The Blessing of the Irish Star

Opinion

Irish cinema deserves a chance. But often we see extremely positive reviews promising the moon. What happens next is: viewers come out of the movie either slightly or greatly disappointed. Let’s just settle this upfront: a four to five star movie is technically acceptable, has decent acting and a well-plotted story. This is the bare minimum. If any of those elements fails, the others have to be outstanding for a film to remain in the ‘very good’ category.

Just a few weeks ago, Niall Heery´s Gold received four stars in The Irish Times. Heery’s second production (after Small Engine Repair, 2006) is fine; but the script is not accomplished enough to be worthy of a very good review. The funny fact is that even that positive review points out “there’s not a great deal of plot to the piece”. The reviewer had a job to do, and this wasn't to be too kind.

Going back a few years, let’s take The Runway, (Ian Power, 2011). Film Ireland paired it with The Guard (John Michael McDonagh, 2011): “between this and The Guard, it looks like 2011 will be a great year for Irish cinema”. The Runway didn’t accomplish any of The Guard’s success in the box office. Even in this review, there are remarks about certain flaws in the script. The Runway was a breath of fresh air but again a solid three stars movie, nothing more. It's understandable a small industry invites self-censoring on the part of critics, but this shouldn't translate into back patting.

It’s been seven years since John Carney’s Once hit Irish cinemas. Carney’s first feature film was considered “an unexpected treasure” by RTÉ within weeks of its release. The Irish Times also gave it a four star rating calling it "irresistibly appealing". Is Once an enjoyable and original approach to the musical genre? Yes, definitely. But Carney’s musical featured two lead actors outside their comfort zone while not playing music, which is not completely ignored in RTÉ’s review: “Once has wonderfully natural performances from the two leads. Although musicians first and actors second”. Once presents some continuity and technical goofs, one of the obvious ones is the drummer looking into the camera in the studio scene. Carney’s film gained the 'very good' classification with an okay story, acceptable acting and being technically sufficient, which shouldn’t have elevated it to the altars of the four and five stars.

We have mentioned three enjoyable movies, and certainly small victories within an industry that doesn’t produce twenty feature films every year as per the information available Irish Film Board website. Picking out names of media giving away an extra star, ‘the Irish star’ may not be seen as constructive criticism. But, it needs to be said, a non-reliable review makes the audience jaded about local cinema and it doesn’t allow for honest feedback to reach the creators.

Partly because of extremely positive reviews, the audience doesn’t consider Irish productions a safe choice; let’s not forget going to the movies may be a once a month occasion for an average family. Over appreciation discredits the critic, but never mind that, the movie industry is the one that suffers the most.  Balanced criticism is the only valid path for Irish cinema to win a place in the entertainment market, and to gain back the trust of its audience.

Gold

Movie Review (published by Geek Ireland, October 13th)

**
Gold is an Irish comedy, at least that’s what I was made to believe. There is just a small issue with that statement, I did not laugh once. Gold starts with a reasonably comical scene, a rebel teenaged Abbie (Maisie Williams) looking for ‘food supplements’ to improve her performance in cross country running. Abbie, accompanied by her terrified friend Devon (Patrick Gibson), meeting the drug dealer at a gym is a good opening.

Ray (David Wilmot) is in his forties, when he decides to go back to his hometown to reconnect with his ex-girlfriend Alice (Kerry Condon) and daughter Abbie. Alice asked him to leave, so she could raise their child with the PE teacher, Frank (James Nesbitt). Ray, who is been absent for ten years, causes a disruption, in their quiet and structured life.

The pace in Gold is lacking, the first few scenes and the introduction of Ray’s character into the family home does not get the story going anywhere. It’s not until a family day trip and the extraordinary event that takes place there that the story moves forward. The script fails to explore why the family is dysfunctional, or if it is at all. It does not go into a deep understanding about why Alice took the decision of raising Abbie away from Ray.  

Ray’s relationship with Abbie has a more natural progression. Abbie does not trust her biological dad; she thinks he’s homeless, but due to some special circumstances she feels pity for him. The compassion she shows for Ray a bit easier to understand, but still quite forced. Abbie manipulates him, but doesn’t feel any respect for him, which it’s a natural development for a relationship that has been shovelled into her life at an awkward time.

David Wilmot does have some decent lines like “You want a hug or something?” Though, It's hard to believe he is charming enough to shake the foundations of a relationship within a few days of showing up. Ray is insecure, seems to be on the verge of crying most of the time, and is homeless. This may be a very snobbish statement, but how is he able to shake anything with that description?

James Nesbitt in the role of Frank is the comic relief in the story. His high performance coach video is the cause of a couple of smiles, a sketch that unfortunately gets overused and old by half way through the film.  

Heery’s second film – after Small Engine Repair in 2006- has a predictable ending, and that’s no crime if your movie moves the audience. The problem with Gold is that fails to be a comedy and fails to be a drama too.