Search

SGC Dungarvan Cinema Blog

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

Learmhais Kingsman The Golden Circle

Aicsean den scoth, éifeachtaí iontacha agus teachtaireacht láidir a chuirfidh thú ag machnamh go mór: sin iad na buanna is mó atá ag an scannán leantach so.

Cé gur scannán leantach é so, is deacair é a chreidiúint: bheinn ag súil go mbeadh daonra an domhain íslithe go mór agus córas polaitíochta iomlán éagsúil i bhfeidhm ar fud na cruinne i ndiaidh an chéad scannáin. Is dócha go bhfuiltear ag cloí leis an bpatrún céanna arís: sábhálann lucht Kingsman an domhain ó namhaid cumhachtach a dhéin bagairt mhór tubaisteach, ach cé is moite de sin, ní thugann éinne na gníomhairí rúnda fé ndeara. Níl a leithéid sin inchreidte in aon chor. Pé scéal é, is féidir cur suas leis an bpoll mór millteach sa phlota má bhíonn tú ag tabhairt níos mó airde ar an aicsean agus an smaoineamh taobh thiar den scéal. Tá go leor polaitíochta taobh thiar de scannáin Kingsman, agus de ghnáth is smaointeoir den scoth atá sa namhaid: ar an gcéad scannán, bhí namhaid ag iarraidh ollscriosadh a dhéanamh ar daonra an domhain toisc go bhfuil sé ag éirí ró-mhór agus ó smacht againn. Nach fíor é! Dár ndóigh, d’éirigh le gníomhaire déagóir Harry Hart (Colin Firth) agus a fhoireann stop a chur leis, ach fanann na lucht féachana ag smaoineamh ar an gceist. Níl sé difriúil sa scannán leantach: is í ár namhaid an babhta so í Poppy Adams, ceann de na mangairí drugaí is mó rath orthu ar domhain. Cé go bhfuil sí saibhir, teastaíonn cáil uaithi. Dá bharr sin, cuireann sí nimh ar na drugaí mídhleathacha go léir. Tá leigheas forbartha aici, ach ní scaoilfidh sí é ar fud an domhain sula ndéanann uachtarán Mheiriceá cinneadh na drugaí sin ar fad a cheadú as seo amach. An eireoidh le Kingsman stop a chur léi?Cé go mbaineann an scannán so le ceist na ndrugaí, taispeántar ár laochra ag ól níos mó ná uair amháin. Dár ndóigh, oibríonn siad in éineacht lena gcomrádaithe Meiriceánacha Statesman, atá fé bhréagriocht i ndrioglann uisce beatha! Ní dóigh liom gur trí thimpist a bhí sé sin. Is fimíneacht atá á cháineadh sa scannán so thar aon rud eile, agus níl sa príomhscéal ach píosa aicsin taitneamhach a théann leis. D’fhéadfaí na scannáin Kingsman a cháineadh ar go leor bealaí éagsúla – níl easpa lochtanna iontu in aon chor – ach is léir go gcuirtear rudaí dochreidte áirithe ann ar mhaithe le greann… Agus oibríonn sé! Nach deas féachaint ar scannán spiaireachta atá greannmhar, cosúil leis na chéad cúpla scannáin 007 an chéid so caite. San am céanna, tá an tsraith so cliste ag spreagadh díospóireachta ar cheisteanna conspóideacha an lae inniu. Níor cheap mé riamh go ndéarfainn é riamh, go háirithe i mbun léirmheasa scannánaíochta, ach: uaireanta ní gá ciall a bheith sa phlota in aon chor.

By

Natália Uí Fhaoláin

4/5

Advertisements

Learmhais Victoria and Abdul

Ní fhéadfaí a rá gur scannán beathaisnéise é, toisc go bhfuil níos mó cruthaíocht ann ná ábhar stairiúil. Ar an taobh eile, seans nach píosa tuairimíochta é ach an oiread: is deacair a shamhlú go dtacaíonn an stiúrthóir – nó duine ar bith beo – leis an gcoilíneachas a léirítear sa scannán so. An locht is mó atá ann, dá bharr, ná nach féidir aidhm an scannáin a thuiscint in aon chor.

