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One thing I didn’t have on my lifetime cinematic bingo card—and I bet it is not on yours either—was Colin Farrell and Brendan Gleeson become the 21 st century’s answer to Laurel and Hardy. And yet. With 2008’s “ In Bruges ,” and now “The Banshees of Inisherin,” the Irish actors, under the writing and directing aegis of frequently pleasantly perverse Martin McDonagh , display a chemistry and virtuosic interplay that recalls nothing so much as the maestros of the early 20 th -century Comedy of Exasperation.

This being a McDonagh work, it’s a comedy of mortification as well as exasperation. It begins with a beautiful overhead shot of the title Irish island, all green below a clear blue sky (in this picture it only rains at night, which, considering actual weather patterns in Ireland, places the film in yet another genre, that of fantasy). The Carter Burwell score evokes idyllic times, and we see life is rather easy for Pádraic (Farrell) a milk farmer who lives with his sister in a modest cottage and, apparently, calls on his old friend Colm (Gleeson) just about every day at two. Before he sets out, he makes a remark about Colm to his sister Siobhán ( Kerry Condon ), who sarcastically replies, “Maybe he just don’t like you no more.”

This turns out to be a bit of inadvertent prophecy. Because Colm rebuffs Pádraic. Over the course of several discussions, we learn that Colm has come to find Pádraic dull (and the earnest fellow’s conversation is indeed limited, if amiable), and that he believes he’s got better things to do with his time, like compose songs on his fiddle. When Colm goes to confession at the island’s church, he reveals he’s also suffering from despair. He’s suffering from quite a bit more than that.

“Banshees” is set in 1923, and several times its characters discuss hearing guns going off on the not-too-far-away mainland. The conflict between Colm and Pádraic serves as a handy metaphor for Ireland’s Civil War at that time, but the movie works best when it doesn’t foreground that metaphor. Which becomes rather grisly, as a commentary on a particularly Irish kind of obstreperousness. As in: Colm tells Pádraic that if the latter continues to talk to Colm, or at Colm, after Colm’s made it clear that the doesn’t want Pádraic’s company or conversation, Colm will cut off one of his fingers. Now keep in mind that Colm’s a fiddler who wants to continue fiddling, so this is actually, as a strategy, a sight worse than cutting off one’s nose to spite his face.

And so, after Pádraic gets in Colm’s face again, Colm actually does it. One of the neatest tricks of the movie is how McDonagh leads the viewer to identify more with Colm than with Pádraic early on. One feels: yeah, this is a rude severing of friendship on Colm’s part, but why can’t Pádraic just let the guy be? Some of Colm’s points are well taken. Colm’s probably better for Pádraic than Dominic, the exceedingly rude policeman’s son who makes Pádraic look like an urbane conversationalist, but sometimes these are the breaks, social-life wise. But once the fingers begin coming off, your jaw slackens and your eyes pop. Where’s this going to end?

Nobody does self-loathing like the Irish, and with this film, McDonagh is on much surer footing than he was when trying to tell America a thing or two with his film “ Three Billboards Outside Ebbing, Missouri ” in 2017. “Banshees” has got touches of tenderness that are sometimes ever-so-slightly confounding, as when Colm shows care for Pádraic after the latter gets a pasting from Dominic’s bastard cop father. Being the writer he is, he often counters those with bracing reality checks. And as a director, he orchestrates the give-and-take between Farrell and Gleeson with the mastery of someone who appreciates these performers as much as discerning audiences do. They let it fly; Farrell does some of his best acting with his furrowed eyebrows; Gleeson has a glare that’s both a death-ray and an enigma. The pauses these guys enact are at times even funnier than the verbal comebacks McDonagh has come up with for them. And as it happens, Barry Keoghan as Dominic almost steals the movie out from under the leads, his very funny vulgar brashness never quite camouflaging his character’s poignant vulnerability. Very good show all around.

This review was filed from the world premiere at the Venice Film Festival on September 5th. It opens only in theaters on October 21st.

Glenn Kenny

Glenn Kenny was the chief film critic of Premiere magazine for almost half of its existence. He has written for a host of other publications and resides in Brooklyn. Read his answers to our Movie Love Questionnaire here .

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The Banshees of Inisherin (2022)

Rated R for language throughout, some violent content and brief graphic nudity.

109 minutes

Colin Farrell as Pádraic

Brendan Gleeson as Colm

Kerry Condon as Siobhán

Barry Keoghan as Dominic

Martin McDonagh

Cinematographer

Mikkel E.G. Nielsen
Carter Burwell

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‘The Banshees of Inisherin’ Review: Giving Your Friend the Finger

Colin Farrell and Brendan Gleeson play feuding frenemies in Martin McDonagh’s latest film, set on an Irish coast in 1923.

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By A.O. Scott

The island of Inisherin, a rustic windswept rock off the coast of Ireland, does not appear on any real-world maps, but its geography is unmistakable. Not only because the sweaters and the sheep, the pints of Guinness and the thatched roofs bespeak a carefully curated Irish authenticity, but also because what happens on this island locates it firmly in an imaginary region that might be called County McDonagh.

This is a place, governed by the playful and perverse sensibility of the dramatist and filmmaker Martin McDonagh, where the picturesque and the profane intermingle, where jaunty humor keeps company with gruesome violence. The boundaries of the realm extend from Spokane, Wash ., to the Belgian city of Bruges by way of Missouri and various actual and notional Irish spots. “The Banshees of Inisherin,” McDonagh’s new film, embellishes the cartography without necessarily breaking new ground. It’s a good place to start if you’re new to his work, and cozily — which is also to say horrifically — familiar if you’re already a fan.

Other McDonagh hallmarks include a breakneck, swaybacked plot, by turns hilarious and grim, painted over with a nearly invisible varnish of sentimentality. It’s not necessary to believe what you see — it may, indeed, not be possible — but you can nonetheless find yourself beguiled by the wayward sincerity of the characters and touched by the sparks of humanity their struggles cast off. And impressed by the craft of the actors and the crew (which here includes the cinematographer Ben Davis, the composer Carter Burwell and the costume designer Eimer Ni Mhaoldomhnaigh). Perhaps above all, you are apt to be tickled, sometimes to gales of laughter, by the spray of verbal wit that characterizes the McDonagh dialect.

It’s 1923, though modernity has dawdled a bit en route to Inisherin, where rural life proceeds at its immemorial pace. On the mainland, the Irish Civil War drags on; distant gunfire can sometimes be heard across the water. The islanders pay it very little mind, and don’t see any point to taking a side. The local constable (Gary Lydon), a dull, violent brute and the closest thing to a pure villain this movie possesses, is pleased to have been recruited to assist in an execution. He doesn’t know or care whether the National Army or the I.R.A. is responsible for the killing. He’s content to gawk and get paid.

“Banshees,” in any case, is concerned with an intensely local conflict, between Padraic (Colin Farrell), a sociable cow herder, and Colm (Brendan Gleeson), a melancholy fiddler. They have been drinking together nearly every afternoon at the local shebeen for as long as anyone can remember, until Colm abruptly and unilaterally declares an end to their friendship. “I just don’t like you no more,” he tells Padraic, who responds with wounded incredulity.

