SGC Dungarvan Cinema Blog

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

RIngs Review

Directed by F. Javier Gutiérrez and written by David Loucka Rings is the third instalment from the American franchise originally taken from the Japanese 1998 psychological horror movie Ringu. The first American remake was back in 2002 and certainly was one of the big horror movies of that year with people even refusing to have a TV in the bedroom after watching. Unfortunately the concept now seems a little dated at this stage and probably won’t have the same audience fear factor as before.  It definitely wouldn’t be a Rings movie without some classic VHS tapes and you won’t be disappointed as they do make a brief appearance before moving over to computer video files in an attempt to update the Rings franchise to the digital age.

This movie again follows the same concept as before except this time there is a Video within the video that nobody has noticed before. After a very disappointing open scene the plot opens up with the introduction of Holt and Julia, a college couple who are separated due to college commitments. They keep in contact via skype while apart until one day Holt just disappears without a trace. When Julia goes to her boyfriend’s college to try to find her him she meets up with his college science teacher Gabriel, played by Johnny Galecki who is of course Leonard Hofstadter in The Big Bang Theory. Gabriel had seen the famous video that causes the watcher to dies exactly 7 days after watching it.  After he started a club for people who had also seen it called “The Ring Experiment” they soon discover the video within the video that holds the key to stopping the 7 day curse.

Rings is not a hard movie to follow but definitely you need to pay attention to the plot or you might find yourself losing interest. There is a nice twist at the end which makes things interesting. Overall it’s not a bad movie.

Rating 5/10

By Bill Tubbritt

Léirmheas Ballerina

Scéal suimiúil saor ó na clichés, beochan inchreidte go leor agus carachtair gleoite atá pearsantacht chasta, daonna acu. S’éard atá i gceist leis an scannán Ballerina, atá cóiréagrafaíocht ag réaltaí an Opéra National de Paris ann.

Baineann plota an scannáin le scéal Felicie – cailín Briotánach a bhí i gcónaí ag aislingeacht le bheith ina bailéiríne go dtí go bhfuair sí seans amháin lena haislingí a fhíorú i dturas rúnda go Páras. Ní “laoch tipiciúil” í ar an scéal toisc go mbíonn sí dána anois is arís ar nós fíor-pháiste. Níos tábhachtaí fiú, cé gur scéal na n-óg é an scannán so, ní finscéal atá ann, agus dá bharr taispeántar air gur do-dhéanta an rud é teacht ar dhuine atá go hiomlán maith nó go hiomlán olc. Go deimhin, ní bhfuair sí deis freastal ar an scoil bailé i bPáras go dleathach – do ghoid sí aitheantas chailín eile, agus fuair sí pionós cuí dá bharr. Ní hea nár éirigh léi a sprioc a bhaint amach ar deireadh, ach bhí uirthi cloí leis an dlí agus rialacha áitiúla gan tuilleadh caimiléireacht. Is tábhachtach teachtaireacht mar sin a chur trasna chuig páistí: taispeánann sé dhóibh nach ann don “sióg máithriúil” agus caifear obair a chur isteach ar do chuid aislingí… Ach san am céanna, má bhíonn tú dána, gheobhaidh tú pionós.


Tá namhaid spéisiúil ag Felicie chomh maith. Níl Camille bheag go hiomlán olc, ach tarlaíonn sé go bhfuil an-chuid brú uirthi ag teacht óna máthair féin chun an sprioc céanna a bhaint amach. Múintear ceacht eile do na lucht féachanna óga le scéal Camille: níor rugadh éinne “olc”. Foghlaimítear droch-nósanna i rith an tsaoil. D’aineoinn sin, is féidir le haon namhaid maitheas a dhéanamh ar deireadh má thugtar cairdeas fírinneach di.


Is thar bharr an rince a bhfeictear sa scáthlán ó tús go deireadh an sárshaothair so. D’éirigh leis an bhfoireann beochana íomhá a chruthú atá tarraingtheach agus inchreidte san am céanna. Níl sé deacair duine a shamhlú ag tabhairt fé na céimeanna céanna sa bhfíor-shaol. Is mór is fiú féachaint ar an scannán so, is cuma más páiste nó duine fásta thú!

by Natalia Danzmann



Jackie Review

Jackie Review

Most people young and old will understand the significant of the date November 22, 1963 in US history. It is of course the day that one of the most popular American Presidents of all time was assassinated in Dallas Texas. Directed by Pablo Larraín and written by Noah Oppenheim, Jackie recalls the events on that faithful day and the aftermath that followed, seen through the eyes of the iconic first lady Jacqueline Kennedy.

