Dot and Bubble was my favorite episode of the series. Absolutely brilliant.
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Oh, this is exciting!
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Now that I’ve seen it- mine too! And no gaping plot holes that bugged me, either! I accidentally saved the best for last.
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That’s great! It’s worth a re-watch, too. You’ll probably notice some things that snuck past you initially. I did, anyway.
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Small things like these is excellent. Cillian is devastating in it as an inarticulate coal merchant traumatised by the misogyny and hypocrisy of church and state. I did wonder why they chose a man to be the audiences eye into it but I then read Claire Keegan’s small things like these which it’s based on. She also wrote Foster which was made into An Cailín Ciuin so I’m sure all her works are in line for adaptation now!
I was worried in the cinema that somebody might find it too much and set the whole audience off. It was pretty emotional.
The week after that we saw this:
Which was an incredibly bittersweet experience. If anything I think it holds a better, more cutting, mirror up to Irish society. Things can change and any rights you win are hard fought and always contingent. Back when some of the footage on that film was from Iranian women would consider Irish women’s rights backwards. Now they are opening mother and baby homes in the US.
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Irish cinema is really winning lately… I also wanted to see that Irish language film set during the famine, but I don’t know if that ever got a wider release?
Also, Irish horror films are excellent.
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An Irish language one came out recently that I desperately wanted to go to (and the director and actor were introducing it at a local cinema I go to most weeks) but I just couldn’t make it. Not the famine one. It’s about a home healthcare worker and looked great in the trailers. I just can’t remember its name.
The first episode of the new season of the Mubi podcast is about Irish cinema. Obviously as a pretty big cinema fan who has access to the academic history on the topic as well as knowing people who make films I would disagree with some of the presentation and feel some of the gaps are more important than things that are there but I still really like it. And I tend to really like their work anyway.
Picked a random podcast feed.
I do like the ending they crafted for it. The biggest grossing film ever at The Lighthouse (a local art house cinema I was last at for a night of student films) was I’m Still Here and he was talking about how it was a huge film for the Brazilians living in Dublin. Our local Brazilians voted something like 98% not Bolsanaro! I went to a Saturday showing in a different cinema and it was half Brazilian and the atmosphere was great. He wondered what the next generation of voices would be like? So do I. The student cinema I went to was proudly very multicultural and looked all over the world for inspiration while also being rooted in the city it was made (housing horror mainly). There is now gradually an infrastructure for it. The folk horror I went to see in an archive showing last year which ran for a week or two in 1984 was the first feature in 50 years which was Irish made. There was one a year for most of the next decade. Then in the 90s more low budget stuff got made and it gradually snowballed.
I was thinking to today, because I was listening to the Amsterdam episode while out running and it focused on art spaces and squatting, how the great rise in successful Irish bands in the last five years, and as with recent cinema its stuff that I like rather than the shitty Irish cinema around when I was growing up which I ran to avoid (heritage, fucking priests and Catholic repression and it’s the fucking 1950s and I don’t care) how that developed because there were cheap spaces abandoned being used for art after the collapse and during the long recession. People handed over buildings to art collectives to look after them rather than leave them abandoned.
Some other place in the next place because that’s over here. As the Dutch episode of the podcast had it “no culture without subculture”, and gentrification kills that.
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I didn’t think there was any mystery about him. Arthur Everest doesn’t even use a secret identity.
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They never closed them. Most are religious based – and not just Catholic – and while some individual locations have closed, more have opened to take their place, and the biggest ones are still going strong.
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They were never just Catholic here either. The closest one to me (on my way to work depending what route I pick) was run by the Plymouth Brethren on behalf of the Church of Ireland (Episcopalian equivalent) It was absolutely as bad as any of them.
It’s infuriating to me that people pick solely on the church (not even churches) rather than on the state that enabled it. Paid for it often. You know the part they voted for, supposedly they had control over it, and they let it happen.
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It’s Tronnin’ Time!
Visuals — +1
Jeff Bridges — +2
Story — 0
Jared Leto — -5347
Will I see it? Odds say no.
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This is really just the movie Pixels 2
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Yeah. “Digitized into a video game” was bs enough. “Video game in the real world” is really pushing it
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I would be willing to suspend my disbelief, but having Jared Leto as the lead is asking too much of me.
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Sounds like someone’s gonna have to be put on the game grid.
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“They have video game powers far beyond what physics allows. How can we possibly stop them?”
“I’ve undigitized someone with experience.”
“It’s-a me, Mario!”
…Look, I really don’t think that’s worse than whatever is happening here.
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Personal take:
Visuals — +1000
Jeff Bridges — +200
Story — 0, maybe -500
Jared Leto — -5347
Will I see it? Odds say… maybe. Eventually on streaming.
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Liked that it wasn’t a origin story*. Krypto was fun. I enjoyed it.
*If you don’t know who Superman is it’s told to you in few minutes in the opening scene.
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I always liked Paul Lynde. I somehow remember enjoying his extremely short lived tv show despite looking on wikipedia to realize I was like 3 or 4 years old. One of the better examples of Carson and the old days when late night talk shows were a little less scripted.
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