Colm is quite serious. Every time Padraic dares to talk to him, he vows, he will cut off one of his own fingers. This shocking, irrational threat — a violinist promising to sever himself from his art — gives the story a queasy momentum. Even after the digits start to fly — Colm flings them at the door of Padraic’s cottage — it’s hard for Padraic or the audience to accept what’s happening, let alone understand it.

What is Colm’s problem? He may be a bit more worldly than his neighbors. The masks and other objects that decorate his house suggest an acquaintance with — or maybe just a curiosity about — the world beyond the island. Gleeson plays him as a storm cloud in a billowing overcoat, an artist whose temperament is at once too delicate and too volatile for his surroundings. The parish priest worries that he’s prone to the sin of despair, which sounds simplistic but not entirely inaccurate.

Brendan Gleeson and Colin Farrell in a darkened bar.

You can understand how Colm might be annoyed with Padraic — part of Farrell’s charm is that he’s always at least a little bit annoying — and that Colm is desperate for a change in his routine. He’s composing a new tune, and time spent with a trifling drinking buddy threatens to distract him from this potential masterpiece. Still, self-mutilation seems a bit extreme.

Not necessarily in McDonagh’s world. (See also: “A Behanding in Spokane.” ) Colm and Padraic are flanked by sundry other Inisherinites, human and otherwise. Colm lives with a patient Border collie. Padraic, surrounded by livestock of various kinds, is especially attached to a miniature donkey named Jenny. He also lives with his put-upon, sensible sister, Siobhan (Kerry Condon), who quietly dreams of leaving Inisherin, and sometimes passes the time with Dominic (Barry Keoghan), the intellectually challenged son of that dastardly constable.

Some of these creatures are marked out for tragedy — a witchy old widow prophesies general doom whenever she passes someone on the road or stops in for tea — and McDonagh doles out misery and humor with an expert hand.

“The Banshees of Inisherin” might feel a little thin if you hold it to conventional standards of comedy or drama. It’s better thought of as a piece of village gossip, given a bit of literary polish and a handsome pastoral finish. Inisherin may not be a real place, but its eccentric characters, rugged vistas and vivid local legends make it an attractive tourist destination all the same.

The Banshees of Inisherin Rated R. Salty language and bloody deeds. Running time: 1 hour 49 minutes. In theaters.

An earlier version of this article misspelled the name of the miniature donkey to which Colin Farrell’s character is attached in “The Banshees of Inisherin.” She is Jenny, not Jennie.

How we handle corrections

A.O. Scott is a co-chief film critic. He joined The Times in 2000 and has written for the Book Review and The New York Times Magazine. He is also the author of “Better Living Through Criticism.” More about A.O. Scott

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The Banshees of Inisherin Reviews

There are no missteps here, and it is, without a doubt, the best movie of the year for my money.

Full Review | Feb 28, 2024

Raw and weird, it’s a mordant fable of friendship gone sour that will have you questioning your own mortality while simultaneously making you laugh until it makes you cry.

Full Review | Feb 13, 2024

Dominic is the most tragic character in an island of pure, untempered tragedy.

Full Review | Jan 29, 2024

The greatest tragedy of all is that one of the friends will sacrifice what made them special, only to become another banshee of Inisherin.

Full Review | Dec 29, 2023

A dark comedy, at times with a great dramatic component, that explores human relationships and interpersonal communication with a lot of charisma and in a highly entertaining way. [Full review in Spanish]

Full Review | Original Score: 8/10 | Dec 19, 2023

McDonagh finds the perfect moments to insert humor, but the film’s comedic turns often serve to underscore the scope of the tragedy.

Full Review | Oct 26, 2023

A fascinating examination of male loneliness and hurt feelings.

Full Review | Sep 13, 2023

McDonagh uses the conflict between Pádraic and Colm to serve as a metaphor for the Irish Civil War. Brother against brother. Friends against friends. Their friendship loses itself in the fables of Inisherin forever.

Full Review | Sep 8, 2023

Its heartbreak is as potent as its comedy, both intertwined with the rhythms of the dialogue.

Full Review | Sep 5, 2023

It's delightful to watch these two character actors go back and forth...These two actors [Colin Farrell & Brendan Gleeson] are at the top of their game.

Full Review | Original Score: 9/10 | Aug 10, 2023

Colin Farrell’s performances lifts this quirk and dark comedy from Martin McDonagh.

Full Review | Original Score: B+ | Aug 9, 2023

The Banshees of Inisherin, as the title implies, is about death, both literal and figurative, but it’s the sad demise of a friendship that forms the bedrock of this brilliant, often poignant, frequently funny Irish fable.

Full Review | Jul 26, 2023

Strikingly funny and heartbreakingly honest, Martin McDonagh returns to form by telling the tale of a non-romantic breakup, the sadness of being dumped, and the tricky business of dumping someone.

Full Review | Original Score: 4/5 | Jul 25, 2023

Martin McDonagh explores the painful part of human relationships by finding the comedy and gore contained within.

Full Review | Jul 25, 2023

The Banshees of Inisherin is brilliant beyond belief. Darkly Hilarious, emotional, & Richly layered with themes of fate, friendship, & death. Colin & Brendan were stunning! Martin McDonagh though might of just directed & wrote his best film of his career

The Banshees of Inisherin fluctuates from deeply sad to darkly humorous, a mirror of life itself.

Full Review | Jul 24, 2023

The Banshees of Inisherin is a hilarious, morbid, and beautifully shot film with astounding performers bringing mortality’s uncertainties front and center.

Full Review | Jul 23, 2023

Inisherin left me quite disappointed, as I hoped for an experience that made me reflect upon my own “stamp of immortality” or the light fractures in the bonds I have had during my life. It isn’t the best of McDonagh, but certainly not the worst.

Full Review | Original Score: C+ | Jul 22, 2023

"The Banshees of Inisherin" is a movie that could only come from the mind of Martin McDonagh. The writer-director remains a singular talent, whose dialogue jumps off the screen and becomes the star of the show. His latest is no different.

Full Review | Original Score: 3.5/4 | Jul 16, 2023

We're beholding a totally gratuitous drama, driven by inexplicable motives. [Full review in Spanish]

Full Review | Apr 4, 2023

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‘The Banshees of Inisherin’ Review: Colin Farrell and Brendan Gleeson Reunite for a Darkly Comic, Devastating Feud Between Friends

Martin McDonagh returns to the mythic brute poetry of his theater work for a study of men undone both by loneliness and kinship — the result is his richest, most moving film.

