greenbuff
Joined Jun 2003
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Reviews5
greenbuff's rating
The Front Line marks a major watershed in Irish cinema. Addressing issues of immigration and the horrors of genocide in Africa in a contemporary thriller which plays out on the streets of Dublin, David Gleeson has raised the bar considerably for an Irish film.
The director's previous film, Cowboys and Angels, which he also wrote, stands as one of the best Irish films of the last decade. Deceptively simple and light in tone Gleeson addressed similar issues of alienation and broke new ground even then by moving away from the ponderous and the frankly dour image which Irish films hitherto presented of Ireland.
Although a very different film and working with a much larger budget, The Front Line is a more rewarding cinematic experience. Graced with a hypnotic central performance from Eriq Ebouaney the film grips from the opening set up in the Garda Immigration bureau.
Supporting cast are exceptional with outstanding turns from Fatou N'Diaye as Kala and Hakeem Kae Kazim as the sinister and hugely charismatic Erasmus. James Frain turns in a chilling performance as the scariest bad guy ever to roam the streets of Dublin. Patrick Cassidy's music also deserves particular praise.
I can't think of any other film with which to compare this. Perhaps Dirty Pretty Things comes closest but for emotional impact this is a far richer experience.
The director's previous film, Cowboys and Angels, which he also wrote, stands as one of the best Irish films of the last decade. Deceptively simple and light in tone Gleeson addressed similar issues of alienation and broke new ground even then by moving away from the ponderous and the frankly dour image which Irish films hitherto presented of Ireland.
Although a very different film and working with a much larger budget, The Front Line is a more rewarding cinematic experience. Graced with a hypnotic central performance from Eriq Ebouaney the film grips from the opening set up in the Garda Immigration bureau.
Supporting cast are exceptional with outstanding turns from Fatou N'Diaye as Kala and Hakeem Kae Kazim as the sinister and hugely charismatic Erasmus. James Frain turns in a chilling performance as the scariest bad guy ever to roam the streets of Dublin. Patrick Cassidy's music also deserves particular praise.
I can't think of any other film with which to compare this. Perhaps Dirty Pretty Things comes closest but for emotional impact this is a far richer experience.
Drowning in the sea of You, Me & Dupree, Little Man and Beerfest currently clogging up our multiplexes I really wanted to like this film, promising as it did a return to a more cerebral sensibility which is sadly missing from US film. I couldn't warm to it though.
I found all of the characters selfish, gormless and unlikeable. The film work its quirkiness right next to its heart, on its sleeve. The whole mean spirited tone of the film left a foul taste in my mouth.
What was the deal with Grandad? The feisty old guy who won't be kept down was in fact a mean and twisted dirty old man. I didn't get it.
A tale of a family of losers on the road together is the main appeal here but I couldn't see much redemption for them at the end of it. Perhaps this wasn't the point but I certainly didn't enjoy the time I spent in their company.
I found all of the characters selfish, gormless and unlikeable. The film work its quirkiness right next to its heart, on its sleeve. The whole mean spirited tone of the film left a foul taste in my mouth.
What was the deal with Grandad? The feisty old guy who won't be kept down was in fact a mean and twisted dirty old man. I didn't get it.
A tale of a family of losers on the road together is the main appeal here but I couldn't see much redemption for them at the end of it. Perhaps this wasn't the point but I certainly didn't enjoy the time I spent in their company.
Robert Quinn shows he's got the goods but needs to exercise better judgment when deciding what scripts to go with - You don't get too many shots. Well directed but where does one draw the line? - director has to take some credit for story choices and character motivation which in this instance was non existent.
Pauper's "Shallow Grave" this. Derek Landy had the very good fortune to see what passes in most instances for a first draft make it to the screen. One can only pray "Boy Eats Girl" is better for everyone's sake. Logic is non existent and characters are all unsympathetic and unlikeable, as evidenced by audiences in all media staying away in droves and film going down like a lead balloon internationally.
Pauper's "Shallow Grave" this. Derek Landy had the very good fortune to see what passes in most instances for a first draft make it to the screen. One can only pray "Boy Eats Girl" is better for everyone's sake. Logic is non existent and characters are all unsympathetic and unlikeable, as evidenced by audiences in all media staying away in droves and film going down like a lead balloon internationally.