Middletown

This was supposed to be set in the "Bible Belt" of Northern Ireland. Well, as someone who grew up there,and was a child in the era depicted in the film it just didn't ring true! The accents were all over the place - anything but County Antrim/Derry. The church didn't resemble any I have ever seen. "The Church of God" is a pentecostal denomination but the one in the film was certainly not pentecostal! The elderly minister at the beginning was dressed in the robes of the Church of Ireland (Anglican)- and no C.of I. would call itself "The Church of God". The minister was often addressed as "Reverend" - they may do that in some parts of the world but I never heard it when I lived in that area. Ministers were addressed as "Mr ......"

This film was very badly researched and cast - fairly typical of Irish cinema - annoying! A film can have a great plot, but if it doesn't look authentic, it is rubbish.

An interesting take on the classic battle between church and congregation, and also in the classic way of thinking the best thoughts backfire, especially when you groom someone into being fit to a role, here as a priest, which turns out to be more of a devil.

In a poor Irish town called Middletown in the sixties a young boy, Gabriel, is chosen by the priest and the father to be the next reverend of the congregation. When the boy 15 years later comes back as a priest, he is immediately clashing with all of the greedy, playful and sinful things happening around in his congregation. His family and brother is caught right in the middle, running the town pub serving the devil's liquor.

It's dark, gloomy, poor and tragic in a stylish way. I liked the tone of this Gothic style film. It has a tension which is a plus, and it also starts interesting. I really like one of the times here; grooming a small boy into becoming an enemy of his own breed of people. You need to love a gloomy Gothic wife to enjoy this. Otherwise it will might be to sad and depressing.

The first Tim I saw this I wasn't too keen on the music. I though if was often too loud in the mixing, and a bit misfit to the stuations, and that different music would have helped the story a lot. The second and third time I saw I it, I thought completely opposite. I think the music is great, and catching the theme and situations fabulously. Tragic music, in a classic style, to make the tension the film makers really want to do. Why is the dialects, accents if you like, so different between brothers and family. The ending might also be a question to many. See for yourself.

This is TV-director Brian Kirk's first feature film, and also this has a TV-feeling about it. It's what I would say filmed in a TV-style. However, I loved the score. I've heard it, or something very similar in another film, but it's very well fitted of this tragedy.

I thought of a old Norewgian saying when watching this, translated into this in English: "When trash comes to honor, it doesn't know how to act."

For a country that has produced some of the world's finest dramatists and has such a rich musical heritage it has always been a source of bewilderment to me why so much of Ireland's home-grown cinema has been so appalling. Perhaps because, by its very nature, those talented in the field of Irish cinema have been quick to abandon their native shore for careers in Britain or America, (Colin Farrell is a recent case in point), and that the really successful Irish directors that have continued to work in Ireland and with Irish subjects have made their films with international money and an eye on the international market. I am thinking particularly of Jim Sheridan and Neil Jordan who alternate between films with an Irish setting and projects filmed abroad.

"Middletown", however, is very much an Irish film even if two of its principal actors are English. It's certainly well-made of its kind and might have bucked the trend that Irish films aren't really very good; (Paddy Breathnach's "I Went Down", written by the brilliant young playwright Conor McPherson, is a crucial exception). Unfortunately this tale of fundamentalism set in a fictitious Irish town, presumably in the North of Ireland judging by the accents, (Mid-Ulster Bible-Belt, if you ask me), and presumably in the recent past, (the fifties? the sixties?), is so over-the-top that it really is quite ridiculous.

Nothing in the film rings true and you can't help feeling it's writer, Daragh Carville, has been strongly influenced by Flannery O'Connor and that the whole thing might have made more sense had it been set in the American bible-belt and not in Ireland where even the most extreme Protestant fundamentalist was never quite as loony as this. It's all meant be to be grim in a grand guignol kind of way and it certainly is, though I was more prone to giggles than frisson's at the right Reverand Matthew Macfayden's antics. He has the Ulster accent off pat and there is nothing wrong with his acting or indeed that of Daniel Mays as his brother, Gerard McSorley as his father or Eva Birthistle as Mays' wife but the script is so appallingly derivative that good acting can do nothing to save the film. So rather than a step up the ladder for Irish cinema "Middletown" is, I'm afraid, just another nail in its coffin.

Brian Kirk's debut feature is a beautifully constructed, strikingly shot Gothic thriller that has about it the whiff of ancient tragedy.

With classic simplicity the story focuses on a conflict between two brothers, a clash of values and faith that speaks to our own polarised world. As is suggested by its name, the town of the title could be anywhere in rural Ireland of the fifties, a rain-sodden, debilitating, grey knot of streets offering little in the way of hope. The church, which dominates the town as much as the pub, has been led for as long as anyone can remember by Reverend Cray (Mick Lally), a meek, gentle person who, as the film begins, passes the baton onto the incoming minister, Gabriel Hunter (Mathew MacFadyen).

Middletown is Gabriel's home, he is returning from a long absence to bring the word of god to his father Bill (Gerard McSorley) and brother Jim (Daniel Mays). What he finds here ignites a spark of righteous fury and indignation; his brother has shacked up with a woman who runs the tavern, in his eyes a den of iniquity and a malign influence on the impressionable townsfolk. Spurred on by this aberration, he vows to cleanse the populace of vice and sin, at whatever cost, a moral quest at potentially violent odds with his brother's secular choice of life.

This is taut, lean film-making without an ounce of fat on its windswept bones. Daragh Carville's measured screenplay builds on the initial premise, tightening the tension screws, until the finale reveals him to be a writer with the courage of his convictions. The chilly sense of time of place created by Kirk, the fine performances he has drawn from his actors, and the austere photography from Adam Suschitzky, which does beautiful things with the colour grey, combine to create an absorbing film whose message on the dangers of religious fundamentalism holds much currency. – David O Mahony (Dublin Event Guide)