By Guy Lodge

Film Critic

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'The Banshees of Inisherin' Review: Martin McDonagh's Excellent Return

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For Pádraic, a simple but sensitive type, this snub reduces his social circle to a mere dot — perhaps a short line if you include amiable village idiot Dominic (Barry Keoghan, his gangly physique and charcoal-sketched features never put to more guileless use), which nobody really does. Orphaned and unmarried, Pádraic shares his parents’ scruffy old home with his beloved donkey Jenny and his older sister Siobhan (a revelatory Kerry Condon), a nurturing, bookish woman who has never really found her people on this desolate, unkind island. It’s a protective Siobhan who manages to tease out of Colm the reason for his abrupt termination of his and Pádraic’s friendship: he finds the younger man dull, has more or less run out of things to say to him, and would prefer the company of his fiddle and his devoted border collie.

Unsurprisingly reluctant to take such an explanation lying down, Pádraic decides he’s been a casualty of Colm’s escalating depression, and brightly resolves to claw his way back into his ex-friend’s affections. His charm offensive is halted, however, when Colm issues a macabre ultimatum that vaults a simple estrangement to the level of an eccentric two-man blood feud. What begins as a doleful, anecdotal narrative becomes something closer to mythic in its rage and resonance: McDonagh has long fixated on the most visceral, vengeful extremes of human behavior, but never has he formed something this sorely heartbroken from that fascination.

There’s much talk here of “niceness,” which has never been this filmmaker’s default setting: Pádraic prides himself on it, while Colm, whose had a decade or so longer on the planet to tire of social niceties, has come to see it as an overrated virtue. McDonagh’s script has sympathy for both, while audiences may find themselves intriguingly split. There’s a kind of admirable, self-knowing integrity in Colm’s simple, increasingly obsessive desire to be alone; Pádraic’s terror of being left alone himself, especially as Siobhan wistfully eyes a life beyond the island, is just as understandable. Condon, wry and warm but no twinkly, benevolent cypher, makes Siobhan the one character who can credibly empathize with both men. She gets one exquisite scene, too, with the wonderful Keoghan’s sweetly wounded Dominic, rebuffing a clumsy advance with an unimpeachable gentleness that’s in short supply on this island.

After a teasingly postcard-bright intro — which sets up an Emerald Isle ideal of verdant fields, rainbows and sunlight skittering across the ocean, soon to be bluntly shattered — McDonagh crafts an Ireland where despair, for everyone, is something to be managed rather than beaten. Ben Davis’s lensing washes even the characters’ best days in raincloud grays; Mark Tildesley’s production design trades in cramped, muddy spaces shorn of ornamental detail.

It makes for a story world seemingly drained of tenderness, in which every character is either single, widowed or otherwise alone; Pádraic and Colm’s now-bloodied friendship was perhaps the purest thing in it. As Colm insists to the priest that he’s never had “impure thoughts about men,” it’s tempting to consider a queer undertow to the bond that was, though the truth is that the two warring men never seem much like soulmates — simply the next best thing on a isle short of souls. It’s the loss even of such modest mercies that makes McDonagh’s quietly magnificent film so caustically, hauntingly and sometimes raucously sad.

Reviewed at Venice Film Festival (Competition), Sept. 5, 2022. Running time: 114 MIN.

Production: (Ireland-U.K.-U.S.) A Searchlight Pictures presentation in association with Film4, TSG Entertainment of a Blueprint Pictures production. Producers: Graham Broadbent, Pete Czernin, Martin McDonagh. Executive producers: Diarmuid McKeown, Ben Knight, Daniel Battsek, Ollie Madden. Co-producers: Jo Homewood, James Flynn, Morgan O'Sullivan.
Crew: Director, screenplay: Martin McDonagh. Camera: Ben Davis. Editor: Mikkel E.G. Nielsen. Music: Carter Burwell.
With: Colin Farrell, Brendan Gleeson, Kerry Condon, Barry Keoghan, Pat Shortt, Gary Lydon, David Pearse, Sheila Flitton.

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Movie Reviews

Movie review: 'the banshees of inisherin'.

Bob Mondello

Writer and director Martin McDonagh reunited with "In Bruges" stars Colin Farrell and Brendan Gleeson in his new drama-comedy, "The Banshees of Inisherin."

AILSA CHANG, HOST:

The dark new comedy "The Banshees of Inisherin" doesn't have any banshees. What it does have are actors Colin Farrell and Brendan Gleeson. And critic Bob Mondello says when they're working with filmmaker Martin McDonagh, they are plenty.

BOB MONDELLO, BYLINE: A patchwork quilt of lush green farms, Inisherin is a rocky island just off the coast of Ireland, where everyone knows everyone. And Padraic and Colm have long seemed inseparable until...

(SOUNDBITE OF FILM, "THE BANSHEES OF INISHERIN")

SHEILA FLITTON: (As Mrs. McCormick) Colm Sonny Larry, didn't you and he used to be the best of friends?

COLIN FARRELL: (As Padraic Suilleabhain) We're still the best of friends.

FLITTON: (As Mrs. McCormick) No, you're not.

FARRELL: (As Padraic Suilleabhain) Who says we're not?

MONDELLO: Colm does when Padraic catches him at the pub.

BRENDAN GLEESON: (As Colm Doherty) Sit somewhere else.

FARRELL: (As Padraic Suilleabhain) But I have me pint there, Colm.

PAT SHORTT: (As Jonjo Devine) He has his pint there, Colm, from when he came in and ordered his pint before.

GLEESON: (As Colm Doherty) Well, OK. I'll sit somewhere else.

MONDELLO: Even having been warned, Padraic is blindsided. But as played by an ever-optimistic Colin Farrell, he does the sensible thing - follows Brendan Gleeson's Colm outside, determined to make peace.

FARRELL: (As Padraic Suilleabhain) If I've done something to you, just tell me what I've done to you. And if I've said something to you, maybe I said something when I was drunk and I forgotten it. But I don't think I said something when I was drunk and I've forgotten it. But if I did, then tell me what it was. And I'll say sorry for that, too, Colm.

GLEESON: (As Colm Doherty) But you didn't say anything to me. And you didn't do anything to me.

FARRELL: (As Padraic Suilleabhain) Well, that's what I was thinking, like.

GLEESON: (As Colm Doherty) I just don't like you no more.

FARRELL: (As Padraic Suilleabhain) But you liked me yesterday.

MONDELLO: The wounded look that comes into Farrell's eyes you'd think would melt the stoniest heart. But Colm is unmoved, much to the astonishment of the pub regulars, from young Dominic...

BARRY KEOGHAN: (As Dominic Kearney) Why does he not want to be friends with you no more? What is he, 12?

MONDELLO: ...To the parish priest.

DAVID PEARSE: (As priest) Why aren't you talking to Padraic no more?

GLEESON: (As Colm Doherty) That wouldn't be a sin, now, would it, father?

PEARSE: (As priest) No. But it's not very nice either, is it?

GLEESON: Colm isn't buying.

GLEESON: (As Colm Doherty) Do you know who we remember for how nice they was in the 17th century?

FARRELL: (As Padraic Suilleabhain) Who?

GLEESON: (As Colm Doherty) Absolutely no one. Yet we all remember the music of the time. Everyone, to a man, knows Mozart's name.

FARRELL: (As Padraic Suilleabhain) I don't, so there goes that theory.

