Anton

Wasn't expecting much from this, in light of the mixed reviews it received. I usually find that when some critics love a movie and some hate it, I usually end up hating it too. Not this time. For a start, it looks great. Best cinematography in an Irish film I've seen in years, more like David Fincher than anyone else. The plot / story is great too, keeps twisting and turning and the action never lets up. I thought the acting was top notch, especially the supporting roles. The brother, the wife and the little psycho IRA guy were all brilliant. I loved the score too. Only downside was that the time line jumped a little in the first twenty minutes and it was hard to follow what was happening when, but this didn't detract from the film at all. I can't see why some critics didn't like this film. I think a lot of Irish people are just have a blind spot for anything that relates to the troubles. Will probably do much better outside Ireland than it did here. I nearly didn't go to see this and I'm glad now that I got off my ass and made the effort. Well worth it.

I gave Anton a 10 rating despite a couple of misgivings. The sheer ambition of this movie is inspirational! Ambition, something sadly lacking in Ireland, just look at RTE, TV3 and the morons who run the country. I can't recall an Irish film which dared to compete with Hollywood action thrillers, Recent Irish Films (A film with me in it, Middletown, Adam & Paul, 32a, Garage etc) have been slow paced and better suited for TV. Sorry about the rant! The recreation of the 70's period in this movie is flawless, the score, cinematography and most of the performances are incredible. On the downside, the filmmakers tried to cram so much in that the film losses focus at points. Gerard McSorley does his thing to great effect lending tremendous weight to the production, but it's the supporting performances that are surprisingly good. With Anton, Irish Film is getting on track, (not back on track, because it was never on track in my opinion) What Ireland needs is more people working in the film industry with balls and before you say, what about movies like, In the Name of the Father, The Boxer, Michael Collins, Veronica Guerin etc, yes they were good, great even, but these films were made by Hollywood studios so can't be considered true Irish Films.

I saw this at The Boston Irish Film Festival 2008. It has merit on all fronts. Gee, How many American movies started with €5,000 euro pack this punch?! The acting is exemplary and the direction while safe delivers when its called for. Mc Sorely is incredible and Fox in his first Lead ( I think) in a movie holds his own very well against him. The character he plays is very hard to get to grips with in the early scenes but once the movie gathered pace one could understand his mindset. The supporting cast (again unknown) deliver truthful performances often missing from films of this caliber and budget. There are places where it's budget is telling but the ambition and the sheer scale for little money has to be commended. The audience in Harvard were well impressed. African American, Irish American, Hispanic American. Seriously it was amazing coming as I do from an English heritage to see this cross section engage with an Irish Film on so many levels. At first I was terrified this is yet another Brit bashing movie but was pleasantly surprised by how focused it was on the family and how the conflict in Northern Ireland was purely a background to what is a gritty truthful movie.

I've only seen 'Anton' once and need to see it again. Although I was sitting toward the rear of the theatre in Dundrum, the images seemed to be on top of me, like I was on the front row. A lot was happening and the style was neither t.v. nor cinema - I don't know what it was, but I don't doubt the sincerity of intent - nor the escape from pseudo-agitprop 'Troubles' genres and avoidance of soap-motif the film represents.

I certainly had a couple of quibbles, mostly continuity, though with over 20 gaffes in 'Quantum of Solace' - despite the huge budget - continuity must be no more than a film-maker's irritation on the way to box-office consummation.

I'm really only writing this as a balance to the slightly hysterical foot-stampings contained in some other 'Anton' comments.

Personal agendas are, by definition, self-revealing - am I mistaken in believing Eamonn McCann was a little put-out, on 'The View', that nobodies were getting their hands dirty in his sacred soil - well, I know there are a thousand such tales strung along the 'border' which will never see the light of day but which underpin the veracity of this particular film.

With regard to performances - as above, I'm not really sure until I've seen 'Anton' again. There was an intensity and urgency which separates this film from its commercial counterparts and there were even moments which reminded me of Ken Russell's 'Women in Love' (D.H. Lawrence) and I'd like to have seen more.

What was singularly in short supply was playing to the camera/pandering to the crowds/prostrating before the money-men, and for that alone these film-makers deserve more than bicycle-shed bickering.

Next time I see the film I will have a better idea of the answers to the bag of questions my first viewing dumped in my lap, but with energy, integrity and intent, this actually Irish film avoids the manicured story-lines of Big-House-Entertainment and digs around in the undergrowth - not an easy place to make a film.

If any of the makers read this - thank you for a seriously challenging piece - I suspect it is more to do with the future of film-making in Ireland than the past - I hope it is a passport to further work.

I don't know if this is the worst film ever made because I haven't seen them all, but it is certainly the worst I've ever watched by some distance. How Gerard McSorley ever became involved in this I'll never know.

I don't understand how anyone from Cavan could write a story so devoid of any understanding of where they are from. Set in 1972, perhaps intentionally, the film depicts a facile portrayal of Ireland's troubled past and does so in a way guaranteed to offend everyone who lived through that period.

This film was nominated for three IFTAs and, as an Irishman, for that decision I'm cringing. Jesus wept.