After a year in which Ireland’s major cinematic talking points have come in the form of Martin McDonagh’s sumptuous all-star tragicomedy The Banshees of Inisherin and local-language art house smash The Quiet Girl, it was perhaps time for something a touch sillier to take center stage.
Apocalypse Clown — an insane comedy in which a troupe of washed-up and failed clowns chaotically traverse Ireland after the world is plunged into anarchy following a blackout — has won the top prize at the 35th annual Galway Film Fleadh on the west coast of the country. The film, the directorial scripted debut of George Kane and written by Kane alongside Demian Fox, Shane O’Brien and James Walmsley, was named best Irish film Sunday night at an awards ceremony that took place before the festival’s closing film, the Cyndi Lauper doc Let the Canary Sing.
Apocalypse Clown had its world premiere in...
Apocalypse Clown — an insane comedy in which a troupe of washed-up and failed clowns chaotically traverse Ireland after the world is plunged into anarchy following a blackout — has won the top prize at the 35th annual Galway Film Fleadh on the west coast of the country. The film, the directorial scripted debut of George Kane and written by Kane alongside Demian Fox, Shane O’Brien and James Walmsley, was named best Irish film Sunday night at an awards ceremony that took place before the festival’s closing film, the Cyndi Lauper doc Let the Canary Sing.
Apocalypse Clown had its world premiere in...
- 7/17/2023
- by Alex Ritman
- The Hollywood Reporter - Movie News
The 35th Galway Film Fleadh ended Sunday evening with the Competition jury handing the festival’s top prizes of Best Irish Film to Apocalypse Clown, directed by George Kane, and the Generation Jury Award to Scrapper by Charlotte Regan.
Written by Demian Fox, George Kane, Shane O’Brien, and James Walmsley and produced by Morgan Bushe and James Dean, Apocalypse Clown follows a troupe of failed clowns as they embark on a chaotic road trip of self-discovery after a mysterious solar event plunges the world into anarchy. Scrapper, which stars Harris Dickinson (Triangle of Sadness), follows Georgie, a dreamy 12-year-old girl who lives happily alone in her London flat, filling it with magic. Suddenly, her estranged father turns up and forces her to confront reality.
Also among the winners on the night was Lie of The Land, directed by John Carlin. Written by Tara Hegarty and produced by Chris Patterson and Margaret McGoldrick,...
Written by Demian Fox, George Kane, Shane O’Brien, and James Walmsley and produced by Morgan Bushe and James Dean, Apocalypse Clown follows a troupe of failed clowns as they embark on a chaotic road trip of self-discovery after a mysterious solar event plunges the world into anarchy. Scrapper, which stars Harris Dickinson (Triangle of Sadness), follows Georgie, a dreamy 12-year-old girl who lives happily alone in her London flat, filling it with magic. Suddenly, her estranged father turns up and forces her to confront reality.
Also among the winners on the night was Lie of The Land, directed by John Carlin. Written by Tara Hegarty and produced by Chris Patterson and Margaret McGoldrick,...
- 7/17/2023
- by Zac Ntim
- Deadline Film + TV
Other recipients include Virginia Woolf romance Vita & Virginia and new Hong Khaou, Carmel Winters films.
Lenny Abrahamson’s forthcoming adaptation of Sarah Waters’ acclaimed wartime ghost story The Little Stranger is among the films being supported by the Irish Film Board in its latest round of funding decisions.
Projects by Mary McGuckian, Carmel Winters and British/Cambodian filmmaker Hong Khaou are also among those given production funding support, as is a drama about Virgina Woolf’s love affair with the poet and novelist Vita Sackville-West.
In a diverse and wide-ranging first quarter, Room director Abrahamson’s [pictured] adaption of The Little Stranger has received production funding of €350,000.
The novel, which centres on the strange goings on in a country house in rural Warwickshire, has been adapted for the big screen by English novelist and screenwriter Lucinda Coxon (The Danish Girl). Domhnall Gleeson is attached to the project, which will be co-produced by Element Pictures.