MONDELLO: Padraic again. These guys really don't have a lot in common - Colm artistically inclined, Padraic sweet-natured but not remotely curious about anything except his equally sweet-natured donkey. Writer-director Martin McDonagh could keep the odd couple shtick going indefinitely. But as in "In Bruges," with these same actors as hitmen, or his caustic take on small-town America, "Three Billboards Outside Ebbing, Missouri," McDonagh's using comedy to get at something darker.

GLEESON: (As Colm Doherty) If you don't stop bothering me, I have a set of shears at home. And each time you bother me from this day on, I'll take those shears and I'll take one of me fingers off with them. And I'll give that finger to you until I have no fingers left. Does this make things clearer to you?

FARRELL: (As Padraic Suilleabhain) Not really, no.

GLEESON: (As Colm Doherty) Starting from now.

MONDELLO: In a McDonagh story, that sort of threat's never idle, nor are the furies that fuel it. "The Banshees Of Inisherin" is probably the closest of McDonagh's films to the scalding stage work that made his reputation. But more than his writing and sharp direction, it's the performances that register - Kerry Condon commonsensical as Padraic's protective sister...

KERRY CONDON: (As Siobhan Suilleabhain) You can't just all of a sudden stop being friends with a fella.

MONDELLO: ...Barry Keoghan's endearingly dim bulb...

KEOGHAN: (As Dominic Kearney) Would you not want him to have to do the one finger to see if he was bluffing like?

CONDON: (As Siobhan Suilleabhain) No, we wouldn't.

KEOGHAN: (As Dominic Kearney) 'Cause worse comes to worse, he can still play the fiddle with four fingers, I bet you.

MONDELLO: ...And the two leads, seeming to have just stepped out of a Samuel Beckett play, friendship unravelling as they're waiting for Godot, or something just as elusive. Gleeson, a hard-headed giant; Farrell, eyes brimming, at once hopeful and anguished - twinned pals. You'll empathize with both in a tale of buddies that plays like a blood feud. "The Banshees Of Inisherin," if they actually existed, would be shrieking at and for this mythic, funny, haunting pair. I'm Bob Mondello.

NPR transcripts are created on a rush deadline by an NPR contractor. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR’s programming is the audio record.

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‘the banshees of inisherin’ review: colin farrell and brendan gleeson reunite with martin mcdonagh in vintage form.

Kerry Condon and Barry Keoghan also star in this dark comedy premiering in the Venice competition, about the abrupt breakup of lifelong friends, sparking violence, suffering and self-reflection.

By David Rooney

David Rooney

Chief Film Critic

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The Banshees of Inisherin Still - TIFF - Publicity - H 2022

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Old spars … Colin Farrell and Brendan Gleeson in The Banshees of Inisherin.

The Banshees of Inisherin review – a Guinness-black comedy of male pain

Martin McDonagh reunites Colin Farrell and Brendan Gleeson in remotest Ireland for an oddball study of isolation and hurt

M artin McDonagh’s new film is a macabre black comedy of toxic male pride and wounded male feelings, a shaggy-dog story of wretchedness and a dance of death between aggression and self-harm, set on an imaginary island called Inisherin off the Irish coast. It’s happening in 1923 during the civil war; the additional symbolic acrimony is offered to us on a take-it-or-leave-it basis.

As with so many of McDonagh’s works, the glint of the unburied hatchet is all too visible in the murk, and the setting is a stylised and ironised Irish rural scene not so very far from John Millington Synge. Mutilation is a familiar motif. There are plenty of genuine laughs in this movie, but each of them seems to dovetail into a banshee-wail of pain.

McDonagh reunites Colin Farrell and Brendan Gleeson, the co-stars from his 2008 film In Bruges about two hitmen marooned in that exquisite European city. Farrell plays Padraic, a dairyman who lives with his unmarried sister Siobhan (Kerry Condon) in a modest cottage, with their cows and their adored donkey.

Every day promptly at two o’clock, goofy, good-natured Padraic calls for the guy he considers his best friend in all the world, so that they can go to the pub together. This is Colm (Brendan Gleeson), a more reserved, thoughtful man who plays the fiddle and is working on an air he is composing, entitled The Banshees of Inisherin . The other figures on the island include Dominic Kearney (a tremendous performance from Barry Keoghan), the idiot son of the island’s obnoxious police officer Peadar Kearney (Gary Lydon).

The latter is thrilled to be offered a fee of six shillings to supervise an execution on the mainland and likes to drink and masturbate himself into a naked stupor of an evening, at which point Dominic will sneak in to his front room and steal his booze to share with Padraic, muttering about his father and the “tiny brown cock on him”. Dominic is also poignantly in love with Siobhan.

One day, a terrible thing happens: Colm simply decides he doesn’t want to be friends with Padraic any more. Poor Padraic is stunned. Colm wants to sit far away from Padraic in the pub and never exchange another word with him as long as he lives. The reason, haughtily offered, is that Colm realises that he is getting on in years, death is approaching, so he wants to concentrate on his musical work and doesn’t want to waste any more time talking to daft, annoying, empty-headed Padraic. Upset and then angry, Padraic insists on talking to Colm, who angrily declares he will cut off one of his own fingers for each unwelcome attempt at conversation.

Perhaps the most pertinent comment on Colm’s rejection of Padraic comes from Dominic, who muses: “What is he, 12?” Breaking off romantic associations, in the divorce court or otherwise, is what adults do all the time. But ordinary friendships? Well, little kids at school will flounce out of those but adults are expected to maintain friendships or somehow let them fade tactfully away. But how do you end a friendship which may in fact be more important than a marriage? Men are ill-equipped emotionally to deal with it.

Of course, as Colm confesses to the priest (David Pearse), all this perhaps has nothing to do with Padraic: it is just a symptom of his own depression, something of which Padraic is dimly aware. But this is no consolation; as of now, Padraic has his own depression. He is now made to feel the beta-male loser in this zero-sum game of friendship, and in all probability Colm thought he was an irritating chump all along. It’s as if Vladimir turned to Estragon in the middle of Beckett’s play and declared that whether or not Godot turns up, they are now mortal enemies. As a study of male loneliness and swallowed anger it is weirdly compelling and often very funny.

Colin Farrell
Martin McDonagh
Brendan Gleeson

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The banshees of inisherin, common sense media reviewers.

Dark Irish comedy has language, violence, drinking, smoking.

A Lot or a Little?

What you will—and won't—find in this movie.

A breakdown of a friendship is the main theme. The

Pádraic is a sincere, earnest man. He thrives on b

Set mainly in a pub in a small Irish town; majorit

A character cuts off their fingers; the gaping wou

A character is seen naked and asleep, but in the s

Characters say "feck," an Irish way of saying "f--

Characters spend much of their day in the pub, dri

Positive Messages

A breakdown of a friendship is the main theme. The detrimental effects that a limiting environment and a lack of prospects can have on its inhabitants.

