Calvary

Watched this at Sundance Festival. Brilliant film. Some of the dialog is a bit lost on US audience but still some hilarious lines. This is much darker than The Guard and In Bruges (I know it's a different writer/director) but very similar humor. But this has some very powerful scenes (particularly the one with the lady who loses her husband). It also tackles some serious questions on the church and priesthood after the scandals around the world; really makes you think about the plight of decent priests. Gleeson pulls off the part of innocent priest paying for the sins of others excellently.

The music is amazing throughout. Also the scenery is incredible - made me miss home!

Excellent performances by Pat Short and Dylan Moran. Brendan Gleeson is just Brendan Gleeson, my favorite Irish actor (after Daniel Day Lewis of course)

This is well worth seeing. If your a fan of the McDonaghs stuff you'll love this. And what a great ending!

A timely title for Holy Week. Father James (Brendan Gleeson), a village priest in a coastal village in Ireland, is told in the confessional that one of his parishioners is going to kill him. The man was abused by a priest for five years as a child; that priest has died, but killing the innocent Father James will be revenge for the other priests's abuse of an innocent boy.

A challenging set-up for a movie, especially one which sells itself as a comedy - albeit a very dark comedy. With Father James we meet most of the locals, a sinful lot for such a small village. The butcher who beats his two-timing wife; the aggressive local publican; the cynical doctor; the alcoholic landowner; the police inspector with a taste for rent-boys; an ancient exiled American writer (M. Emmet Walsh).

Having been married (and widowed) before he answered the Call, Father James has an unhappy daughter (Kelly Reilly) down from the big city, her wrists bandaged from a suicide attempt. A week after the woeful NOAH, I half expected a Flood to overwhelm the village, full as it was of folk sliding into wickedness. The central mystery of which of them has threatened the priest is a bit of a cheat, since surely he would have recognised the voice in the confessional.

The dark mountains and pounding seas which sandwich the village are as atmospherically filmed as they were in David Lean's RYAN'S DAUGHTER, and a fine score boosts the film's seesaw moves between comedy and tragedy. The script is clumsy in parts, but the actors carry us over the bumps. Brendan Gleeson is on splendid form (I wish he'd played Noah last week!) and the rest of the cast turn in believable performances. There is no comedy in the bleak finale. This is a dark and disturbing low-budget movie which, like PHILOMENA, will linger in the mind long after multi-million-dollar blockbusters have faded into a CGI haze.

Over the years, the exact prevalence of religion—once a practice of every living individual—has begun to diminish. Even a land that predominantly houses Catholicism has seen many members stray from its church doors and holy hands. Father James Lavelle, a priest played by Brendan Gleeson, seems to be a hopeless believer who's surrounded by a heap of obnoxious, disrespectful townsfolk—a priest who seeks to absolve humanity from the remnants of sin that still plague it, still naïve enough to realize that goal is frankly impossible. In a world of drunkards, murderers, adulterers, rapists—there is no saving grace. This determined idea of forgiveness and cleansing fixed into Father James' devout mind might very well be his downfall—an idea of terrible ignorance, especially considering the fact that he belongs to a faith organization that has persistently concealed atrocious acts of child sexual abuse and the like for many decades.

Are these mean-spirited neighbors not justified in staring at this priest as if they were to spit in his face any minute, bearing in mind his profession and ties? Parents of this town are frightened for their kids, and though Gleeson in particular is good-natured and harmless, the mere sight of him accompanying a pre-adolescent immediately distresses the mother and father as they instantly grab their child with disgust on their face pointed at this poor old man. But again, the situation is so complicated and the multifarious angles described in such a predicament can be deemed understandable from the appropriate perspective. Those parents don't know Father James to the extent that we do, and to them, he's another one from the Catholic Church.

Despite being an Atheist myself, Calvary nonetheless paints a complex picture of a world divided—a film of great depth in its spirituality and philosophy. The majority of the movie is spent in local pubs and homes, laying witness to rich conversations between Gleeson and struggling townspeople whether it concerns his suicidal daughter (Kelly Reilly), a corrupt, yet conscience-stricken, banker (Dylan Moran), or an elderly man on the brink of death, enjoying the sound of a typewriter's clinking as he writes his final story (M. Emmet Walsh). A grim and depressing film this sure is, yet markedly powerful and thought-provoking as well. It advances on to ask questions and leaves us in wonderment. From an atheistic standpoint, it still left me with sympathy for this goodhearted man despite the fact that he was a downright preacher.

At the start, it seems like Gleeson's authority reigns supreme over the town. Being a priest, the people address him as so and welcome him to tête-à-tête, but as the narrative progresses, these same people increase in hostility and insolence as if the events over the past few days have suddenly changed their position. Once again, one of the most important issues this tale touches on is the infamous string of rape cases within the church hierarchy. In Ireland, alone, an influx of 9000 statutory rape reports came in in a single day when child sexual abuse truly came to light back in the 1970's—back when the hypocritical wickedness behind those sanctimonious quarters was gradually revealing itself to the faithful and the doubters alike.

And in this case, Calvary begins with an unknown individual who enters the confessional to discuss his prior sins with Gleeson only to actually begin spouting his utter anger at the church, recalling his years of youth when he "first tasted semen at the mere age of 7." His abhorrence for the clergy has stayed with him to this day and to the point where he vows to murder an innocent priest (Gleeson) as he was once attacked as an innocent boy—the desecration of purity or decency (though this man is not aware of the fact that Father James was once an alcoholic and fought with his own fair share of sins; he's not exactly the most guiltless being anyway).