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Lenny Abrahamson’s forthcoming adaptation of Sarah Waters’ acclaimed wartime ghost story The Little Stranger is among the films being supported by the Irish Film Board in its latest round of funding decisions.
Projects by Mary McGuckian, Carmel Winters and British/Cambodian filmmaker Hong Khaou are also among those given production funding support, as is a drama about Virgina Woolf’s love affair with the poet and novelist Vita Sackville-West.
In a diverse and wide-ranging first quarter, Room director Abrahamson’s [pictured] adaption of The Little Stranger has received production funding of €350,000.
The novel, which centres on the strange goings on in a country house in rural Warwickshire, has been adapted for the big screen by English novelist and screenwriter Lucinda Coxon (The Danish Girl). Domhnall Gleeson is attached to the project, which will be co-produced by Element Pictures.
Float [link=tt...
- 4/24/2017
- ScreenDaily
"Chuck Versus the Bullet Train" picks up where last week.s episode left off. Quinn (Angus Macfadyen) has captured Chuck (Zachary Levi) and asks him to fix the Intersect, which is "en route to his base." Quinn also informs Chuck that Sarah (Yvonne Strahovski) and Casey (Adam Baldwin) are dead. In fact, Sarah, using her new Intersect skills, has defeated Quinn.s men, has sent the false message confirming that she and Casey are dead, and has made arrangements for their bodies to be on the same bullet train that Quinn and Chuck are on. Sarah, using her new Intersect powers, saves Chuck and captures Quinn. Chuck and Sarah share a moment about how amazing it is to have the Intersect, and then sketch out their future life together, complete with picket fences. However, Quinn has two of this ...
- 1/24/2012
- GeekNation.com
Chuck: “Chuck Versus the Business Trip” – Recap
When you’ve been watching Chuck since its first season, as I have, watching each episode becomes more about the characters and the fun they have then the missions. Overall there’s a pretty obvious template for the spy missions, turning what is usually considered a plot twist into the logical next step. Take for example the defeat and capture of the Viper’s decoy assassin. It was a very easy take down, leaving no doubt he was impersonating the Viper just as Chuck was impersonating Morgan. It’s too bad these twists can be seen coming from very early in the episodes, but Chuck has the decency to at least make the journeys a blast to watch.
“Chuck Versus the Business Trip” stumbled through its logical inconsistencies (Why did Chuck think posing as Morgan would work? Surely she would have seen...
When you’ve been watching Chuck since its first season, as I have, watching each episode becomes more about the characters and the fun they have then the missions. Overall there’s a pretty obvious template for the spy missions, turning what is usually considered a plot twist into the logical next step. Take for example the defeat and capture of the Viper’s decoy assassin. It was a very easy take down, leaving no doubt he was impersonating the Viper just as Chuck was impersonating Morgan. It’s too bad these twists can be seen coming from very early in the episodes, but Chuck has the decency to at least make the journeys a blast to watch.
“Chuck Versus the Business Trip” stumbled through its logical inconsistencies (Why did Chuck think posing as Morgan would work? Surely she would have seen...
- 11/20/2011
- by Brody Gibson
- Boomtron
Pairing up the studly young Brit teen-dream Alex Pettyfer with the gleefully gorgeous Dianna Agron sounds like it could make for one of the most unforgettable movie romances in recent memory. Certainly one of the prettiest.
But better yet, "I Am Number Four" has aliens, explosions, gigantic beasts and a main character (Pettyfer's E.T. "John Smith") who can shoot lasers from his hands.
Before you head on down to the cineplex to watch "Number Four" in all its super-powered, intergalactic, high-school romantic glory, take a gander at these six fun clips from the movie.
1. Edgy Aussie beauty Teresa Palmer strips down a beach shack before setting it ablaze. We dare you to find any actress who can strut away sexier from an explosion like that... We Dare Ya!
2. John aggressively argues for his right to go to school, while his guardian Henri demands a call every hour, on the hour,...