Positive Role Models

Pádraic is a sincere, earnest man. He thrives on being nice, and caring for others -- and wishes that more value was put upon this trait. The breakdown of his friendship with Colm leads him to feeling very low. Colm is a pensive man who is also perhaps depressed. His ending of his friendship with Pádraic is sudden and arguably harsh. Dominic only sees women as objects of desire. Siobhan, who is arguably the most positive character, realizes there is a way out and moves to the city for a new life.

Diverse Representations

Set mainly in a pub in a small Irish town; majority of customers are White men. The one key female character, however, appears to be the only one with any sense. A priest takes offence when they are called "gay." Depression is explored.

Did we miss something on diversity? Suggest an update.

Violence & Scariness

A character cuts off their fingers; the gaping wound, dripping with blood, and discarded fingers are all shown. Characters are punched, including a police officer. A young character is seen with bruises after their parent beats them up. Suggestion that a child has been molested by their parent. A character's corpse is lifted out of the water after drowning. Full-blown arson attack. A donkey dies.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

A character is seen naked and asleep, but in the shadows so not much is seen. References later to masturbating, and a description of a penis. A character makes a romantic plea but is turned down.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Characters say "feck," an Irish way of saying "f--k." Other words such as "shite," "bollocks," and "knob" are heard. Characters swear in the church, including the priest. A character is referred to as "ginger" and "fat," both intended as insults. Characters refer to others as being "dim."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Drinking, Drugs & Smoking

Characters spend much of their day in the pub, drinking. Toward the end of the evening they tend to be rather drunk. Many characters smoke, too, one using a pipe.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that The Banshees of Inisherin is a superb, dark Irish comedy-drama set in 1923, centered around a group of men who spend their days drinking and smoking in the local pub. It stars Colin Farrell as Pádraic and Brendan Gleeson as Colm, the latter abruptly deciding one day that he no longer wants to be friends with Pádraic. Depression amongst men is discussed, and the film has some dark, disturbing scenes. This includes a man cutting off his fingers. A corpse is seen being lifted out of some water, and a character commits arson in an attempted murder plot. One young man in the village is said to have been sexually abused by his father, the local police officer. That same man is also seen entirely naked. There are countless uses of the word "feck," along with "shite" and "bollocks." The characters drink consistently, and they smoke too. It's a majority White male cast, but it should be acknowledged that the one female character of note, Siobhan ( Kerry Condon ), is maybe the most sensible and positive person of the lot. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

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The Banshees of Inisherin: Colin Farrell and Brendan Gleeson having a drink

Community Reviews

Parents say (10)
Kids say (3)

Based on 10 parent reviews

Strange and grotesque Irish folk tale

What's the story.

Set in 1923 Ireland, THE BANSHEES OF INISHERIN is the story of two friends who are no longer friends. Pádraic ( Colin Farrell ) is one day bemused to see his confidante and drinking buddy Colm ( Brendan Gleeson ) suddenly give him the cold shoulder. Desperate to know what's sparked this change of heart, Pádraic pushes for an answer, yet all he's actually doing is pushing Colm further away -- to a point nobody had expected.

Is It Any Good?

While hilarious at times, with real laugh-out-loud moments, the entire experience of this Irish comedy-drama is spiked by a dark undercurrent. The Banshees of Inisherin constantly surprises the viewer, leading us down some disturbing paths. All the while, a sadness exists, working in perfect harmony with the film's more surrealistic elements. The film reunites writer and director Martin McDonagh with his two leads from In Bruges , and the trio's talents once again shine. Both Farrell and Gleeson are in top form and comfortable in their surroundings.

Farrell in particular is so brilliant in the leading role, bringing such a sense of sincerity to the character that you want to befriend him. The film also shines tonally. To be this funny, and this dark, and not have either compromise the other is a true mark of a genius. With yet another hit of a film to add to his impressive collection, McDonagh is falling into that very category.

Talk to Your Kids About ...

Families can talk about the themes of friendship and loneliness in The Banshees of Inisherin . How did Pádraic feel when Colm said he no longer wanted to be friends with him? Why do you think Colm said this?

How was drinking and smoking depicted in the film? Were they glamorized? Do you think our attitudes have changed when it comes to drinking and smoking?

Talk about the bad language used in the movie. Did it seem necessary, or excessive? What did it contribute to the movie?

Discuss the violence in the movie. What impact did it have? What consequences were there? Does exposure to violent media desensitize kids to violence?

The film is both funny and dark. How well do you think these were balanced? Did the film remind you of any other films you've seen?

Movie Details

In theaters : October 21, 2022
On DVD or streaming : December 13, 2022
Cast : Colin Farrell , Brendan Gleeson , Barry Keoghan
Director : Martin McDonagh
Studio : Searchlight Pictures
Genre : Comedy
Topics : Friendship
Run time : 109 minutes
MPAA rating : R
MPAA explanation : language throughout, some violent content and brief graphic nudity
Awards : BAFTA , Golden Globe
Last updated : March 18, 2024

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Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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Culture | Film

The Banshees of Inisherin movie review: Martin McDonagh’s latest with Colin Farrell is awe-inspiring

It’s 1923 and Padraic Suilleabhain (an adorable Colin Farrell ) is a donkey-loving farmer, living on a remote isle, off the West Coast of Ireland. Padraic suspects he’s the second biggest idiot in the village. He may be flattering himself. He is also viciously astute when drunk and prone to acts of lunacy, and Farrell ensures every aspect of this protean eejit rings true.

The Banshees of Inisherin reunites the star with Martin McDonagh and Brendan Gleeson (the trio worked together on In Bruges) and Barry Keoghan (his co-star in The Killing of a Sacred Deer). Farrell is clearly amongst friends. Yet there’s nothing parochial about his performance. For decades, he’s been described as the Irish Brad Pitt. The Irish De Niro. The Irish Jack Nicholson. It’s finally dawned on the world that Farrell isn’t like these legends. He is a legend in his own right.

The film itself is a stone cold classic. Like McDonagh’s last black comedy (Three Billboards Outside Ebbing, Missouri), it’s a visually stylish take on obsession. But it’s more focused and less sentimental. The twee trailer was a ruse (twee sells and McDonagh likes playing to a big gallery). The movie, luckily, is blarney free.

Padraic is horrified when fiddle-player Colm (Gleeson) says their friendship is over. Colm adores Mozart and wants to concentrate on composing music that will last the test of time. He’s got no room in his life for a pal who’s “too nice”. Padraic fails to take the hint.

An increasingly desperate Colm threatens to cut off the fingers on his fiddle-playing hand unless Padraic backs off. But Padraic is nothing if not stubborn. Ignoring the advice of his sister, Siobhan (Kerry Condon; lovely) and young lay-about Dominic (a spellbinding Keoghan), Padraic hits on a cunning plan. If Colm thinks Padraic’s too nice, maybe the solution is for Padraic to get meaner?

There are numerous twists in this bleak and bloody tale. And every single one of them throws us for a loop but, once key facts are revealed, makes total sense.

