Acabe com Eles

My wife and I watched the Irish film 🇮🇪 Bring Them Down (2024) in theaters this evening. The storyline follows two Irish families struggling to survive for different reasons. Their sheep share the same hill, which causes one family to take advantage of the situation to try and get ahead. Violence ensues to protect their livestock and future.

This film is directed by Christopher Andrews, in his directorial debut, and stars Barry Keoghan (Saltburn), Christopher Abbott (Possessor), Colm Meaney (Layer Cake), and Nora-Jane Noone (The Descent).

This is one of those films that gives you a glimpse into a unique and unpredictable lifestyle of survival. The acting is elite, but the cinematography is even better, with beautiful landscapes and backdrops. The dog-eat-dog world of their circumstances is well depicted and sad. There are some unbelievable twists and turns, and the movie does a great job of telling the story from both families' perspectives. The conclusion is the only way the journey could end.

In conclusion, Bring Them Down is a fascinating and unique circumstantial drama that's worth a watch. I would score this 7.5/10 and recommend watching it once.

Bring Them Down: A savage tale of feuding hill farmers, sheep stoen, sheep mutilated, just their legs cut off to be sold. All tied in with a car crash which took place twenty years before but the consequences of which still impinge on pent day events. This was advertised as being partially a comedy but the few comedic moments are bleak and the laughter will likely choke in yiur throat. Not just animals but humans also suffer terrible deaths and injuries. In the second half of the film some of the events we have already observed are revisited and we achieve a clearer understanding of what is really going on. Non-linear narratives often enhance a film but I don't believe it does so in this instance. Good performances from Barry Keoghan, Colm Meaney, Christopher Abbot, Paul Ready and Nora-Jane Noone even if Keoghan is getting a bit long on the tooth to be playing a teenager. Maybe an Irish Hatfields & McCoys or a Beckettian Bog Western. Written and Directed by Christopher Andrews. 7/10.

The story begins with significant potential, particularly following the extensive buildup that led me to anticipate a conclusion that would be equally, if not more, impactful.

However, the writing had different ideas.

Issues emerge as the second half unfolds, particularly when the plot opts for a non-linear approach and delves determinedly into flashbacks.

The established rhythm and momentum plummeted dramatically. While there were a few intriguing characters and relationship dynamics to dig into, the script only skimmed the surface, resulting in a futile tale of 'Vengeance' that ultimately delivered no meaningful impact.

This movie has a really simple storyline when you look at it overall. But the director's craft and filming style make it much more engaging, and on top of that, it brings a fresh cinematic experience that we don't often see. One of the things I really liked about this film was the music score. They used a sound that resembles a pulsating beat but blended it with a traditional instrumental feel, which added an intense and unique atmosphere to the film. Since the movie is a thriller set in a rural area, the cinematography is stunning. However, there are quite a few handheld camera shots, which make certain scenes feel more immersive. While that works well for some moments, like close up tension-building shots, it does make action sequences like running or car chases harder to follow at times. When it comes to acting, the performances were solid, and Barry's performance stood out as the best in the film. The movie also does a great job of portraying deep emotional struggles-how parental conflicts affect children, the trauma of losing something precious, and how unresolved emotions can push someone into a state of complete mental breakdown. It also highlights the unintended consequences of human ego in a way that feels incredibly raw and real. These are the elements that make this film truly unforgettable.

We start with a fairly traumatic car accident that goes some way in explaining just why, many years later, the sheep farming "Michael" (Christopher Abbott) is living with his immobile dad (Colm Meaney) and living a fairly unfulfilled life. Their neighbour calls to advise that a couple of his rams have been found dead on their farm and so when he goes to investigate, we meet "Caroline" (Nora-Jane Noone) who used to be his girlfriend before she left him for "Gary" (Paul Ready) and they had son "Jack" (Barry Keoghan). With no evidence of the corpses, he heads to the market to buy replacements only to find that his neighbours haven't been straight with him and that there's quite enough history here to ensure that "Michael" keeps his mouth shut. Meantime, things aren't proving much better for the couple next door as their farm is struggling to pay it's way and when their young son comes up with an unilateral scheme with his thuggish cousin "Lee" (Aaron Heffernan) to raise, rather brutally, some extra cash then things turn violent and dangerous now with just about every element of trust out the window! This isn't a mystery for the squeamish as it highlights some of the real difficulties faced by hill farmers facing financial difficulties trying to make their inhospitable land pay. The story itself here is a bit of a mess, and though it does gradually start to make a little sense towards the end, for the most part it seems a little too thinly stretched and reliant on the time-shifting chronology to tell us an under-characterised story from differing perspectives as the threads rather far-fetchedly come together at the end. It's a fine looking film offering an authentic look at a barely better than subsistence form of life populated by folks suspicious of newcomers and of each other, but I couldn't help but feel this needed a much firmer hand on the storytelling front and Keoghan just too old for the part. Abbott delivers well, and it's still worth a watch - but television in due course ought to be fine.