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SGC Dungarvan Cinema Blog

4K, 3D, 2D Movies, Culture-Live in Hd, Opera, Ballet & Theatre

Léirmheas Wonder Woman

Wonder Woman

5/5

Scannán ceannródaíoch é Wonder Woman ar dhá chúis go háirithe: feimineachas agus cruinneas stairiúil.

Cé gur thosaigh Wonder Woman amach mar fheimineach radacach sna greannáin Meiriceánacha na 20ú haoise, rinneadh carachtar níos tuiscineach di sa scannán so. Ní chiallaíonn sé sin, áfach, go mbeadh sí ag glacadh le ról na mban go héasca, ach b’fhéidir gur fhás Wonder Woman anuas ó shin agus tuigeann sí anois gur cairde iad fir áirithe.

Tá an scannán so dírithe ar stair Wonder Woman, cá bhfuair sí a cumhacht agus an chúis go bhfuil sí ag obair ar son na cirte i measc na ndaoine daonna. D’fhás Diana (Wonder Woman) aníos in oileán finscéalach a nglaotar Themyscira, áit ina n-imíonn an am ar luas difriúil, níos moille, i gcomparáid le cruinne na ndaoine daonna – cosúil le Tír na n-Óg. Léirítear é sin ag tús an scannáin nuair atá Diana ag breathnú ar sheanphictiúr ón Chéad Cogadh Domhanda, ina bhfuil sí féin le feiceáil, agus cuma chomh hóg céanna uirthi. D’fhás sí aníos in éineacht le hAmazóin eile (muintir Themyscira, iad ar fad ina mná cróga, sárdhaonna), agus is ansin ar fhoghlaim sí conas troid agus a cumhachta a úsáid. Lá amháin, cíonn sí timpiste eitleáin an-ghar don oileán agus sábhálann sí fear as Meiriceá ó ionsaí na nGearmánach. Is dá bharr a dhéanann sí cinneadh a athróidh a saol go deo: dul i mbun troda sa Chéad Cogadh ionas gur féidir léi teacht ar Ares, Dia an Chogaidh – a chreideann sí ba chúis leis an gCéad Cogadh – agus é a mharú.

Is cinnte go bhfuil carachtar níos casta, níos spéisiúla, déanta de Wonder Woman sa scannán so. Ní hamháin go sábhálann sí fir (seachas troid ina gcoinne agus ar son na mban an t-am ar fad) ach léiríonn sí feimineachais ar bhealach níos intuigthe, gan príomh-rún an scéil a dhéanamh as. Nuair a théann sí i mbun troda sa Chéad Cogadh ar mhaithe le deireadh a chur leis an gcoimhlint, níl sí ag smaoineamh go príomha ar chearta na mban a chosaint, ach déanann sí é sin lena haicsin gan a bheith ró-shoiléir faoi – mar shampla: nuair a dhéanann sí beag is fiú d’éadaí “cúng” na mban agus nuair a “mhúineann” sí conas ciall a bhaint as doiciméad rúnda na nGearmánach i seomra lán le fir, agus leanann sí ar aghaidh sa chogadh, léi féin, cé nach bhfuil tromlach na bhfear ag iarraidh a comhairle a leanúint. Taispeánann carachtar Diana dúinn nach gá do scannán feimineachas a phlé go príomha ionas go mbeidh sé ina scannán feimineach.

San am céanna is atá Diana ina bean oilte cliste cumasach, feictear go leor aineolais uirthi fé conas a n-oibríonn sochaí na ndaoine daonna, agus tugann an “fhadhb” sin seans di an tuiscint ar an intinn daonna a fhorbairt i rith an scannáin. Is féidir an forbairt sin uile a thabhairt fé ndeara agus í ar thóir ar Ares sa nGearmáin: is cinnte go dtugtar radharc an troda draíochtúla lán le heifeachtaí speisialta den scoth ar mhaithe le siamsaíocht na lucht féachana – bhí Ares ann i ndáiríre i ndeireadh na dála! – ach ní hé sin an pointe. Tuigeann sí ar deireadh nach bhfuil gráin na ndaoine go hiomlán faoi smacht ag na Déithe.