There’s devilry in the details. Padraic lives with Siobhan (the pair, like the siblings in The Power of the Dog, even share a bedroom). As she pores over a book, he shaves in front of a cracked mirror. In James Joyce’s Ulysses, erudite hero Stephen Dedalus describes a “cracked looking-glass” as “a symbol of Irish art”. McDonagh, born and raised in London, is daring his critics to find a suitable label for his film.

Dominic (who fancies Siobhan) is the only person willing to discuss love. Sexual repression is rife on this island. So is sexual dysfunction. But as with the civil war rumbling away in the background, no one’s paying attention.

Dominic, Padraic and Colm are tragic figures. And you need to enjoy crying - I mean, really sobbing - to get a kick out of The Banshees of Inisherin. Really, it deserves to win Baftas and Oscars, but will do just fine without them. This funny/sad story will inspire awe for centuries to come. I reckon McDonagh’s a modern-day Mozart. We’ll never know if I’m right. But I bloody well am.

114mins, cert 15

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‘The Banshees of Inisherin’: Colin Farrell, Brendan Gleeson Turn a Buddy Tragedy Into a Masterpiece

By David Fear

“I just don’t like ya no more.”

Then, one day, Pádraic leaves the modest house he shares with his sister, Siobhan (Kerry Condon), and his cow herd, and Jenny the miniature pet donkey, and goes to fetch his drinking companion. There’s no answer to his knock. He spies Colm through the window, sitting alone, smoking. Confused, the man ambles down to the tavern by himself. “Have you been rowin’?” asks the bartender. “I don’t think we’ve been rowin’,” Pádraic replies. When he finally catches up to Colm at the bar, his pal tells him to sit somewhere else. What’s going on, the younger man wants to know. And then Colm says the seven words that will cost these two gents a lot more than just their friendship.

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McDonagh also wants to give his actors a hell of a showcase, too, and it’s the two stars butting brows at the center of The Banshees of Inisherin that make this a masterpiece of men behaving very feckin’ badly. We don’t want to ignore the great work that Keoghan or Condon are doing on the periphery, or the exquisite cinematography by Ben Davis, or Carter Burwell’s ability to channel both regional folk music and a universal sense of grief in his score. It’s just that the Farrell-Gleeson Blues Explosion is what grounds McDonagh’s heady notions and fuels its fire.

There’s such an incredible give and take between these two, and while we’ve been taking Gleeson’s off-kilter charisma for granted since 1998’s The General, the performance that leaves scars is Farrell’s. It’s tough to think of a portrayal that finds so many emotional shades and levels of depth in incomprehension; his Pádraic can’t grasp the logic behind his friend’s decision any more than he can control his reactions, his sudden neediness or the shame that he’s done something wrong by doing nothing much with his life. You also see why a friend might be tempted to back away from him as well, yet you never feel that Farrell is tipping his hand toward sympathy or antipathy for this remarkably simple soul. It’s not a coincidence that the two men give the film’s ending a sense of ambiguity regarding what might happen after the credits role. Yet it’s also not a mistake that Farrrell is the one who gets the final shot, and that he’s the fella who leaves you with the sense that you’ve just witnessed wounds that may never heal. May the Banshees shriek for this duo forever. As for McDonagh: Welcome back.

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‘The Banshees of Inisherin’: When old friendship goes violently awry

Colin farrell and brendan gleeson reunite with ‘in bruges’ filmmaker martin mcdonagh.

The Irish writer-director Martin McDonagh has earned an adoring audience for his ability to find grace amid the grotesque. With films like “In Bruges” and “ Three Billboards Outside Ebbing, Missouri ,” he’s been rapturously received for his auteurist signatures, which include extravagant profanity, wickedly caustic humor, and a penchant for putting his characters into alternately amusing and excruciating extremes.

In other words, McDonagh is a master world builder. Whether you want to live in those worlds for two hours of your only life is purely a matter of individual taste. For some, McDonagh’s soaring vernacular and tightrope balance of cruelty and humanism embody the finest values of the Irish literary tradition. Others (present company included) find the verbal pyrotechnics clever distractions from a facile, supremely ungenerous moral imagination. Put simply, some of us aren’t buying it.

“The Banshees of Inisherin,” McDonagh’s latest portrait of human frailty taken to its most perverse lengths, finds the filmmaker in a gentler allegorical space than his previous films; the opening scene features a literal rainbow behind his protagonist’s shoulder. But viewers shouldn’t mistake the story’s fairy-tale-like contours for reassurance. It’s still McDonagh’s world, shot through with rhetorical curlicues, unfettered absurdism, and lashings of sudden, lacerating violence.

All those values are on showy display in “The Banshees of Inisherin,” which reunites “In Bruges” stars Colin Farrell and Brendan Gleeson, this time not on a hit job in Belgium but on the fictional Irish island of Inisherin in 1923. Farrell plays Padraic Suilleabhain, a simple villager who lives with his sister Siobhan (Kerry Condon) and enjoys regular nights at the local pub with his best friend Colm (Gleeson). As “The Banshees of Inisherin” opens, Colm is behaving strangely toward Padraic; if it were the present day, we’d say he was ghosting his former wing man. In 1920s Ireland, with the civil war barely detectable in the distance, the rejection is far less passive-aggressive: Colm would sooner cut off a finger than indulge Padraic’s entreaties of friendship. Literally.

Can this bromance be saved? “The Banshees of Inisherin” escalates with hyperbole typical of McDonagh: As Padraic’s irresistible force repeatedly butts up against Colm’s immovable object, only hilarity or tragedy can ensue. Make that hilarity and tragedy, as is McDonagh’s wont, as a number of subplots unfurl to underline the filmmaker’s fundamental themes, including the travails of a slow-witted townsman named Dominic (Barry Keoghan) and the sadistic predations of his abusive father, who happens also to be the local policeman.

For the frequent blunt-force meanness and operatic emotion of the story, “The Banshees of Inisherin” looks beautiful: Cinematographer Ben Davis infuses the County Mayo locations with an otherworldliness appropriate to the story’s intimations of mysticism and romance. If Keoghan’s depiction of a developmentally delayed character veers uncomfortably close to caricature, Farrell, Gleeson and Condon are all sharply compelling as the three main characters, with Condon acquitting herself with particular aplomb as an intelligent woman forced to navigate man feelings writ irrationally, self-importantly large.

Presumably, one of McDonagh’s themes is the fatal cost of masculine reserve, as well as the futility of petty squabbles that can so easily metastasize into the fraternal battles that rage beyond Inisherin’s sleepy shores. “The Banshees of Inisherin” is also about artistic ego at its most monstrous and selfishly all-consuming: Colm’s reason for excising Padraic from his life is so that he can spend his final years focusing solely on playing the fiddle and composing (the piece he’s working on is called “The Banshees of Inisherin”). McDonagh sets up a central dynamic that’s seductive in its binary simplicity: What’s more important, to be loved or to be great? To be smart or to be kind? Nice or interesting?