The lead role in this movie is played by Natalie Portman who seems right at home in this part. Her portrayal of Jackie is flawless and much deserving of the many positive reviews and of course her best actress Oscar nomination which she is being hotly tipped as one of the front runners for the award. Also starring in Jackie was John Hurt in his last movie release before his passing in late January 2017.

The movie follows the life of the first lady at first in the White house leading up to the assignation of her husband. After her whole world is turned upside down Jackie quickly learns that her every move and decision is been scrutinized by everyone from the Public to journalists and even politicians. Jackie knows all her moves and actions in the immediate weeks following the assignation are most important. As she struggles to deal with her faith, children and the grief of such a tragic loss she also must consider the legacy of her husband which is very important to her.

The movie focuses on Theodore H. White’s Life magazine interview with the widow at Hyannis Port, Massachusetts in 1963 approximately one week after the assignation. The interview reveals a lot of graphic details about the events of that day which are shown in the movies courtesy of flash backs

Jackie is a fascinating watch with a lot of credit going to Portman for a very strong and convincing performance in what must have been a very difficult part to play due to a public obsession with both the woman herself and of course the truth of what really happened that day.

Rating 7/10

Bill Tubbritt

All-time Broadway ‘smash-hit’, “Amadeus”, Review

       Peter Shaffer’s “Amadeus” is one of the greatest and most popular plays of the second half of the twentieth century – it gave greater currency to the name of W A Mozart and resurrected another name that was once celebrated in the world of music, Antonio Salieri.

Before 1979, few moderns had ever heard the name of Salieri. Yet, two hundred years earlier, at a time when Wolfgang Amadeus Mozart had composed over five hundred musical works and had only a few years left to live, his operas were rarely performed – eclipsed in Vienna and elsewhere by the ‘immortal’ operas of Antonio Salieri! And then came “Amadeus”, followed by the Oscar-winning Milos Forman film, and Salieri achieved the fame he had long ago craved for. (The film won eight Oscars – and Maurice Jarre, who won the Oscar for Best Original Musical score, – for “A Passage to India” – later commented:- “I was lucky Mozart wasn’t eligible”; true for him!.)

“Amadeus”, which tells the story of the rivalry between Mozart and his contemporary who was for a time more successful than Mozart, is one of the twentieth century’s most delightful plays. Its plot was inspired by a play by Pushkin which was based on a rumour that Salieri had claimed on his death-bed to have poisoned Mozart – claiming that he did it because of his obsessive jealousy of the divine gifts the granted to the latter. (The claim has never been supported by scholars, although he did hinder the career of his impractical and often unwise colleague.)

The play premiered in 1979 at The National Theatre, directed by Sir Peter Hall with the great Paul Schofield as Salieri, Simon Callow as Mozart and Felicity Kendall as Mozart’’s wife, Constanze. It was a great hit and transferred to The West End. In 1980 it was produced on Broadway, with Ian McKellan as Salieri, Tim Curry as Mozart and Jane Seymour as Constanze. It was nominated for seven ‘Tonys’, winning five; a ‘Tony’ is awarded for “distinguished achievement in US theatre” and is the stage equivalent of an ‘Oscar’. The production ran for an astonishing 1181 performances, which places it in the All-time Broadway Top-20 for straight plays.

I first saw ‘Amadeus’ at The Gate Theatre in 1983, a production that remains a treasured theatrical memory; Alan Stanford, was superb as Salieri, and won that year’s Harvey’s Award for Best Actor.  And up in Ballyduff they still talk glowingly about a 1992 production of the play Directed by the late Bill Canning, featuring Patsy Ahern as Salieri and the recently-deceased Hugh Moynihan as Mozart.