D’ainneoin an scéal é nach raibh sárlaoch nó sárnamhaid ar bith sa Chéad Cogadh i ndáiríre, tá cruinneas stairiúil suntasach le tabhairt faoi deara sa scannán so, agus déarfainn go dtaitneoidh sé leo siúd a dhéanann staidéar ar stair an Domhain. Ní dhéantar maolú finscéalaíoch ar bith ar an scéal: breathnaíonn an lucht féachana ar cé chomh gránna is a bhí torthaí an chogaidh, an gás nimhneach, na mílte á chailleadh agus fadhbanna sóisialta eile ag an am. Molaím an scannán so do gach éinne: is cuma an fear, bean, duine léinn nó duine ag féachaint air ar mhaithe le siamsaíochta amháin. Bainfidh gach éinne sult as.

Léirmheas Pirates of the Caribbean: Salazar’s revenge

Pirates of the Caribbean: Salazar’s revenge

4/5

De réir cosúlachta, níor thaitin an scannán seo leis an gcuid is mó léirmheastóirí, ach ní aontaímse leo. Is annamh go n-éiríonn chomh maith sin le scannán leantach, agus is lú seans i gcás an 5ú scannán sa tsraith!

D’fhéadfainn a rá nach raibh scannán chomh maith le Salazar’s Revenge riamh ag Pirates of the Caribbean seachas b’fhéidir an chéad ceann sa tsraith (The Curse of the Black Pearl, 2003) dá mbeinnse chun comparáid a dhéanamh. Dár ndóigh, ní hé an rath an t-aon rud i gcoitinne ag an dá scannán sin! Téann Salazar’s Revenge siar ar stair Jack Sparrow, conas a bhfuair sé a ainm agus conas ar chuir sé suim ar an Black Pearl sa chéad dul síos – cruthaíonn an scéal cúlra sin nasc díreach idir tús agus deireadh na sraithe. Rud eile suimiúil le tabhairt fé ndeara ar an “nasc” sin ná: cé go bhfuilimid ag féachaint ar pháistí na gcarachtair ón chéad scannáin anois, críochnaíonn Salazar’s Revenge ar bhealach an-chosúil le tús an chéad scannáin, go háirithe ó thaobh an chaidrimh i measc a dtuismitheoirí. Dá bharr, is ar éigean gur féidir a rá go dtéann sraith Pirates of the Caribbean i gciorcal, gan a bheith ar ghnáth-líne ama go hiomlán.

Sa scannán seo, feictear Will Turner arís tar éis tamaill, é faoi dhraíocht na loinge Salazar. Deirtear gurb é an t-aon bealach leis an draíocht sin a bhriseadh ná Trírinn Poseidon a aimsiú agus a scriosadh. Is minic a phléann Pirates of the Caribbean le meascán de mhiotaiseolaíocht Chlasaiceach, piseoga na mara agus fadhbanna sóisialta amhail gnéasaíochas, só níl aon ionadh go bhfeictear an trí ghné sin ag cur tionchair ar scannán eile sa tsraith arís. An ghné is mó spéise ann, b’fhéidir, ná an béim curtha ar ghnéasaíochas in Salazar’s Revenge: tá bean lárnach sa scéal, Carina Smyth (Kaya Scodelario), a bhfuil spéis aici sa réalteolaíocht, agus is mar gheall uirthi amháin go n-éiríonn le criú na laochra teacht ar a sprioc gan mórán stró nó gan a bheith ar strae (neamhchosúil lena tharla i scannáin eile roimhe sin). Eolaí atá inti – cé go ndeirtear gur bean feasa í toisc go dtaitníonn leabhair léi – agus dá bharr ní chreideann sí ar fhinscéalta. D’ainneoin sin, déanann sí cairdeas leis na foghlaí mara toisc gurb iad an t-aon dream nach bhfuil ag iarraidh í a mharú, agus cabhraíonn sí leo Trírinn Poseidon a lorg sa bhfarraige. Sa chriú céanna, feictear Henry (Brenton Thwaites), mac Will Turner ar aistear chun a athair a shábháil. In éineacht leo, cé eile ná Jack Sparrow féin, a bhfuil gráin air agus díoltas ag teastáil uaidh ar Chaptaen Salazar. An eireoidh leo a sprioc a n-aidhm a bhaint amach?