Cé gur dheacair a dhéanamh amach cad é go díreach a bhí ar intinn an stiúrthóra, níl aon amhras go bhfeictear drámaíocht den chéad scoth sa scannán so. Déarfainn go bhfuil duais de chineál éigin tuillte ag Judi Dench (an Bhanríon Victoria) as an obair den scoth a dhéin sí ann. Léiríonn sí banríon Shasana dobrónach, tuirseach, ag titim san aois, ach san am céanna níos daonna ná riamh.

Bunaíodh an scannán (go páirteach) ar an leabhar Victoria & Abdul: The True Story of the Queen’s Closest Confident, ag Shrabani Basu. Ar thaobh amháin den scéal, is fíor é go ndeachaigh Abdul Karim (Ali Fazal) agus a chara Mohammed (Adeel Akhtar) go dtí Londain chun duais Indiach a bhronnadh ar an mBanríon mar gheall ar a hIubhaile. Is fíor é chomh maith gur éirigh Victoria agus Abdul cairdiúil de réir a chéile agus d’fhan sé ar a taobh go deireadh, mar mhúinteoir Urdu, comhairleoir agus cara. Ar an taobh eile den scéal, áfach, is deacair a chreidiúint go raibh Abdul an fhíorshaoil chomh haineolach agus chomh géilliúil is a léirítear sa scannán: pógann sé bróga na banríona agus tugann sé neamhaird iomlán ar Mohammed i Londain, fiú nuair a imíonn sé ar shlí na fírinne. Cuireann sé sin amhras ar na lucht féachana: an ea go dtacaíonn Abdul le coilíneachas? Seans, go stairiúil, go raibh sé sásta cabhrú leis an mBanríon agus cur suas leis an gciníochas mórthimpeall air ar chúis eacnamaíoch: go leor airgid a bhailiú agus saol níos fearr a thabhairt dá chlann in India. Ach ní hé sin a fheictear sa scannán in aon chor. Feictear Abdul umhal, géilliúil sa scáileán, beagnach ina sclábhaí.

Is deacair a rá an cháineadh nó ómós don ciníochas atá i gceist ansan, agus dár ndóigh chuir an t-amhras sin isteach ar go leor léirmheastóirí cheana féin. Is dóigh liom féin nár éirigh leis an stiúrthóir teachtaireacht shoiléir a chur trasna leis an scéal, ach cé is moite de sin, feicim cruinneas stairiúil de chineál éigint ar an slí a réitíonn na carachtair le chéile. Tá aineolas caolchúiseach le feiceáil ar aghaidh na banríona nuair a bhíonn Abdul ag labhairt léi fé dímheas agus ciníochas san India, mar gheall ar arm Shasana. Creidim sin. Is minic a bhíonn daoine geala ardaicmeacha dall dá leithéid sin mar gheall ar phribhléid – feictear é sa lá atá inniu ann freisin, ó thaobh polaiteoirí de. Thar aon rud eile, áfach, is éard is mó a chuir meangadh gáire orm le linn an scannáin so ná cé chomh daonna is atá an drámaíocht: i ndeireadh na dála, níl i Victoria ach seanbhan chráite nár éirigh léi cairdeas ceart a bheith aici le héinne dá teaghlach féin. Fuair sí comhluadar Indiach agus ar deireadh ba chuma léi fé aicme nó cine dá bharr. Chuir Abdul gliondar thar n-ais ar a croí, agus sin an príomhchúis nach raibh eagla uirthi roimh an strainséar so nó a chultúr eachtrannach – eagla a fheictear, áfach, ar na daoine geala eile go léir sa scannán.

Ar iomlán, scannán inchreidte go leor é so, cé is moite den gcruthaíocht ar fad sa scéal. Is mór is fiú féachaint air, má dhíríonn tú níos mó ar na mothúcháin ná an stair.

Natália Uí Fhaoláin

Home Again Review

Home again is the directorial debut of Hallie Meyers-Shyer who of course is the daughter of two very famous director parents Nancy Meyers and Charles Shyer. The Movies stars Reese Witherspoon who always seems to be the perfect choice for romantic comedy rolls with this time being no different. Candice Bergen, Nat Wolff, Jon Rudnitsky, Pico Alexander and Michael Sheen make up the cast of main characters.

The plot follows newly separated mum of two Alice Kinney (Witherspoon) after she has just moved back to her home town after separating from her husband in New York. Alice faces big changes in her life as she tries to settle her young family in their new surrounding while also trying to deal with turning 40. Alice’s live changes completely when three guys move in to her summer house as they chase their dream of breaking the movie business in the big city. Of course a rom-com would not be complete without some romantic interest between one of the guys and Alice along with the added complication of an estranged husband who still has strong feeling for his wife.