Shaffer has been accused of trivialising Mozart, of presenting him as a vulgar human being, but it’s also true that few have better grasped the glory of his music. At one point he has Salieri say, at the 1786 premiere of Mozart’s miraculous opera, “The Marriage of Figaro”:-

“Trembling, I heard the second Act. The restored third Act! The astonishing fourth! What shall I say to you who will one day hear this last Act for yourselves? You will – because whatever else shall pass away, this must remain”.

And towards the end of the play, as the notes of Mozart’s last Symphony rise to a crescendo, a tortured Salieri’s voice becomes ever more strident as he claps his hands to his aching ears to shut it out :- “Mozart’s music sounded louder and louder through the world! And mine faded completely, till no one played it at all.”

For music-lovers and those without interest in music, this is a delightful play, both funny and heartbreaking by turn. It tells a great story. The London press have given this production some resoundingly positive reviews. It at SGC on Thurs, Feb 2nd. I intend not to miss it – were it not being screened live, I would be heading to London to see it.  (Jim Ryan).

Verdi’s “Il Trovatore” from Covent Garden Review

World-class singers in Verdi’s “Il Trovatore” from Covent Garden  

Within twenty-four months, from March 1851, three operas by Guiseeppe Verdi, each amongst the greatest and most popular ever composed premiered – “Rigoletto” on March 11th, 1851 in Venice; “Il Trovatore” on January 19th, 1853, in Rome, and “La Traviata”, in Venice, on March 6th, 1853. And “Trovatore” was a tumultuous hit – so great was the applause that the last Act was encored in its entirety.

To quote Denis Forman:- “Trovatore immediately moved up to the top of the Italian repertory and has remained there ever since”; and there could be no greater accolade, in my eyes, than the fact that the immortal Marx Brothers wove their own magical brand of mayhem around a performance of “Trovatore” in their film, “A Night at the Opera”.

While ever since his third opera, “Nabucco”, Verdi had achieved fame as a composer, it was this trio of stage works, his 17th, 18th and 19th,  respectively, that set him on the road to operatic superstardom which made him an Italian national treasure.

“Il Trovatore” demands powerful soloists – Caruso famously proclaimed that all you needed for it was the four greatest singers in the world. In this regard, Forman writes:- “Warning: “Trovatore” demands four top-class singers. With three it gets by. With two or less it can be a pain”.

Well, patrons at SGC need have no worries for this production. Dmitri Hvorostovsky (one of the great Baritones) and Mezzo-soprano, Anita Rachvelishvili, who sings Azucena, has already been heard to thrilling effect at SGC – she is one of the finest new voices I’ve heard in recent years. The American duo, the rich-toned soprano, Lianna Haroutounian as ‘Leonora, and Gregory Kunde (with his marvellous high notes), are superb singers. (Haroutounian was magnificent in Verdi’s “Les Vepres Siciliennes” from Covent Garden two years ago).

Opera is famous for complicated plots, but “Il Trovatore” is something else! The Count di Luna(Snr.) had a gypsy burned at the stake. Her daughter, Azucena, thirsting for revenge, burns the Count’s son – or so she thought! It was her own son she had killed and not realising it, she raises the Count’s son as her own – the tenor, Manrico. So, the Count (Jnr.) and Manrico don’t know they’re brothers until it’s too late. And now, this opera of love, hate, vengeance begins.

The ‘brothers who don’t know they’re brothers’ are in love with Soprano, Leonora. It’s a no-holds-barred work all the way through with much full-blooded singing and some of Verdi’s loveliest music. Highlights are:- two marvellous and famous choruses, the ‘Anvil’ and the ‘Gypsy’, the haunting baritone aria, ‘Il Balen’, (‘The Tempest of the Heart’), the rousing tenor aria, ‘Di Quella Pira’ (with it’s thrilling High C)’, the magical Tenor-Mezzo duet, ‘Ai Nostri Monti’ (much-loved and performed as ‘Home to our Mountains’), the Tenor-Soprano duet, ‘ Miserere’ and, one of the most beautiful of all soprano arias, ‘D’amor sull’ali rosee’. And there’s much more …

“Il Trovatore” is opera at its most operatic, and, with the expected “four greatest singers” in this production, it should be wonderful – maybe as good as the memorable screening of “The Tempest” we had at SGC.

Verdi’s “Il Trovatore can be seen on Tues, Jan 31st at 7.15pm.