But better yet, "I Am Number Four" has aliens, explosions, gigantic beasts and a main character (Pettyfer's E.T. "John Smith") who can shoot lasers from his hands.
Before you head on down to the cineplex to watch "Number Four" in all its super-powered, intergalactic, high-school romantic glory, take a gander at these six fun clips from the movie.
1. Edgy Aussie beauty Teresa Palmer strips down a beach shack before setting it ablaze. We dare you to find any actress who can strut away sexier from an explosion like that... We Dare Ya!
2. John aggressively argues for his right to go to school, while his guardian Henri demands a call every hour, on the hour,...
- 2/18/2011
- by Justin Sedgwick
- NextMovie
Did you miss last week's episode? Make sure you catch up with last week's recap!
"Chuck vs. The Push Mix" opens in Casey's hospital room with Casey still in bad shape and mostly unresponsive. Ellie says he'll regain consciousness in a couple days. Alex shouldn't worry -- Casey is family, and Bartowskis take care of their family. (Nice use of the slow Chuck theme music in this scene.) A low sound is heard. Morgan knows that sound anywhere: it was a Casey grunt! What is he saying, they wonder. "Pants..." Why did Casey say "pants?" Morgan thinks it's because he'll never walk again and won't need pants, but Alex offers that maybe there is something in them. Morgan searches Casey's pockets and retrieves the piece of the Hydra eyeball. He hands it to Chuck who flashes information on Hydra and its designer, Ronnie Eimacher. Chuck wonders where Casey got the eyeball.
"Chuck vs. The Push Mix" opens in Casey's hospital room with Casey still in bad shape and mostly unresponsive. Ellie says he'll regain consciousness in a couple days. Alex shouldn't worry -- Casey is family, and Bartowskis take care of their family. (Nice use of the slow Chuck theme music in this scene.) A low sound is heard. Morgan knows that sound anywhere: it was a Casey grunt! What is he saying, they wonder. "Pants..." Why did Casey say "pants?" Morgan thinks it's because he'll never walk again and won't need pants, but Alex offers that maybe there is something in them. Morgan searches Casey's pockets and retrieves the piece of the Hydra eyeball. He hands it to Chuck who flashes information on Hydra and its designer, Ronnie Eimacher. Chuck wonders where Casey got the eyeball.
- 2/1/2011
- by Michael Salerno
- TVovermind.com
It's been a long, long time since we last checked-in on our favorite accidental spy, so catch up with my most recent recap here.
The episode begins in the Loire Valley in France. A man runs with the ubiquitous silver briefcase through the grounds of a chateau, and is being chased by dogs and men with guns. He finds a door, rushes through and finds himself in a wine cellar. He opens the case. There is a syringe inside which he removes to inject himself. Before he does, he decides to plunge the needle into a wine bottle instead. When he depresses the plunger, a microchip is shot into the wine. The pursuers break in and shoot the man in the back. With his dying breaths, the man slides the empty syringe under the wine racks. The gunmen come upon and open the silver case, seeing that the syringe is missing.
The episode begins in the Loire Valley in France. A man runs with the ubiquitous silver briefcase through the grounds of a chateau, and is being chased by dogs and men with guns. He finds a door, rushes through and finds himself in a wine cellar. He opens the case. There is a syringe inside which he removes to inject himself. Before he does, he decides to plunge the needle into a wine bottle instead. When he depresses the plunger, a microchip is shot into the wine. The pursuers break in and shoot the man in the back. With his dying breaths, the man slides the empty syringe under the wine racks. The gunmen come upon and open the silver case, seeing that the syringe is missing.
- 1/18/2011
- by Michael Salerno
- TVovermind.com
The Exorcist movie series is not so much a franchise as a perpetual going-out-of-business sale. There are now four official Exorcist films and many more imitations. The Exorcist (1973), written by William Peter Blatty and directed by William Friedkin, was truly one of the scariest movies ever made, for it portrayed a confrontation by humans with true evil rather than the monsters, mummies, ghosts and living dead that populate most horror films. Since then, however, audiences have been treated to the usual off-the-rack horror nonsense with the Exorcist label misleadingly attached to the titles. Exorcist: The Beginning continues the practice of false advertising.