Cé nach é seo an scannán is iontaí riamh, cuireann sé críoch an-oiriúnach le sraith Pirates of the Caribbean. Tá scéal simplí ann, ach is dócha nach féidir an iomarca fo-phlotaí agus castachtaí eile a chur le scannán críche dá leithéid. Anuas air sin, tá gaol láidir idir an scannán seo agus an scéal a tharla roimhe, rud tábhachtach i gcónaí i sraithe mar sin.

Cardboard Gangsters Review

Cardboard Gangster is an Irish crime Movie based in Darndale, Dublin. The Movie has a largely Irish cast with the most well-known being John Connor who people well certainly remember from Love/Hate. It does seem like John Connor maybe getting a bit stereotyped in this type of role but nobody will complain because very few can do it better. Set in Darndale in the north side of Dublin city the movie follows the exploits of Jason Connolly (John Connor) and his gang who have grown tired of dealing in small time drug dealing. They decide to try and enter the big time by taking over the drugs sales in Darndale. Standing in there way is Derra and his gang who have ruled Darndales’s drug seen for many years with Jason affair with his wife adding fuel to an already volatile situation.

Cardboard Gangster can be funny at different stages of the movie even though it’s not really supposed to be, there is also a lot of violence in the movies which may not be liked by everybody that will go to see the Movie. John Connor just seems to be getting better and better every time we see him on the big or small screen. Early indication suggest Cardboard Gangster will do well on its Irish release and that will be totally deserved as the Movie was very well written and the acting was impressive all round. The Movie also had recent success at the Manchester film festival which is sure to add to the movies appeal internationally.

Rating 4/5

By Bill Tubbritt

Wonder Woman Review

DC Comics are back with this the fourth instalment of their extended universe. Many will recall Wonder woman’s brief but memorable teaser appearance in 2016’s Batman v Superman: Dawn of Justice and will be delighted to see her back with her own movie. Gal Gadot takes the lead role as the title character with Chris Pine providing excellent back up as American pilot Steve Trevor, who crashes offshore of Wonder Woman’s Amazon island of Themyscira. The movie is directed by Patty Jenkins with filming taking place in the United Kingdom, France and Italy. Production ended in May 2016 and the movie was released here on June 1st 2017.

The Plot of the movies unfolds when Diana Prince shown in present day receives a world war one photograph delivered to her office by Wayne enterprises. As she looks at the picture she starts to recall her passed and we are taken back to 1918 to the Island where wonder woman was created by the gods to fights against the God of War Aries. When Captain Steve Trevor crash lands on the island he is followed by German soldiers who attack the island in their effort to kill Steve. This is where Diana learns about World War 1 and is convinced it is caused by Aries the god of war. She knows it is her duty to seek out Aries and kill him as she feels this will return the world to peace again.

Chris Pine and Gal Gadot have an excellent on screen chemistry together and helped to create a truly entertaining movie which is filled with action and excitement throughout. At over 2 hours long it is not a short movie by any mean but does not feel long as it ticked along very smoothly with no real lull in the movie at all. A lot of the recent super hero movies have not performed as well as expected despite been big name remakes of already popular super hero franchises. Wonder woman however will not be going down the same route as it will be no surprise to see it doing very well at the box office. This May have been the first full movie with Wonder Woman in the feature role but will not be the last.

Rating 4.5/5

Bill Tubbritt

Diary of a Wimpy Kid: The Long Haul Review

This franchise is returning for the fourth instalment with an entirely new cast. Usually that would indicate a reboot but not in this case as Diary of a wimpy Kid The Long Hall continues on from the last movie “Dog Days” which was released back in 2012.The 5 year time lapse being the reason for the new cast as most of the previous cast would now be too old or too big too play there parts. Jason Drucker and Owen Asztalos portray Greg and Rowley, David Bowers returns as the director in this his 3rd  time in the director’s chair for the franchise. Alicia Silverstone and Tom Everett Scott portray Greg’s parents Susan and Frank.

This time we see the family taking a road trip to visit their grandma for her 90th birthday. Not all the family are happy with these plans with Mom Susan being the only one enthusiastic about the trip. The family are less impressed with the trip when they hear Mom family bonding idea of making the trip unplugged by turning off all Phones, Tablets etc. Of course the road trip with not go smoothly as the family experience a number of setbacks and interruptions along the way.

