A jet-black comedy about a dangerously serious case of crisis identity and questioning one's own legacy, Martin McDonagh's latest delicately treads that very fine line between enjoyment and bleakness. Returning to the duo that put his name on the map, Colin Farrell and Brendan Gleeson (In Bruges, McDonagh sets his existential conundrum in a very specific time and place - 1920's Ireland - albeit on the fictional island off the coast of Ireland, Inisherin.
McDonagh's direction is perhaps a little…
Masking family tragedy in comedy, Panah Panahi's debut marks the coming of a real talent. It's in his blood - his father is Iranian great Jafar - and while raw and flawed, Panahi's road movie balances pathos and levity in a way only great filmmakers can.
As this eccentric family - mother trying desperately to keep it together, father with a broken leg and other ailments his wife aren't sure are real, eldest son solemn in the driver's seat, youngest…
After over a decade since my last watch, I'm bumping this up half a star. I still think it's a bit of a mess - some of the transitions are very odd, Marion Cotillard seems like she's in a different film (albeit one I'd see), the expository dialogue we all know about - but the entertainment factor takes over. The sheer filmmaking skill on display is immense; TDK put his name in headlights, but this might have been where we realised Nolan was the preeminent "big" filmmaker of his time.