Yes, the Exorcist imprint will draw enough young males for a solid opening week. Once word gets out that this movie makes Alien vs. Predator look like a classic, boxoffice could drop 50% or more.
The scariest thing about this film is how desperate the makers are to earn a scream. Clearly lacking confidence in a prosaic premise, director Renny Harlin and writers Alexi Hawley, William Wisher Jr. and Caleb Carr try out just about every gag they can think of: From a meaningless opening sequence featuring severed limbs and upside-down crucifixes on a battlefield, the movie indulges in facial boils, blood-sucking leeches, maggots on a stillborn baby, squirting blood, buzzing flies, two suicides, a bird plucking out a human eye and mad hyenas tearing apart of small boy. And when all else fails, they throw in a shower scene and sandstorm.
This was the film that found Morgan Creek making two versions. Paul Schrader shot and finished an edit of his The Beginning in May 2003. When Morgan Creek topper James Robinson rejected this film, Schrader departed and Harlin was brought aboard. Reportedly, little if anything from Schrader's version appears in Harlin's film.
Like the lamentable John Boorman film Exorcist II: The Heretic, this film too rolls back the clock to investigate the first confrontation between Father Merrin, the aging exorcist in the original film, and the devil in British colonial Africa, an incident alluded to in Friedkin's film and Blatty's best-selling novel. Stellan Skarsgard, who, remarkably, stars in both Schrader and Harlin's movies, plays Merrin as a disillusioned ex-priest, drifting through Cairo in 1949 in an alcoholic haze. A mysterious antiquities collector (Ben Cross) approaches him about joining an archaeological dig in a remote region in Kenya, where British authorities have discovered a buried Christian Byzantine church in a place where no church from that era should exist.
Merrin arrives at the site to learn people are disappearing, wild hyenas circle the compound and villagers believe an evil force lurks within the church. He is accompanied by a young and eager priest (James D'Arcy) whose belief in God is so mighty you know he is doomed. Merrin finds more in common with Dr. Sarah Novack (Izabella Scorupco), one of those selfless souls who can do good deeds without ever mussing her makeup or perfectly coifed hair.
Father Merrin -- oops, make that Mr. Merrin -- and Dr. Sarah Share a Holocaust background. She is a concentration camp survivor, while he left the church after witnessing Nazi atrocities in his native Holland.
The remainder of the movie is taken up with bad nightmares, living nightmares of strange doings in the devil's playground and hideous deaths experienced by several characters. The soundtrack is more alarming than the hyenas as every sound is amplified and ominous choral music pounds away. From time to time, Merrin feels the urge to search -- alone -- inside the church or go digging in the nearby graveyard. He always does so in the dead of night. Guess he doesn't want to wake anybody up.
Cinematographer Vittorio Storaro makes the whole look much better than it deserves, while designer Stefano Maria Ortolani does an amazing job of creating an African desert, old Cairo and wintry Holland on the backlots of Rome's famed Cinecitta Studios.
This is the kind of film that mysteriously vanishes from most participants' resumes. In this instance, they can always fall back on Flip Wilson's old line and claim that "the devil made me do it."
EXORCIST: THE BEGINNING
Warner Bros. Pictures
Morgan Creek
Credits:
Director: Renny Harlin
Screenwriter: Alexi Hawley
Story by: William Wisher Jr., Caleb Carr
Producer: James G. Robinson
Executive producers: Guy McElwaine, David C. Robinson
Director of photography: Vittorio Storaro
Production designer: Stefano Maria Ortolani
Music: Trevor Rabin
Costume designer: Luke Reichle
Editors: Mark Goldblatt, Todd E. Miller
Cast:
Father Merrin: Stellan Skarsgard
Father Francis: James D'Arcy
Dr. Sarah Novack: Izabella Scorupco
Joseph: Remy Sweeney
Major Granville: Julian Wadham
MPAA rating: R
Running time -- 112 minutes...