This Movie is most definitely focused towards Children more than adults as the slapstick humour keeps coming throughout the movie and will keep the little ones well amused while adults may be rolling their eyes a little. The newly formed cast do actually bare a good resemblance to the original cast with the exception of maybe Alicia Silverstone’s character Susan. The typical road movie format of the past is practically followed to the letter which isn’t really a negative as it is done quite well which help the movie to maintain an original feel. This is definitely one that will be popular as there are lots of fan of the book series that will be eager to see the next instalment on the big screen.

Rating

3.5/5

 

SGC Dungarvan Cinema is proud to announce that our sound has been upgraded to the phenomenal 7.1 Dolby Surround Sound which gives more depth and greater realism for you at the movies.  Enhances audio definition, so individual sounds are clearer and more distinct.

A more rounded and robust sound that truly lets you feel everything that is happening on the big screen in front of you, leaving you fully enveloped into the world of the movies, be it a musical, action, adventure, drama or comedy.

Sound so encompassing you can feel every beat and every silence like never before, whether it’s the Booming vibrations of King Kong pounding his feet towards you, the subtle tiptoe passing a sleeping monster or the scrape of a horror movie maniac, the sound will pull you deeper and deeper into the world.  Movies never Sounded this good!!

 

Dolby Surround 7.1 increases the impact of surround sound by adding two audio channels. In the process, it improves the spatial dimension of movie audio and enhances overall audio definition for movie soundtracks.

 

Four Surround Zones

One of the innovations of Dolby Surround 7.1 is the creation of four distinct surround zones in the theatre. These surround zones provide filmmakers with greater control over the exact placement of each detail in their soundtracks.

The orchestration possibilities that Dolby Surround 7.1 introduces allow mixers and sound designers to more accurately match their audio to the visuals onscreen. This means more depth and greater realism for you at the movies.

In addition to improving the side-to-side panning of sounds and sound localization, Dolby Surround 7.1 enhances audio definition, so you hear individual sounds more clearly and distinctly. It also widens the listening “sweet spot”—in other words, the full power of Dolby Surround 7.1 is not limited to a handful of seats in the center of the theatre.

 

Dolby Surround 7.1 Benefits for our customers

 

Two Additional Audio Channels

With two new channels of sound, Dolby® Surround 7.1 extends the creative palette for filmmakers and enables movie sound that better matches the onscreen action.

 

Precision Sound Placement

Greater control of the sound placement allows filmmakers to better match the audio to what takes place onscreen.

 

Enhanced Audio Definition

Dolby Surround 7.1 enhances audio definition, so individual sounds are clearer and more distinct.

Better Sound for All Seats

Dolby Surround 7.1 improves the surround sound experience across the entire theatre by widening the listening “sweet spot.”

Léirmheas Logan

Scannán foréigneach, eipiciúil, ach daonna é seo thar aon rud eile, cé go mbaineann sé leis na sárlaochra sóite atá aithne mhaith ag mórchuid leantóirí X-men orthu. Neamhchosúil leis an chuid is mó scannáin X-men a tháinig roimhe, áfach, bhí Logan stiúrtha ar nós scannán Western clasaiceach – agus déantar tagairt díreach orthu siúd nuair a bhíonn na príomhcharachtair ag féachaint ar radharc Unforgiven, ag Clint Eastwood, i seomra óstáin. Ní chuirtear mórán béime ar chuimsiú sóisialta na “ndaoine difriúla” sa scannán seo toisc go bhfuil sé dírithe níos mó ar theaghlach, misneach agus an coimhlint idir an mhaith agus an t-olc.

Tarlaíonn scéal an scannáin seo sa bhliain 2029, agus baineann sé leis an t-aon duine sóite atá fágtha – Logan, a dtugtar Wolverine air. Tosnaíonn sé le radharc ina bhfeictear a chró fólaigh agus cuid dá shaol mar thiománaí meánaosta atá dobrónach, gan aird sa saol. Níl comhluadar aige ach Caliban agus Professor X, atá taomanna air chomh cumhachtach lena hinchinn neamhghnách. Nuair a bhualann Logan le cailín sóite a bhí faoi chúram bhanaltra Meicsiceach, áfach, faigheann sé cuspóir nua lena shaol – ach ní gan dúshláin a thagann an deis “tuistithe” sin: tá namhad sa tóir uirthi agus ar pháistí eile atá cumhacht osnádúrtha orthu. An eireoidh le Wolverine iad a chosaint?