By Jim Ryan

La La Land Review

La La Land is a romantic musical comedy written and directed by Damien Chazelle. The Movie was filmed entirely in Los Angeles and its surroundings. Chazelle has been sitting on this movie for a number of years as he was having trouble finding a studio to run with the movie as nobody was willing to invest their finances into his vision. 7 Golden globes later and most certainly a host of awards to follow including the very strong possibility of Oscar success, there will be a lot of studio’s kicking themselves over missing out on what is sure to be a massive box office success.

La La Land

The movies follows the story of Sebastian who is a struggling Jazz musician and Mia who herself is struggling to find her way in the acting world. Both meet each other in a low point in their lives when they are discouraged about their futures in there much loved chosen fields. Sebastian has just lost his job playing jazz in a music bar and Mia has just been turned down for yet another acting audition. These events lead to the two setting out together on a journey of self-discovery, compromise and of course romance which follows them over many years as they chase there hopes and dreams.

La La Land

The feel good factor is definitely set very high on this one with credit going to its main two characters Sebastian and Mia played by Ryan Gosling and Emma Stone. Their on screen chemistry is electric on the big screen. There are a lot of unknown musical numbers in here that you wont of heard of before. This was one of the main  reasons for the initial struggles Chazelle had with the studios for funding but the song choices were beautifully written and performed and will definitely not be unknown for much longer.


by Bill Tubbritt

Assassins Creed Review

Assassins Creed sees Michael Fastbender taking the lead role in this video game crossover movie from the gaming franchise of the same name. This type of videogame adaption has a pretty miserable track record with classic game titles such as Mario Bros, Warcraft & Tomb Raider having already been done with much mixed results. It might be a bit early to say if Assassins Creed will continue this trend but early signs are ominous. Assassins Creed does have the advantage of a very healthy movie budget of 125 million dollars which is very clear to see where it was used as the visual effects and stunt scenes are quite stunning on the big screen and also boasting an award winning cast of well know actors such as Michael Fassbender, Marion Cotillard, Jeremy Irons and Brendan Gleeson.

The Movie begins with a young Callum Lynch who comes home one day in find his mother has been killed by his father played by Brendan Gleeson. Quickly quick forward 30 years to present day and we find Callum now being played by fastbender has now grown up to be a career criminal and bad boy. After been convicted of murder callum is sentenced to execution but is rescued just in time and his death being faked by the Abstergo Foundation. When he is transported back to their complex he meets scientist Sofia and her father Rikkin who attempt to explain their plan to find the Apple of Eden which was created by an ancient civilization and contains the genetic code for human free will. Of course the plan involved the use of a new type of virtual reality type time machine which they plan to test on callum to send him back to 16th century Spain in an effort the find where the Apple was last hide by Callum ancestor.

This movie can be very hard to follow as the plot is very complicated and not very well explained. Can also be a little dull at times but saying that the visual effects and actions scenes do go a long way to keeping the audience entertained. Gaming fans will appreciate the videogame style cinematography which is used a lot a lot.

Rating 2.5/5

A Monster Calls Review


A Monster calls is directed by J. A. Bayona and taken from a novel written by Patrick Ness. Starring Lewis MacDougall, Liam Neeson, Sigourney Weaver and Felicity Jones who all combine together beautifully to provide us with an extremely emotional movie which deals with a young boy trying to come to terms with his mother’s terminal cancer diagnosis. Lewis MacDougal has the role of the young boy Conor O’Malley and really does an amazing job with a lot of this movies success been credited to him. Liam Neeson lend his very distinctive voice to the part of the monster who appears to Conor, this was an inspired casting choice as it fitted the situation and the message the movie was attempting to portray.

There has been a few books making its way on to the big screen over the last couple of years and very few have really worked the same way as there more successful written counterparts. A Monster Calls seems to have made the crossover quite well with a well told story which is helped largely by impressive digital animation.

a monster calls

The plot of this movies tells the story of Conor who is having a terrible time at school dealing with terrible bullying and on top of that he has to deal with the terminal cancer of his mother. Conor life is at its worse when he meets a monsters who hides in a huge Yew tree. The monster comes to tell conor stories which help the young boy to come to terms with and make some sense of why things happen in life. If you are looking for a good emotional drama then this one is a very good choice for you. Don’t worry if you find yourself getting a bit misty eyed toward the end, you definitely won’t be the only one.

