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New Podcast! Scannain Podcast (2019) #13!

It’s time for the Scannain podcast!

This week, I join Grace Duffy, Ronan Doyle and Jay Coyle to discuss the week in film. There’s a lot to cover this week, most obviously the passing of Agnès Varda, who was something of a patron saint of the podcast. However, the film news also covers the United States Justice Department’s intervention in the row between Netflix and the Academy, big announcements from Cinema Con, news about Disney’s purchase of Fox, the Newport Beach Film Festival, and the Celtic Media Awards.

All of this plus the top ten and the new releases.

The top ten:

  1. How to Train Your Dragon III: The Hidden World
  2. Die Walkure – Met Opera 2019
  3. The Lego Movie 2: The Second Part
  4. Green Book
  5. Instant Family
  6. Lucifer
  7. What Men Want
  8. Captain Marvel
  9. Us
  10. Dumbo

New releases:

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Non-Review Review: The Sisters Brothers

This film was seen as part of the Virgin Media Dublin International Film Festival 2019. Given the high volumes of films being shown and the number of reviews to be written, these may end up being a bit shorter than usual reviews.

The Sisters Brothers is a charming and deeply unfocused modern western.

Adapted from Patrick deWitt’s novel of the same time, The Sisters Brothers is a tale of two bounty hunters at work on the frontier. Working for the mysterious (and ominous) “Commodore”, Charlie and Eli Sisters are men of violence who stalk the wilderness in search of those who have wronged (or, to quote Charlie, “victimised”) their employer. However, the film is about more than just that. As with so many westerns, it is a story of encroaching modernity and civilisation atop a foundation of brutality and violence, and efforts to navigate the liminal space between the two.

Brothers’ keepers.

The Sisters Brothers works best when it focuses on its core cast, especially the eponymous murderous siblings played by Joaquin Phoenix and John C. Reilly. There is an appealing tragedy to these two men and how they face the changing times. Charlie seems unwilling to acknowledge civilisation and society, revelling in debauchery and indulgence. Eli imagines himself capable of the sort of change that such a transition would demand from him. Pheonix and Reilly layer their performances in contradictions and nuance, suggesting life beneath the archetypes.

However, The Sisters Brothers is simply too unfocused and too meandering to completely work. This is particularly apparent when the film indulges in any number of narrative diversions, or when the film eschews its core narrative altogether to embrace a more philosophical perspective. The Sisters Brothers has great ideas, but those ideas tend to diffuse without a strong narrative structure around them. The Sisters Brothers often feels in need of a tighter edit and a strong script polish, which is a shame considering the strengths that it demonstrates otherwise.

Shore thing.

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