Briseann Logan cliché a bhaineann le páistí san earnáil scannánaíochta: in áit daoine óga gleoite sobhriste, feictear sárlaochra atá ábalta tiomáint, foirgnimh a thógáil, agus nach bhfuil eagla orthu namhaid a mharú – ach is páistí iad fós, agus is féidir é sin a aithint anois is arís, go háirithe nuair a bhíonn Laura (páiste Logan) ag súgradh.

Is greannmhar na himeartais focail le cúrsaí reatha Mheiriceá sa scannán seo: úsáidtear “fake news” nuair a dúirt Laura gur féidir teacht ar Eden na ndaoine sóite i Meiriceá, agus ní chreideann Logan ar an scéal. Chomh maith leis, Donald is ainm leis an namhad nua atá ag na X-men. Is cosúil gur faisean nua atá ann do na scannáin sárlaochra amach anseo.

Logan by Natalia Ui Fhailain

5/5

Léirmheas Beauty And The Beast

Scannán beo-aicsin é so ar an mbeochan Beauty and the Beast (1991), a dhein Disney mar athinsint ar an bhfinscéal dárb ainm céanna. Is léir an ceangail idir an dá scannán, ó thaobh íomhá na gcarachtair, fuaimrian, agus dár ndóigh an chríoch shona. Scéal rómánsach ceolmhar é so a chuirfeadh ag taisteal ar ais in am thú le huaigneas… nó, más páiste thú sa lá atá inniu ann, is cinnte go gcuirfeadh sé gliondar i do chroí.

An chéad rud a thugtar fé ndeara sa scannán so ná: cé chomh díograsach is a bhí an stiúrthóir ag athchruthú radharcanna – agus ceol – na beochana 1991 ionas go mbeadh siad chomh dílis agus is féidir leis an chéad scannán. Go deimhin, is do-dhéanta gan cuimhniú siar ar scéal Belle agus a gúna gorm simplí, ag canadh timpeall an bhaile bídeach ina bhfuil cónaí uirthi, fé cé chomh bréan is atá sí de “shaol tuaithe”. Níl aon athrú sa bplota, rud a bhí déanta d’aon ghnó leis an gcuspóir sin thuasluaite. Tagann Belle ar chaisleán an ainmhí agus í ar thóir ar a hathair trasna na foraoise, agus glacann an ainmhí léi mar phríosúnaí ina áit. Le himeacht na haimsire, áfach, faigheann sí amach gur prionsa fé dhraíocht é an ainmhí i ndáiríre, ach ní bhrisfear an draíocht mura bhfuil sé in ann teacht ar fíor-ghrá.

Cé go bhfuil radharcanna áirithe sa scannán so iontach taitneamhach – mar shampla, an t-amhrán Be Our Guest, ina chuireann troscáin an chaisleáin dinnéar ar fáil do Belle agus déantar ceolchoirm mór millteach as an ócáid – is annamh go bhfuil an aird ar fad ar an príomhcharachtar sna radharcanna san. Ní mhothaítear an draíocht céanna nuair atá Belle lárnach sa scáileán, fiú i radharc an chéad rince leis an aimhí! Só d’aineoinn an t-atmaisféar taitneamhach cruthaithe ag na héifeachtaí speisialta, an ceol, agus na carachtair eile timpeall uirthi – gach rud beagnach foirfe – níl drámaíocht Emma Watson thar moladh beirte mar Belle. Tá díomá léirithe ag an-chuid leantóirí lena cuid drámaíocht leadránach le déanaí, agus anuas air sin, deirtear go bhfuil simpliú iomarcach déanta ar a gúna buí íocónach. Bhí sé i bhfad níos galánta sa mbeochan 1991 go deimhin!

