The Front Line

The world is changing. Ireland used to be a place where people starved and dispersed around the globe in hope of a better life. Today people from troubled faraway lands come to Ireland to seek sanctuary. But sometimes there is no sanctuary to be found, the perils are following wherever we go. This powerful movie was advertised as a thriller, but the thrills that this story provides in abundance are of a different kind.The suffering of genocide victims in Congo or any other place on earth is unimaginable. Hollywood with its contrivances can not possibly match the shocking occurrences that life can impose on some poor souls. The Irish filmmakers took a different path, of compassion and sorrow and it filled our hearts with sincere emotions. Most of all thanks to a amazing performance of little known Eriq Ebouaney. His quiet, dignified presence spoke more than a million words.

I've watched some films this year really expecting, and hoping, they would be good. Some met my expectations, some exceeded them and some fell short. I had not heard of this film; but it was the most unexpected joy since Everything Is Illuminated (2005).

It succeeds on so many levels. As a thriller is gripped me from the first beat to the last. The characters were well-rounded, believable and performances, especially by Ebouaney, McSorley and N'Diaye were superb. Where had these actors come from? I to search IMDb to convince myself they were acting! I don't know much about Congolese politics, but the back story was completely believable and horrifying in equal measure. "Documentary" shots and montages worked well to reinforce this. And it made me want to learn more and reconsider my thoughts on the "problem" of "their" immigration. Whoever "they" may be.

In response to world events, some films in recent years have rightly focused on international politics, the communication between people within and between different nations. And Crash did very well, hence Babel, both of which I enjoyed.

But this film achieves more than what both of the above did and on a fraction of the budget! I'd never heard of David Gleeson, but his writing and direction was superb. I will definitely be renting the whole of his back catalogue - and buying this DVD. Please put lots of extras on it David! In summary, I was blown away by the performances of the actors, the detail and complexity of the script and the way in which the subject matter was handled. To come across such a film from left-field was a joy and a rare pleasure. I hope it reflects positively on the CV's of all involved and we see much more of them, as they deserve it.

Great job David and all involved.

Who would have thought it possible? A shoot-em-up with serious soul. Writer/director David Gleeson's decision to offer Dublin-based heist-movie THE FRONT LINE as his attempt to build on the promise shown in his debut, COWBOYS & ANGELS, might initially have smacked of the formulaic. But the good news is that the end product bristles with freshness and cinematic sophistication.

There's nothing new about a heist movie with a hard edge, but THE FRONT LINE comes with a hard edge and considerable heart.

Convincing performances and visually strong production values ensure the thriller aspect of the first half will bring you to the edge of the seat. Unlike so many comparable efforts, however, THE FRONT LINE gives you something to think about when you get there.

Just as it seems inevitable that entertainment levels will flag, disturbing revelations about Joe's true identity elevate proceedings to an absorbing consideration of that most fertile of territories for great art – the sometimes thin line between the divine and the depraved.

Ebouaney and McSorley are strikingly good in the central roles, and while some of the observances about Dublin-based gangsters seem a tad far-fetched, this is but a minor quibble.

Gleeson has delivered a terrific film that reminds us what big screens were made for.

The DVD, in photos online, tell you nothing. (I watched it late night, BBC2). Firstly, it's written/directed by Limerick born David Gleeson (this is his 2nd feature), is set in Dublin, 93mins long and stars Eriq Ebouaney and James Frain.

Ebouaney plays a Congolese immigrant, who has escaped a violent past in his homeland. He's brought his wife over and they have a young girl. He's found work as a security guard at a bank but past events come back to haunt him, when Irish thug Frain and his gang kidnap his family - all he has to do is be the insider for them robbing his bank.

It's a polished and modern production, with lots of moody lighting, booming bass thuds and prowling camera, so, so far, so good. As a heist movie, it's OK but that tired formula needs a bit more to get a movie standing out above the rest. Ebouaney helps this, he is both convincing as the new citizen trying to lead a good life and as a human being out of his depth. Frain has less screen presence but is suitably psychotic where he should be.

The whole thing moves along pretty quickly - in just over half an hour, they're already inside the bank vaults. It's also great to see a different city and its streets to the usual as a setting.

Such crime thrillers aren't my staple film diet so The Front Line will never make any of my top anything lists. However, if such are, you could do a lot worse than this one for a mid-week rental or if you can find it on Sky somewhere. At the price here, it's just not worth it, though.

This isn't a bad attempt at an Irish crime movie. While James Frain hams it up as a baddie, Eric Ebouaney is very watchable as an asylum seeker looking to settle in the city. He is man with a secret just trying to get by and escape his past in the Congo. His wife and son arrive to be with him, but all is not what it seems. Taking a job as a security guard at a bank, he is soon in the thick of it, the victim of a from the headlines tiger kidnapping. When things go awry as they invariably do in this genre piece, there is hell to pay. Getting into bed with a gang of African racketeers – a first in an Irish film – the film subtly examines the plight of a refugee in an alien country, albeit against a heightened backdrop. The performances from Ebouaney and Hakeem Kae Kazim are good, though the Irish characters, particularly the police, are a little stiff. Camera-work is good and the soundtrack contemporary. The twist at the end is okay. Certainly an improvement on the director's first outing Cowboys and Angels. Warning: Brendan Gleeson is not in this film.