Similar to last year's Philomena, Calvary emphasizes and criticizes the various facets that have wounded the Catholic Church's public image and forever changed many people's views of these institutions. Now, this movie is quite interesting on a tonal level because at times, it can be exhaustingly tragic and somber, but at the same time—every now and then— the witty style of the script will force you to guffaw at the expense of very serious subject matter. It's a tricky area, but Calvary's particular genre would best be listed as "dark, dark comedy"—the darkest of black comedies. Nevertheless, its mixture of humor, sincere/thoughtful themes, and a memorably tragic tale allowed this drama to cast its lasting effects into my mind long after I've concluded it.

Even though its stance and thematic material is substantially more ambiguous in comparison to Philomena's and some of the motives are left frustratingly opaque to the audience, the film just couldn't leave my thoughts. I would instantly recall its melancholy, Celtic score, its gorgeous and gloomily-lit cinematography (notice that the film cuts from the increasing hopelessness/bleakness of the narrative to shots of roaring waves and darkened nature as if to symbolize the ineluctable storm that the ultimate end of this tale is to bring), and the soulful emotion that drives the narrative forward. Calvary, much like another recent picture (A Most Wanted Man), delves you into contemplation over heavily controversial issues that continue to bedevil society into perpetual argument.

Calvary is the best current movie I've seen so far this year. It features an excellent performance from Brendan Gleeson as well as an involving, if off kilter, plot. The plot follows a priest who receives a death threat in the confessional and his struggle with how to respond, as well as with the foibles of his parishioners.

The primary strength of the film is Brendan Gleeson's performance. I've been a fan of Gleeson since his performance in 28 Days Later, and this film gives him the opportunity to show his full potential as an actor. Kelly Reilly also does well as his daughter, while Aidan Gillen has a memorable turn as a cynical doctor.

Calvary also benefits from good direction by John Michael McDonagh. Aside from keeping the story moving along, and adding a dash of humor in the first half, McDonagh leavens the film with beautiful footage of the Irish countryside. His only misstep is the inclusion is an unnecessary montage following the climax. However, this is too minor to merit real criticism.

The film should be understood as an allegory, rather than a thriller, as its plot might initially suggest, or a realistic story. While Gleeson's character represents a decent man struggling with adversity and his own flaws, the various people he encounters represent various sins and occasionally virtues. For example, a corrupt financier represents greed, Gleeson's fellow priest represents complacency, etc. In many respects, the film is a modern version of a medieval allegory such as Everyman.

Although it has strong Catholic themes, the pious should be warned that the film is very adult in its approach, something it makes clear with the first line of dialogue. Such content should not blind mature believers to the depth and sincerity of its religious message though. Indeed, now classic Catholic writer Graham Greene nearly found some of his books placed on the Index of Forbidden Books because of their adult content. Sometimes you must wade through the darkness in order to get to the light.

¨ I've always felt there's something inherently psychopathic about joining the army in peace time.¨

Calvary is director, John Michael McDonagh's followup to 2011's The Guard which also happened to star Brendan Gleeson in the lead role. This time Gleeson plays a Catholic Priest named Father James who is threatened during a confession by someone who we don't get to see. This man claims to have been sexually molested by a Priest several times as a kid and although Father James is a good and decent Priest he must take the fall in order for a statement to be made. Father James is given one week (or so this man claims) before being killed on the following Sunday on the beach. The father is troubled by this threat but he must continue doing his parish work during the remaining course of the week. We follow him as he has some deep conversations with the different members of the small Irish town they live in. It's a very interesting premise that hooks you from the start and has you wondering which of all the troubled people in the town might be the one who has threatened this goodhearted Priest. However the film works just as fine without that premise because the interactions between these characters is the true center of the story. These are all broken men and women who the Father interacts with and most of the conversations are deep and spiritual. Calvary isn't a film about religion, but it does have some important things to say about faith and virtues. It is very well written by McDonagh and the screenplay is rich in dark comedy; perhaps one of the best things about this movie. This is a film that could be very easily adapted to a stage play because the written material is superb and carries the movie on its own. Calvary also benefits from the beautiful scenery of the Irish coast line and a wonderful supporting cast. This is a film that sticks with you and one I wouldn't mind watching again.

Brendan Gleeson is a fantastic actor and one wishes he continue to collaborate with director McDonagh. I remembered he also gave a fantastic performance in In Bruges, which ironically was written and directed by John McDonagh's brother. These guys are great writers and know how to include a lot of wit in their dialogues. The rest of the cast is fantastic as well. Kelly Reilly plays Fiona, Father James's daughter (I know you might be thinking what is a Priest doing with a daughter because I asked myself the same question, but we quickly find out that James was once married and when his wife died he became a Priest). She is going through some difficult times, and James is trying to help her find answers. Chris O'Dowd also gives a terrific performance as one of the members from the parish whose wife is having an affair with an African man, but he seems OK with this because he can finally enjoy his freedom. Aidan Gillen (from Game of Thrones) plays the Atheist doctor, while Emmet Walsh is an old writer who is well aware that he's approaching death. These are just some of the people that Father James deals with in his community and each interaction is very rich and profound. There is plenty of dark humor balanced with a great amount of spiritual questions. I was pleasantly surprised with how well the material was handled. I can't even remember when was the last time that a Priest was portrayed so well on screen. Calvary is a powerful film with great performances and some sharp writing, and that is why this is one of the must see films of 2014. All I know is that after watching this I was desperate to get my hands on The Guard which I haven't had a chance to see but definitely will now. I highly recommend Calvary.