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Non-Review Review: Rosie

Rosie is a a very timely piece of Irish cinema, but one that never loses sight of the humanity of this national crisis.

From beginning to end, Rosie is infused with an endearing humanity. Writer Roddy Doyle and director Paddy Breathnach keep the story tightly focused on one particular family caught in the midst of the homeless crisis. Breathnach often literalises this, with a handheld camera that keeps the film literally centred on the face of the eponymous protagonist. Even in wide open spaces, even in public, even when she’s the only adult crossing a green or a schoolyard, Rosie is so tightly focused that it feels claustrophic and almost suffocating.

This is the point, of course. Rosie is a very visceral film, and with good reason. Doyle and Breathnach work hard to ensure that the audience feels ever minor crisis, and that it understands precisely how precarious the situation facing this family happens to be. A delayed lunch break seems catastrophic, a child spending time with a friend seems like a disaster. Time is fleeting, and always slipping through the fingers of its protagonist. When life seems to unfold moment to moment, there is no opportunity to catch her breath or to worry about the bigger picture.

Rosie is a fascinating piece of Irish cinema, both timely and intimate, both reflecting contemporary culture and telling its own story within that framework. It’s an impressive piece of work.

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Star Trek: Deep Space Nine – Past Tense, Part I (Review)

This September and October, we’re taking a look at the jam-packed 1994 to 1995 season of Star Trek, including Star Trek: Deep Space Nine and Star Trek: Voyager. Check back daily for the latest review.

It’s weird to think that Past Tense aired at the very end of the period where Star Trek: Deep Space Nine was the only Star Trek on television. The two parts were broadcast in early January 1995, after the release of Star Trek: Generations but before the broadcast of Caretaker, the pilot episode of Star Trek: Voyager.

In a way, these are the most “Star Trek”-y episodes of the third season of Deep Space Nine. Embracing the franchise’s utopianism and optimism, the two episodes are even structured as a gigantic homage to The City on the Edge of Forever. Unlike the somewhat cynical and jaded run of episodes leading into them, Past Tense seems to exist as an episode that could draw fans of Star Trek: The Next Generation into Deep Space Nine.

Panic in the streets...

Panic in the streets…

It would have made sense to position the episodes earlier in the season, where they might have done a better job of attracting casual Star Trek viewers jonesing for a fix after The Next Generation went off the air. Unconnected to the serialised long-form plot of Deep Space Nine, engaging with important social issues of contemporary society and playing with familiar Star Trek tropes like time travel, it’s hard to imagine an episode of the third season of Deep Space Nine better suited to reeling in viewers.

As it stands, though, Past Tense aired at the last possible moment where Deep Space Nine could truly claim to be “the only Star Trek on television”, making the two-parter feel more like a footnote than a crescendo. It’s a shame, as Past Tense remains a vastly underrated instalment of the show’s third season.

Arresting drama...

Arresting drama…

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Non-Review Review: Please Give

Please Give is an interesting little dramedy, with some very well-observed points and a strong cast. It’s smart, it’s biting and it’s quite funny in places, with its wry commentary on some of the more cynical aspects of the human condition. However, I do find myself wondering why the lead characters, wonderfully superficial and weighted down by various forms of guilt, are really worth caring about at.

No mean Peet...

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