Yes, the Exorcist imprint will draw enough young males for a solid opening week. Once word gets out that this movie makes Alien vs. Predator look like a classic, boxoffice could drop 50% or more.
The scariest thing about this film is how desperate the makers are to earn a scream. Clearly lacking confidence in a prosaic premise, director Renny Harlin and writers Alexi Hawley, William Wisher Jr. and Caleb Carr try out just about every gag they can think of: From a meaningless opening sequence featuring severed limbs and upside-down crucifixes on a battlefield, the movie indulges in facial boils, blood-sucking leeches, maggots on a stillborn baby, squirting blood, buzzing flies, two suicides, a bird plucking out a human eye and mad hyenas tearing apart of small boy. And when all else fails, they throw in a shower scene and sandstorm.
This was the film that found Morgan Creek making two versions. Paul Schrader shot and finished an edit of his The Beginning in May 2003. When Morgan Creek topper James Robinson rejected this film, Schrader departed and Harlin was brought aboard. Reportedly, little if anything from Schrader's version appears in Harlin's film.
Like the lamentable John Boorman film Exorcist II: The Heretic, this film too rolls back the clock to investigate the first confrontation between Father Merrin, the aging exorcist in the original film, and the devil in British colonial Africa, an incident alluded to in Friedkin's film and Blatty's best-selling novel. Stellan Skarsgard, who, remarkably, stars in both Schrader and Harlin's movies, plays Merrin as a disillusioned ex-priest, drifting through Cairo in 1949 in an alcoholic haze. A mysterious antiquities collector (Ben Cross) approaches him about joining an archaeological dig in a remote region in Kenya, where British authorities have discovered a buried Christian Byzantine church in a place where no church from that era should exist.
Merrin arrives at the site to learn people are disappearing, wild hyenas circle the compound and villagers believe an evil force lurks within the church. He is accompanied by a young and eager priest (James D'Arcy) whose belief in God is so mighty you know he is doomed. Merrin finds more in common with Dr. Sarah Novack (Izabella Scorupco), one of those selfless souls who can do good deeds without ever mussing her makeup or perfectly coifed hair.
Father Merrin -- oops, make that Mr. Merrin -- and Dr. Sarah Share a Holocaust background. She is a concentration camp survivor, while he left the church after witnessing Nazi atrocities in his native Holland.
The remainder of the movie is taken up with bad nightmares, living nightmares of strange doings in the devil's playground and hideous deaths experienced by several characters. The soundtrack is more alarming than the hyenas as every sound is amplified and ominous choral music pounds away. From time to time, Merrin feels the urge to search -- alone -- inside the church or go digging in the nearby graveyard. He always does so in the dead of night. Guess he doesn't want to wake anybody up.
Cinematographer Vittorio Storaro makes the whole look much better than it deserves, while designer Stefano Maria Ortolani does an amazing job of creating an African desert, old Cairo and wintry Holland on the backlots of Rome's famed Cinecitta Studios.
This is the kind of film that mysteriously vanishes from most participants' resumes. In this instance, they can always fall back on Flip Wilson's old line and claim that "the devil made me do it."
EXORCIST: THE BEGINNING
Warner Bros. Pictures
Morgan Creek
Credits:
Director: Renny Harlin
Screenwriter: Alexi Hawley
Story by: William Wisher Jr., Caleb Carr
Producer: James G. Robinson
Executive producers: Guy McElwaine, David C. Robinson
Director of photography: Vittorio Storaro
Production designer: Stefano Maria Ortolani
Music: Trevor Rabin
Costume designer: Luke Reichle
Editors: Mark Goldblatt, Todd E. Miller
Cast:
Father Merrin: Stellan Skarsgard
Father Francis: James D'Arcy
Dr. Sarah Novack: Izabella Scorupco
Joseph: Remy Sweeney
Major Granville: Julian Wadham
MPAA rating: R
Running time -- 112 minutes...
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