Director Hallie Meyers-Shyer seems to have adopted a very similar style to her more experienced parents as she has definitely taking Home Again down the same chic-flick route which seems to be a family trade mark. This one may not be as funny as previous family successes such as Bridesmaids and Father of the Bride 1 & 2 but that does not stop Home Again being an enjoyable easy to watch movie that also has a few laughs along the way.

Rating 3/5

Bill Tubbritt

Leirmheas Victoria and Abdul

Bhí Banríon na Sasana ag obair léi agus í anonn go maith sna blianta. Casann sí ar fear óg Indiach darbh ainm Abdul Kareem. Forbraíonn an bheirt caidreamh neamhghnách agus bronnann an Banríon an ainm “Munshi” air. Ach níl mórán ball den teaghlach sásta le seo go háirithe a mac Bertie. Ag an am ní raibh muintir na Breataine oscailte chuig daoine le chúltúir eile.

Is ionadaí den sórt í an Banríon do Abdul, ní ligeann sí do aon duine drochfhocal a rá chuige. Creideann sí go ceart caitheadh le gach eile duine mar an gcéanna is cuma faoi dath a craiceann, nó a náisiúnta. Rud mór an smaoineamh seo ag an am go háirithe ón sochaí uasaicme.

Fásann an caidreamh  agus tá sé díreach céard a bhí in easnamh ag an mbanríon, tá sí ag dul in aois agus deir sí go bhfuil gach duine a raibh grá aici dó tar éis bás a fháil. Sa scannán feicimid an banríon ag gáire agus a foghlaim faoin domhain mhór go speisialta an India mar shampla faoi mangó.

Tá Judi Dench tarraingteach mar an banríon cantalach. Ní nach iontach go cuireann sí an lucht féachana faoi draíocht lena scileanna aisteoireachta. Is carachtair gealgháireach agus dearfach é Abdul. Glacann sé gach déis a tagann a dtreo.

Is scannán taitneamh é seo, is féidir le daoine ó gach aois grúpa sult a bhaint as. Caithfidh mé a rá gurbh é chleamhnais a shocraigh na haingil iad Victoria agus Abdul.

Kingsman The Golden Circle Review

After the huge and somewhat surprise success of the first Kingsman movie it is no real shock to see Matthew Vaughn back in the director’s chair for this the second instalment in the franchise. Colin Firth, Taron Egerton, Mark Strong, Edward Holcroft and Sophie Cookson all reprise their roles from the first movie with Halle Berry, Pedro Pascal, Channing Tatum and Jeff Bridges joining the cast as Kingsman’s American counterpart agency “Statesman”. It’s great to see Vaughn continues with his use of high energy highly explosive action scenes combined with the same crazy mix of overly exaggerated high technology gadgets that makes this movie very much a fun take on the James Bond movies.

Kingsman the Golden Circle picks up a year after the events of the last movie which saw The Kingsman agency saving the world from Richmond Valentine. This time round the agency headquarters are destroyed leaving only Eggsy and Merlin as the only surviving members. After they invoke there doomsday plan they are lead to their US sister agency known as Statesman. These two agencies must then combine in their struggle to save the world from a common enemy. Colin Firth also returns in his role as Harry Hart.

This movie certainly managed to attract a high quality cast particularly with the introduction of the new Statesman agency. Fans of the first movie with not be disappointed with same humour and gore scenes which proved popular in the past and continue in this movie. A runtime of 2 hours 20 minutes may feel a bit longer than necessary for some but that should not deter anyone from what is an entertaining high energy movie.

Rating 3/5

Bill Tubbritt

American Assassin (18)

The movie opens with a shot of our eponymous hero Mitch Rapp (Dylan O’Brien, ‘The Maze Runner’) on holiday with his wife to be, enjoying the sun, sand and cocktails. When suddenly they are attacked by a group of gun wielding terrorists, they open fire at everyone and anyone on the beach, leaving a blood trail of destruction and horror behind them.