Ar an taobh eile den scéal, áfach, caifear aitheantas a thabhairt do Luke Evans, a dhéanann an namhad Gaston sa scannán. Ní fhéadfadh leis bheith níos foirfe don ról sin, agus is ar éigean a chreidtear go bhfuil sé ina amadán naircisíoch i ndáiríre. Is fiú féachaint ar an scannán so mar gheall ar an gcarachtar san amháin!

by Natalia Ui Fhailain

4/5

Royal Opera: Madama Butterfly Review

Puccini’s “Madam Butterfly” from Covent Garden,

 Thurs, March 30th at 7.15pm at SGC Dungarvan by Jim Ryan

Booking now open – http://bit.ly/SGC-MadamaButterflyBooking

                         Back in the dreary days of January, on a trip to Prague, I attended five operas, including a superbly sung “Madam Butterfly”, which was received with loud applause by an enthusiastic audience; as so often, they were moved by the fate of the ill-starred heroine. Puccini is one of the most popular of all opera composers and his operas are among the most performed worldwide every year. His ‘fans’ are in for a treat at the SGC, Dungarvan, with ‘Butterfly’ coming from the Covent Garden, one of the world’s greatest opera houses. Incidentally, followers of modern-day musicals will find a retelling of the opera in “Miss Saigon”. Of further interest to Irish Puccini-lovers is the fact that the composer himself in his assessment of singers of the heroine’s role, declared Mayo-born Margaret Burke-Sheridan (who died in 1958), to be “the only Butterfly”. Leontyne Price, Renate Tebaldi, Victoria de los Angeles and the great Callas have been among the greatest modern interpreters of this, one of the most coveted of all operatic roles.

‘Madam Butterfly’, Puccini’s 6th opera, was first performed on February, 17th, 1904, at La Scala, Milan. Despite having renowned principals (two all-time greats, tenor Giovanni Zenatello and the renowned baritone, Guiseppe de Luca – the latter’s ‘Traviata’ and ‘Rigoletto’ duet recordings with Amelita Galli-Curci are treasures), it was a failure; jeers and catcalls greeted much of its second act. Puccini withdrew it, revised it and only three months later, at Brescia on May 28th, it was greeted with approval and sustained applause. Soon it was an operatic smash hit and ever since it has remained one of the most performed of all operas. It was first performed at Covent Garden in 1905, with Caruso, Antonio Scotti and the peerless Czech soprano, Emmy Destinn – some said she has never had an equal as Butterfly (on a trip to Prague in January, I saw a statue of her in her native city).

My friend, Tommy O’Brien, of RTE Radio fame, was an ardent Puccini ‘fan’ and considered ‘Butterfly’ one of the greatest of all operas. I have written hitherto of how Tommy, playing recordings of the opera, often illustrated for me, at his home in Clonmel, the subtleties and beauties of the composer’s musical genius.

‘Butterfly’ was first performed at The Metropolitan Opera in New York, on Feb, 11th, 1907 – one of my favourite LPs has the recorded highlights of the Met’s first ‘Butterfly’ with Geraldine Farrar, Enrico Caruso, Antonio Scotti and Louise Homer – a cast for the ages! After hearing Caruso in the opera, a critic wrote: “What is he? He is not a singer. He is not a voice. He is a miracle”. Puccini wrote: “Caruso was magnificent, singing like a god”. The libretto is based on a play by David Belasco, which Puccini saw in The Duke of York Theatre, London, in June 1900. He realised the possibilities for an opera based on a clash of American and Japanese cultures.

The tragic tale concerns Cio San, the Japanese fifteen-year-old geisha girl known as Butterfly, who renounces family and religion to marry American naval lieutenant, Benjamin Franklin Pinkerton’. This faithless cad has no intention of making it a permanent marriage. The passionate duet in which they pledge their love, “Un Po di Vero C’e” is one of the most gorgeous duets in all opera. But, from then on it’s a moving story, with the ever-faithful girl being the loser. There’s some lovely music: there’s “One Fine Day”, one of the most loved of all soprano arias, and there’s the Flower Duet, just to mention but a few highlights.

‘Madame Butterfly’ is perennially among the top five in terms of performances annually. Any opera house manager who wants to make a few Euros need look no further than this opera. In the fifty years following its first performance at The ‘Met’ it was performed there an astonishing 360 times. It’s arguably the most popular opera ever composed and it will, no doubt, bring a big audience to The SGC, Dungarvan on March 30th.  (Jim Ryan)

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