Advertisements
    Advertisements
  • Following Us

  • Categories

  • Check out the Archives









  • Awards & Nominations

  • Advertisements

New Podcast! Scannain Podcast (2018) #32!

Bringing us almost up to date with the Scannain podcast!

This week, I join Jason Coyle, Alex Towers from When Irish Eyes Are Watching and Ronan Doyle to discuss the week in film, including what we watched, the latest news, the top ten and the new releases. This episode, Jay discusses the portrayal of the working class in Eden Lake, Alex remarks on his experiences with Studio Ghibli, Ronan reflects on the Orson Welles season at the Irish Film Institute and offers his take on The Children Act. We also, in the context of Mamma Mia: Here We Go Again, discuss the all-time top ten at the Irish box office.

New releases include Yardie, Cold War, Action Point, The Happytime Murders, Searching… and Upgrade.

Give it a listen at the link, or check it out below.

Advertisements

Non-Review Review: The Children Act

Perhaps the most striking thing about The Children Act is how it manages to combine so many stock prestige drama beats into such a chaotic cacophony.

The Children Act is a mess from beginning to end, all the more jarring for how familiar and how recognisable the constituent elements might be. The Children Act often feels like a fairly standard IKEA table where all of the pieces have been assembled to create something monstrous. Often during the runtime, the audience might spot a familiar beat or plot point, but often one deployed with little consideration for how these elements normally work or how they might better service this particular story.

Come what May.

The Children Act is a film that very clearly aspires towards a certain style of prestige cinema. It is directed by Richard Eyre, responsible for awards fare like Iris or Notes on a Scandal and even the recent highly successful BBC adaptation of King Lear. It is written by Ian McEwan, adapting his own novel, the writer perhaps still best know to movie-going audiences as the novelist who provided the source material for Atonement. It stars Emma Thompson and Stanley Tucci, two actors who are always highly engaging, and who should bounce off one another.

Unfortunately, almost nothing within the film actually works, with strange decisions contorting the narrative into strange shapes. The Children Act is a curiousity that is more intriguing than it is engaging, more compelling for how completely it refuses to work than for anything that it is actually trying to say.

Just this.

Continue reading