 

Its 18 months later when we see Mitch Rapp again now toting a beard and the mental and physical scars of the tragedy. He is training himself up to infiltrate and to take on the terrorist group that attacked him and his fiancé alone when he is approached by the CIA agent Irene Kennedy (Sanaa Lathan). Kennedy then assigns Cold War veteran Stan Hurley (Michael Keating) to train Mitch, and later on together they and their team begin a mission to stop the terrorist’s group next plot. But can Mitch keep his emotions in check long enough to stop himself jeopardising the mission and taking justice into his own hands.

I found American Assassin to have a great pace and lots of action throughout with some of the fight scenes reminiscent of the ‘Bourne’ films, the amount of violence is excessive in parts where I found myself wincing or watching through half closed eyes, in particular the torture scene (but then it is supposed to be uncomfortable). The movie to an extent blurs the lines of who the terrorists are as we see the CIA cut through parts of Europe and leaving a lot of collateral damage behind them as they continue their at ‘all cost’ mission to stop the next terrorist attack. Adequately acted throughout by the cast and nice to see David Suchet as CIA Director Stansfield.

3/5

Ronan Sandford

 

book now

The Magic Flute and King Lear Live on successive evenings at SGC Dungarvan

Mozart and Shakespeare (“The Two Great Dramatists” – Peter Hall)

To have Shakespeare and Mozart live within twenty-four hours is something to joy in – and when these two monumental works are being shown, surely the joy is unconfined. It’s all the more to be treasured when they come from Covent Garden and London’s Globe Theatre ,respectively – readers of these pieces will know how highly I rate Covent Garden while I believe The Globe is the theatre which gives us the most consistently brilliant and authentic productions of Shakespeare’s plays. ”King Lear” is the first Live screening from there but we’ve been fortunate in recent years to have many recordings of superb Globe productions at SGC.

The legendary pianist, Arthur Schnabel (his recording of the Beethoven Sonatas is one of the towering peaks of recorded music), once wrote that “some music is better than it can be played” – these two works, each among the great creations of the human mind and spirit, are probably in that category; being of inexhaustible and unfathomable richness. “King Lear”, that bleak, terrifying and wonderful play, has some of the most sublime poetry that Shakespeare “(or anybody) ever wrote, while “The Magic Flute”, despite some of the complexities of its plot/libretto (where were you Lorenzo da Ponte when you were needed), has some of the most heavenly music that the “God of music” from Salzburgh ever set down. Of him the music critic, Colin Wilson, wrote:- “Mozart was the greatest of all opera composers, and his four mature masterpieces (of which “The Magic Flute” is one) are surely not only the greatest of all operas but also the greatest works in musical history”

Why are Shakespeare and Mozart so closely linked in my mind? Well, some years ago, at The Galway Arts Festival, I heard the great theatre and opera director, Sir Peter Hall, tell his audience: “Of course, there are two great dramatists in our western theatre – Shakespeare (no surprise there!) and” … as we waited expectantly, he followed up with the composer that millions of us revere above all others, “Mozart.” And he went on to explain how it is that Mozart, with his sense of drama, his musical giftedness and his sublime understanding of human nature, was able in his operas to reach Shakespearean heights (or depths) in his delineation of our species.

In a similar vein, Lang Lang, one of our century’s pianistic greats, has written re his first encounter with Shakespeare: – “I loved the complexity of ‘Hamlet’, the way its themes overlap and subtexts emerge like different melodies … Shakespeare’s dialogue made me think of Mozart’s phrasings, the way his music would change from character to character; through Shakespeare’s characters and the way they interact with each other, I finally began to understand Mozart”. Again, Shakespeare and Mozart sit happily together.

Mozart’s opera will delight children of all ages – its fairytale, pantomimic and comic elements are a delight while it’s a beautiful exemplary story of love overcoming even the most treacherous ordeals; “King Lear” is for a slightly more mature audience, although I must say I always thought a great privilege to explore it with my Leaving Cert students. (I always have a word of advice for newcomers to Mozart – regardless of what’s happening on stage, always listen to the music.)

In Prague, in January 2017, I saw a great performance of the “Flute”, with lovely singing and some of the most marvellous Mozart playing I’ve ever heard but the latest “Lear” I saw, a few years ago in London, wasn’t inspiring with Sir Ian McKellan (for me, one of the greats) not at his best on the night. However, theatre lovers will on no account miss these screenings. “King Lear” isn’t easy to stage: Charles Lamb (wrongly) thought it unactable while “The Magic Flute” presents its own staging dilemmas. But given Directors and performers who approach these works with the humility appropriate to such wondrous masterpieces, we should have two memorable nights at SGC, Dungarvan.