The fact that the choice is a false one is but a quibble within the filmmaker’s larger project, which is to put his characters in a purgatory of his own making and prod them while they squirm. It’s possible to see why McDonagh’s fans love his quirks and clever structural feints (the war of wills in “Banshees” often plays out like variations on a theme), as well as his characters’ willingness not to be liked. But what they find at the end of the filmmaker’s rainbow is less likely to be a pot of philosophical gold than prosaic self-satisfaction. “I just like the double ‘sh’ sound,” Colm says, explaining the title of his masterwork. He could just as well be speaking for McDonagh himself.

R. At area theaters. Contains strong language throughout, some violence and brief graphic nudity. 114 minutes.

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Whimsy and Violence in “The Banshees of Inisherin”

By Anthony Lane

An illustration of a man looking at someone in the distance by the sea

Friendship, on film, can be broken by many things. For Mark Zuckerberg and Eduardo Saverin, in “ The Social Network ” (2010), the issue is “Who owns how much of Facebook?” In the case of Tony Stark vs. Steve Rogers, in “ Captain America: Civil War ” (2016), it’s a question of “Should the Avengers submit to an authority beyond themselves?”And, in “ Star Wars Episode III: Revenge of the Sith ” (2005), when Obi-Wan Kenobi sabres off two legs and one arm from Anakin Skywalker, like somebody carving a chicken, there’s no hiding the bone of contention: “Which of us, in signing up for this dialogue, was the bigger Jedi schmuck?”

In each instance, the casus belli is complicated stuff. How refreshing, then, to meet Colm Doherty (Brendan Gleeson), in Martin McDonagh’s new film, “The Banshees of Inisherin,” which is set in 1923. Sitting outside a pub, with a pint, Colm looks at Pádraic Súilleabháin (Colin Farrell), who is—or was, until now—his best pal, and says, “I just don’t like you no more.” Simplicity itself. For Pádraic, indeed, the statement is too simple by half. “You do like me,” he replies, in a tone at once beseeching and befuddled. His smile wavers and fails. The movie is minutes old, and already the rupture is complete.

If Pádraic seems nonplussed, that may be because his life, hitherto, has been particularly plussed. On the beautiful (and imaginary) island of Inisherin, off the coast of Ireland, where parcels of green land are neatly divided by drystone walls, he shares a little house with his sister Siobhán (Kerry Condon). Like children, they still sleep in the same room, and, like everyone else in the story, they are, though poor, decked in item after item of suspiciously lovely knitwear. We have a good idea of Pádraic’s typical day. He gets up and lets the donkey in, pretty much as you or I would let the cat out. (The donkey, Jenny, played by Jenny, who comes up to Pádraic’s waist, is the most contented and the saddest character onscreen.) Porridge is served. Pádraic herds his handful of cattle down a track, in a desultory fashion. So much for work. As two o’clock strikes, he heads to the pub, where the landlord, Jonjo (Pat Shortt), uncorks a bottle of stout. An ideal existence, crowned by epic chats with Colm. And now the crown has fallen.

As to what follows, admirers of McDonagh will know what to expect: a dark and measured whimsy, borne by its own momentum into violence. Jokes that get stuck in the throat. Such was the pattern established by “In Bruges” (2008) and “Three Billboards Outside Ebbing, Missouri” (2017). Before them came “The Lieutenant of Inishmore,” a play that opened in 2001, in which a man called Mad Pádraic travels to the island of Inishmore and, enraged by reports of the death of his cat, Wee Thomas, commits multiple murders. The turf that is trodden by the latest film, in other words, is not entirely fresh. We are not altogether surprised when Colm declares that, if Pádraic won’t leave him in peace, he will take a pair of garden shears and snip off his own fingers, one by one. The threat, we soon discover, is not idle. Even a Jedi would flinch.

The danger of so ominous a setup is that it can harden into the schematic. Something of the sort occurs as McDonagh presents us with the minor characters. Each of them, in turn, intensifies the comedy of menace. We get the local policeman, Peadar Kearney (Gary Lydon), who punches Pádraic, right on the dockside, and leaves him in tears; a mean man of God (David Pearse); and Kearney’s son, Dominic (Barry Keoghan), who hungers for female company, and is mentally a notch or two below the other inhabitants. (Mind you, his is the sharpest reaction to Colm’s intransigence: “What is he, twelve?”) There is also a pipe-smoking crone, Mrs. McCormick (Sheila Flitton), who prophesies doom. She is funny, but her divinations have the smack of a skit—“I wasn’t trying to be nice, I was trying to be accurate”—and, when Pádraic calls her “you feckin’ nutbag,” it’s hard to disagree.

From Inisherin, you can see the mainland in the distance, and, occasionally, hear the crackle of gunfire. The Irish Civil War is in its bitter final act. One evening, Kearney reveals that his presence is required across the water. “The Free State lads are executing a couple of the I.R.A. lads,” he says. Pause. “Or is it the other way around?” That note of weary confusion is all too believable; less persuasive is McDonagh’s effort to frame the private hostilities on Inisherin as a parable of the larger conflict. “I think they’re coming to the end of it,” Colm says. Pádraic replies, “I’m sure they’ll be at it again soon enough, aren’t you?” But the parallel doesn’t hold. The black humor of the two men’s bilious relationship, finally arriving at what you might call a tiffhanger, arises from the fact that it’s founded on next to nothing—a grumpy grievance. The combatants on the mainland, by contrast, have fought over matters of fiery political principle, torn by their differing visions of how that land should be constituted and run. Colm wants to be left alone to play his fiddle. Ireland is burning.

What animates “The Banshees of Inisherin” and saves it from stiffness is the clout of the performances. Within the oxlike Colm, thanks to Gleeson, we glimpse a ruminative despair, and Farrell adds Pádraic to his gallery of heroes so hapless that they forfeit all claim to the heroic. The movie, however, belongs to Condon, familiar to viewers of “Rome” and “Better Call Saul,” on TV, and now, at last, given her cinematic due. She adds a snap of anger, never dour but zestful and vivifying, to the role of Siobhán, making her so much more than a go-between, or a foil. When Colm complains that Pádraic is dull, she hits back:

“But he’s always been dull. What’s changed?” “I’ve changed. I just don’t have a place for dullness in me life anymore.” “But you live on an island off the coast of Ireland, Colm—what the hell are you hopin’ for, like?”

Later, she cautions her brother against all that remains for him in Inisherin: “bleakness and grudges and loneliness and spite.” That is not the wail of a banshee. It is the voice of modern exasperation—of anyone, anywhere, who has had enough of hatreds, great and small, and who chooses adventure over atavism. No wonder Siobhán ends up packing a suitcase. To her, the men of the island are barely more than boys, “all feckin’ boring,” scrapping uselessly in their soft green playground. She is a grown woman, and she wants out.

No fingers are sheared off in “Aftersun,” the début feature from the Scottish director Charlotte Wells. Nobody is abducted, shot, or, despite the many scenes that are filmed underwater, drowned. All that happens is that a Scotsman, Calum (Paul Mescal), goes on vacation with his daughter, Sophie (Frankie Corio), to a Turkish resort, where they talk, swim, paste themselves in mud, and briefly bicker. That’s it. But a shimmer of vulnerability hangs over the tale like a heat haze.