Rating 4/5

By Bill Tubbritt

Léirmheas Moana

Scéal aicsin é so a bhaineann le miotaseolaíocht na Polainéise agus stair an phobal san. Tá príomhcharachtar as an ghnáth sa scannán: cailín cróga dárb ainm Moana. Rugadh mar bhanphrionsa í – “iníon an cheannaire” mar a deir sí féin – ach so an t-aon cosúlacht idir Moana agus na banphrionsaí Disney eile. Níl sí ar thóir ar phrionsa (difriúil ó Snow White agus Cinderella) nó ag iarraidh éalú ó cleamhnas (murab ionann Mulan, Elsa nó Merida). Go deimhin, ní bhaineann croílár an scéil le grá, nó le grá teaghlaigh fiú – baineann sé leis an t-aon rud nach ndearna na banphrionsaí Disney eile go dtí seo: aire a thabhairt don phobal ar a bhfuil sí i gceannas. Is féidir a rá, dá bharr, go bhfuil Moana i bhfad níos cosúla le banphrionsa stairiúil ná aon cailín eile cruthaithe ag lucht Disney go dtí so.


Níl mórán cruthaíocht ann ó thaobh an plota dhe. Más ag lorg scéal a chuirfeadh ionadh ort atá tú, b’fhearr an scannán so a scipeáil. Is féidir an scéalaíocht céanna a thabhairt fé ndeara i scannáin a tháinig roimhe. Go deimhin, níl sé deacair comparáid a dhéanamh le Frozen, ó thaobh cailín ag éisteacht lena hinstinne chun dul ar eachtraíocht; Mulan, a rinne an cinneadh a saol féin a chur i mbaol ar mhaithe lena ríocht (seachas go leithleach); agus fiú An Hobad, a chuaigh ar eachtra de bharr a bheith “roghnaithe” ag saoi cumhachtach (sin An Fharraige i gcás Moana – do chuir sé brú uirthi tosnú ag seoltóireacht, ar nós dá mba duine ann). Fé dheireadh, níl aon cor sa bplota sa scannán a chuirfeadh ionadh ar na lucht féachanna, fiú ar deireadh. Tarlaíonn gach rud atá na carachtair ag súil leo, agus cuireann an locht san as don scéal uaireanta. Ní bheadh an scéal chomh leadránach so dá mbeadh sé chomh neamhghnách leis na príomhcharachtair.


Ag trácht ar charachtair – cé go bhfuil Moana an-chosúil le banphrionsa eile ó thaobh corp agus aigne (is “leagan tropaiceach de Merida” í Moana lena gruaig chiotach fada, easpa smideadh, corp réalaíoch agus éadaí simplí – níl mórán cruthaíocht ansan d’aineoinn a bheith difriúil ó mórchuid banphrionsaí Disney), is cinnte go bhfuil sí níos “aibí” ná a comrádaí Albanach: feictear déagóir ceanndána ar Mherida agus sin an méid. Ó thaobh Moana, áfach, tuigeann sí a ról mar cheannaire an todhchaí agus ní hiad a aislingí pearsanta a chuireann ag seoltóireacht ina aonar í – d’aineoinn amhrán fonnmhar ag tús an scannáin a chuireann in iúil dúinn go léir go bhfuil sí i ngrá leis an fharraige. Níl sí leithleach. Do chuaigh sí amach ar bhád níos déanaí sa scéal, chun bia a aimsiú don phobal a bhí ag brath uirthi – agus do chuir sé sin tús le heachtraí draíochtúla chun an Máthair Nádúr a shábháil in éineacht leis an leathdhia Maui. Dá mbeadh Merida ann, gach seans gur ag cruthú fadhbanna don ríocht a bhéas sí seachas ag smaoineamh ar na daoine bochta taobh thiar!


Ar iomlán, d’aineoinn an plota intuartha go leor, is fiú go mór féachaint ar an mbeochan so ar mhaithe leis an gcultúr na Polainéise, an léiriú an-chruinn ar a miotaseolaíocht, agus go deimhin an ceol iontach saibhir – 3 amhrán dúchasacha ina measc! 

Rating 4/5


Natalia Danzmann

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