“The Magic Flute” is on Wed, Sept 20th at 7.15; “King Lear” is on Thurs, Sept 21st at 7.30. As the great Con Houlihan might say: – “Not to be missed atall, atall!  (From Jim Ryan).

book now

American Made Review

American Made is a biographical crime film directed by Doug Liman, written by Gary Spinelli and starring Tom Cruise The Movie is set in the 1980’s and follows the exploits  of Barry Seal, a former TWA pilot who became a drug smuggler at the time making more money than he knew what to do with. The Movie is based on the true story of this American super pilot and features Cruise doing what he does best in what seems like the perfect role for him to show what has kept him at the very top of the acting world for so long.The Story follows the life of Barry Seal a former TWA pilot who is initially signed up by the CIA to perform low flying photography missions for them. These missions sow the seeds that eventually lead to Seal beginning his multi-million dollar drugs and arms smuggling empire.

American Made is very entertaining to watch and has to be one of Cruises best for a while. The comparisons will of course be made with the Wolf of Wall St and that is certainly justified as both movies are true stories based on the main characters becoming filthy rich from there illegal activities. They are also both really good movies with fascinating story lines that ultimately lead to a very entertaining trip to the movies.

Rating 5/5

Bill Tubbritt

Chekhov’s “The Seagull” from Stage Russia; “Carmen” from Bregenz –

Anton Chekhov is one of the world’s great playwrights, and his four major plays, of which “The Seagull” is one, are, in good productions, among the great joys of theatre – although a 2016 production of the play I saw in Dublin left me unmoved.

Chekhov was born in Southern Russia in 1860, became a Doctor. By 1890 he had written some masterly short stories which brought him fame, but until 1895 his only theatrical successes were monologues and farces. When “The Seagull” premiered in 1896 in St. Petersberg it was greeted with hissing and catcalls but it was revived two years later at The Moscow Arts Theatre and it has remained among the popular of European plays ever since. G B Shaw, among many others, was an ardent admirer of Chekhov’s plays and some of the wonderful plays of Brian Friel are in the Chekhovian tradition. The latter’s last play, “The Cherry Orchard”, premiered in January 1904 and the author died in July of the same year.

Not much happens in a Chekhov play – and yet everything happens. Lives are changed irrevocably in the course of seemingly humdrum days. He “holds the mirror up to (human) nature”, as Shakespeare prescribed. It has been said that in Chekhov “characters fulfil their destinies while appearing to do little more than complain about the weather and fish; they reflect on their failures, play cards, suffer and rejoice in the unpredictable rhythms of life”. It has also been noted that in “The Seagull” there is a chain of unrequited passion in which most of the characters are in love with somebody who is in love with somebody else”. How tragic and yet Chekhov insisted his plays were comedies!

In “The Seagull”, a young playwright’s mother is having an affair with a novelist. He stages one of his plays, with a neighbour’s daughter, whom he loves, in a leading role. Next day he presents her with a seagull that he has shot. The novelist comes and flirts with her and says he will write a story about a girl who is destroyed, like the seagull. The distraught playwright tries to shoot himself … but fails. And thus the events of the play are set in motion … .

It comes from the excellent Stage Russia.  It should be superb.

book now

           *                              *                       *                         *                  *

For many, “Carmen”, by Bizet, one of the most popular of all operas, and coming from the stage on Lake Constance in Bregenz in Austria, will provide a dilemma – which of these two wonderful attractions to choose from. For many, this delightful, tuneful opera is one of the joys of the genre. Denis Forman, who gives it one of his very rare Alpha-plus ratings, states: “So “Carmen” is great. “Carmen” is a wonder, and anyone who don’t like “Carmen” don’t like opera and should look elsewhere for musical excitement”. It has a feast of good tunes and a great, human story.

Thurs, Sept 14th is, for lovers of theatre in its various forms, surely a “win, win” evening. What a wonderful menu to choose from. I might add, here, that I am likely to opt for the Chekhov, purely on the basis that we get many opportunities to see the much-loved opera, while a play by the great Russian master is a much greater rarity.   (From Jim Ryan]

 

 

Blog at WordPress.com.

Up ↑

%d bloggers like this: