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125. V for Vendetta (#153)

Hosted by Andrew Quinn and Darren Mooney, The 250 is a (mostly) weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released every Saturday at 6pm GMT.

This time, James McTeigue’s V for Vendetta.

Accosted by “finger men” for breaking curfew, Evey Hammond is rescued by a mysterious stranger who only introduces himself as “V.” As Evey finds herself drawn deeper into the world of this violent vaudevillian figure and as she discovers more and more of his plot to topple the country’s totalitarian regime, Evey finds herself wonder whether this masked figure is a vigilante or villain.

At time of recording, it was ranked the 153rd best movie of all time on the Internet Movie Database.

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Guests of the Nation at the National Concert Hall (Review)

I was very kindly invited along by the wonderful folks at the National Concert Hall.

I have to admit, I’m always in awe of the effort that the National Concert Hall make in presenting classic film. It really is something to see a classic movie projected on to a big screen, as it was intended, but with a full orchestral accompaniment. They recently hosted a celebration of The Four Horsemen of the Apocalypse complete with RTÉ Concert Orchestra performing a live soundtrack. This time, it was arguably something even more special, a premier of the remastered version of Guests of the Nation with a brand new score by Niall Byrne. It’s clear that a lot of love went into the project, and there was something genuinely touching about the introduction from Irish actor Stephen Rea. It’s really a wonderful celebration of Irish cultural heritage, and proof that our cinema legacy stretches back a lot earlier than most would give it credit for.

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Non-Review Review: Ondine

I like Neil Jordan. He’s probably the greatest Irish director, and one of the few directors who can switch back and forth between big Hollywood productions like The Brave One and quirkier Irish films like Ondine, with neither feeling particularly strange or inappropriate for its particular genre. Ondine is Jordan’s attempt at a lowkey Irish fairytale, told in a small fishing village down in Cork – calling to mind the sort of stereotypical portrayal of country life in Ireland, filled with drunkards and gossiping locals, where everyone knows everyone else and a stranger is instantly remarked upon. It’s to Jordan’s credit that the film works as well as it does. The director manages to create a genuine sense of magic and whimsy which carries a large portion of the film. However, like most magic and slight of hand, if you look too closely you’re liable to figure out that nothing’s going on.

Does Neil Jordan's latest hold water?

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