stephen McKeon. Editor: Kristina Hetherington; Producer: Camilla Bray. Executive producer: Nigel Thomas; Production: Cinema Two, Matador Pictures, Mediopolis Film, Sixteen Films in association with Regent Capital; No MPAA rating, running time, 95 mins.

This review appeared in The Hollywood Reporter.

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EDINBURGH FILM REVIEW: Manijeh Hekmat’s ‘3 Women’

'3 Women' 2008 x650By Ray Bennett

EDINBURGH – A woman and her mother and daughter each lose their way in Manijeh Hekmat’s “3 Women,” an observant but choppy portrait of life in modern Iran that treats heavy traffic and savage traditional practices with about the same degree of concern.

Its many accomplished scenes and good performances will take the film to festivals but not far beyond.

Niki Karimi (pictured) plays a sophisticated professional woman caught up in an argument over the sale of a Persian carpet she regards as a national treasure. An expert in such things, she fights with the buyer and seller and the museum that employs her, and ultimately takes the carpet for safekeeping.

Her rebellious daughter (Pegah Ahangarani), who has quit school to pursue a career as a photographer, drives out of town where she encounters an idealistic archeologist (Babak Hamidian), working on a remote excavation.

With her senile mother (Maryam Boubanim) on board, the carpet expert drives her four-by-four about the hectic streets of Tehran seeking her daughter, parking anywhere she chooses.

Complications ensue for all three when the old woman takes the carpet and retraces steps from her youth and the young woman encounters a girl who has just had an abortion and faces barbarous punishment from her family.

The scenes dealing with middle class urban hassles are shot full of dry humor but the surreal sequences of the old woman’s wanderings are murky and the encounter with medieval justice lacks dramatic impact.

Venue: Edinburgh International Film Festival; Cast: Niki Karimi, Pegah Ahangarani, Maryam Boubanim, Babak Hamidian; Director: Manijeh Hekmat. Screenwriters: Nahmeh Samini, Manijeh Hekmat; Director of photography: Dariush Ayyari; Art director: Mohsen Ahangarani; Music: Heydar Sajedi; Costume designer: Zhila Mehrjui; Editor: Mostafa Khergh-Poush; Producers: Manijeh Hekmat, Jalal Shamsian; Production: Bahmad Film; Sales agent: Iranian Independents; No MPAA rating, running time, 94 mins.

This review appeared in The Hollywood Reporter.

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EDINBURGH FILM REVIEW: Robert Beaucage’s ‘Spike’

'Spike' 2008 x650By Ray Bennett

EDINBURGH – When a car full of attractive people breaks down in the woods and things start to go bump in the night, American director Robert Beaucage’s creature feature “Spike” appears to be set on a well trod path. But, no.

Oh, sure, the one guy in the group has a pipe or something plunged into his neck and spends the rest of the film bleeding to death. And two of the young women are lovers who can’t decide if it’s worth going into the forest to help Pipe Boy. They fight and one smashes the other in the head with a ski.

It’s all filmed in the dark, so it’s not clear who’s who, but one of the women wanders into the thick trees and is soon bitten by a snake. There’s a beast in the woods all right, but it turns out he’s a California surfer dude with a soft poetry-reading voice who knows how to treat snake bites except he has a body inexplicably covered with lots of sharp spikes.

Spike Boy actually knew Snake-bit Girl in a previous life and he’s built a lair for her so they can consummate their love notwithstanding the inconvenience of having more razor-sharp blades on him than Edward Scissorhands. It doesn’t end well.

Murky and misguided, with lame dialogue and cheesy effects, the film will be lucky to get a DVD release.

Venue: Edinburgh International Film Festival; Cast: Sarah Livingston Evans, Jared Edwards, Anna-Marie Wayne, Nancy P. Corpo, Edward Gusts; Director: Robert Beaucage; Screenwriter: Robert Beaucage; Directors of photography: Matthew Boyd, Andrew Parke; Production designer: Dan Whifler; Music: Eric Santiestevan; Costume designer: Rachel Ford; Editor: Eric N. Grush; Producers: Devin DiGonno Erik Rodgers; Production: Hopeful Monster; No MPAA rating, running time, 80 mins.

This review appeared in The Hollywood Reporter.

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EDINBURGH FILM REVIEW: ‘A Film With Me In It’

film-with-me-in-it 2008 x650By Ray Bennett

EDINBURGH – The bodies keep piling up and so do the laughs in Irish director Ian Fitzgibbon’s clever and very funny black farce “A Film With Me In It.”

With an attitude towards sudden death as droll as in the best Ealing comedies, the film lampoons the fevered imagination of screenwriters in its tale of two would-be filmmakers who must deal with one calamity after another in the confines of a basement apartment.

Featuring standout comic performances by Mark Doherty, who wrote the script, and Dylan Moran, the picture’s bracingly dark sense of humor and adherence to its own perverse logic will please audiences that enjoyed such comedies as “Withnail and I” and “A Fish Called Wanda.” It should be a big hit.

Doherty plays Mark, a sad-sack actor whose chance of landing even the bit part of “Onlooker” in his latest audition is remote. Moran is his best friend Pierce, a wastrel who spends his time at the pub and his money on the horses as he dreams up hackneyed screenplays.

Mark lives with his quadriplegic brother David (David O’Doherty), pretty girlfriend Sally (Amy Huberman), and her indolent pet dog Jersey. Their place is filled with broken things such as window sashes and lighting fixtures that landlord Jack (Kevin Allen) refuses to fix until the rent is paid.

Sally storms out after discovering that Mark hasn’t paid the rent in three months and he senses things may get worse when a shelving unit collapses and kills her dog. When a heavy chandelier crashes down from the ceiling with even more unpleasant results, he’s sure of it.

Doherty’s script is sly and increasingly hilarious as nitwits Mark and Pierce deal with an escalating number of dead people and conspire to dream up madly unreasonable explanations they think might sound plausible to the police.

Moran gets the slightly fractured speech borne of an alcohol soaked brain exactly right while Doherty captures Marks bewilderment perfectly. Director Fitzgibbon hits all the right notes with comic finesse as the film heads towards its pleasingly delirious conclusion.

Venue: Edinburgh International Film Festival; Cast: Dylan Moran, Mark Doherty, Amy Huberman, Aisling O’Sullivan, Kevin Allen, David O’Doherty; Director: Ian Fitzgibbon; Screenwriter: Mark Doherty; Producers: Alan Moloney, Susan Mullen. Executive producer: Mary Callery; Director of photography: Seamus Deasy; Production designer: Eleanor Wood; Music: Denis Woods; Costume designer: Maeve Paterson; Editor: Tony Cranstoun; Production: Parallel Films in association with the Irish Film Board; Sales agent: Cinetic Media; No MPAA rating, running time, 88 mins.

This review appeared in The Hollywood Reporter.

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