Sophie has recently turned eleven, and Corio poises her, with startling assurance, on the threshold between unknowing and knowing. Awkwardness jostles with a heedless grace. Sophie receives her first kiss from a boy, sips her dad’s beer, and greets with scorn his suggestion that she team up with some other children, at the pool. “They’re, like, kids ,” she says. As for Calum, he looks youthful enough to be mistaken, at one point, for her older brother; you can’t help but reflect on how painfully young he must have been when she was born. Nowadays, as we gather from their conversation, she lives with her mother, from whom Calum is separated. That is why this holiday, a rare haven of togetherness for him and Sophie, feels both casual and intense.

The movie is set in the nineteen-nineties, and what counts are not the fixtures and fittings of the era—Walkmans, functioning phone booths, and Blur’s “Tender,” with its chorus of “Come on, come on, come on”—so much as the emotional charge that they emit. The first sound we hear is the whirr and click of a tape; Sophie films Calum, on a camcorder, going out onto the balcony of their hotel room, and Wells is forever shuffling between images of varying texture, including video footage and strobes. It’s as if she were grabbing at memories on the fly.

Rumors of something remarkable have circled around “Aftersun” since its première, at this year’s Cannes Film Festival, and guess what? The rumors are true. Somehow, Wells retains control of her unstable material, and the result, though intimate, guards its secrets well. We get glances ahead to Sophie’s future, in which, as an adult, she views evidence of the long-ago vacation, and more piercing still are the flickers of Calum’s past. “When you were eleven, what did you think you would be doing now?” Sophie asks him, and the innocent question tips him into a trough of inexplicable woe; we see him from behind, seated on the bed, his bare torso heaving with sobs. Sophie is everywhere in the movie, but it’s not just about the quiet blaze of her childhood. It’s about the ghost of his. ♦

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Review: In buddy breakup drama ‘The Banshees of Inisherin,’ all’s Farrell in love and war

Two men sit drinking beer at a wooden table overlooking cliffs and the ocean

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It’s hardly an original insight to note that “The Banshees of Inisherin,” Martin McDonagh’s caustic and mournful new movie, is also his latest work to give its location top billing. Longtime admirers of this British-Irish writer-director’s stage work know his fondness for regionally specific titles like “The Cripple of Inishmaan” and “The Lieutenant of Inishmore,” two plays that — together with this film — form a loosely connected trilogy, tied together not by common characters but by common ground. If character is destiny in McDonagh’s work, then both are also inextricably tied to location and landscape. Here, as before, he draws us into an insular Irish enclave, where the air is thick with salty insults and bitter laughs, and cruelty seems to well up from the soil like highly acidic groundwater.

Which is not to suggest that Ireland — either the country of McDonagh’s firsthand experience or the one of his fictional imagination — has a monopoly on cruelty. That much is clear from his farther-flung plays, like “A Behanding in Spokane,” and also from his movies such as “Three Billboards Outside Ebbing, Missouri” and “In Bruges.” That 2008 comedy’s co-leads, Colin Farrell and Brendan Gleeson, are superbly reunited in “The Banshees of Inisherin,” only this time, rather than playing two hit men on a less-than-idyllic Belgian holiday, they’re playing longtime best friends who have never known any home beyond Inisherin. And from our first glimpse of this small, fictional island, with its lush greenery and not-infrequent rainbows (beautifully filmed by Ben Davis), that might not seem like such a bad state of affairs.

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By movie’s end, we know better. The year is 1923, and in the distance the Irish civil war is raging, providing some blunt yet hazy thematic scaffolding for this more intimate tale of men in conflict. The beauty of Inisherin will soon turn sour and corrosive, much like the once-harmonious friendship between Pádraic Súilleabháin (Farrell), a sweet-souled dairy farmer, and Colm Doherty (Gleeson), a gruff, gimlet-eyed fiddle player. In the opening scene, Pádraic sets out to meet Colm for their usual afternoon pint, only to find the man sitting at home, his back to the window, quietly ignoring Pádraic’s knocks and entreaties. Can a man scowl not just with his face but with his entire hulking frame? Somehow, Gleeson manages.

Bewildered by this silent treatment, Pádraic remains unperturbed — surely it must be some sort of joke or misunderstanding — and refuses to accept that the friendship is over, even after Colm later spells it out for him down at the pub: “I just don’t like ya no more.” After a pause that lasts a small eternity, Pádraic responds, with a mix of confusion, disbelief and heartache that Farrell plays to perfection: “Ya do like me!” And the funny thing is, he’s right. Colm’s abrupt decision stems not from a lack of affection but a lack of time: Gripped by despair and newly aware of his encroaching mortality, he wants to live out his days playing and composing music, the only thing that provides him with any semblance of comfort or meaning. He also wants to consume his last pints in peace, away from Pádraic’s incessant yammering.

A man walks on a hilly Irish road with his donkey.

Incessant yammering, of course, is one unflattering if essentially correct way to describe McDonagh’s own flavorsome dialogue, which uses staccato rhythms and purposeful word repetitions to generate a sustained back-and-forth almost as musical as Carter Burwell’s lovely score. Apart from “feck,” the favored expletive of this early 20th century Irish milieu, the script’s most frequently deployed four-letter words are “dull” and “nice,” two words that are often hurled in Pádraic’s direction. Agreeable and simple-minded, Pádraic gets along with just about everyone, from his sharp-as-a-tack sister, Siobhan (a flat-out wonderful Kerry Condon), to the animals placed in his reliable care. (None of the latter is more beloved than his miniature donkey, Jenny, the most important member of the movie’s splendid four-legged ensemble.)

Colm’s rejection of Pádraic is also, in its way, a rejection of the tyranny of niceness, and an assertion that greatness — whether in the form of a Mozart symphony or, God willing, the humbler violin piece he’s trying to compose — is of far greater value. All of which opens up a rich, thorny dialogue concerning McDonagh himself, who likes to blur the lines between humanism and nihilism, and who in “The Banshees of Inisherin” comes perhaps as close to greatness as he’s ever gotten. One measure of the movie’s skill, and its generosity, is that it embraces the wisdom of both its protagonists. You’ll share Colm’s exasperation and defend his right to pursue an unimpeded life of music and the mind, but you’ll also concede Pádraic’s point that kindness and camaraderie leave behind their own indelible if often invisible legacies.

A man sits at a table in a darkened room, with a horse leaning over the table.

Muddying the waters still further: Colm, despite his strict enforcement of boundaries (including a not-so-idle threat to harm himself if Pádraic doesn’t leave him alone), nonetheless finds ways to treat his hapless former friend with decency and compassion. Meanwhile, Pádraic, for all his talk of niceness, is the one whose escalating harassment of Colm takes on menacing overtones, lubricated by whiskey, desperation and anger. To watch these two characters rage against each other is to acquire an entirely new understanding of what happens when an unstoppable force meets an immovable object. And no one ultimately understands that dynamic better than Siobhan, who — as both Pádraic’s loyal, loving sister and the one person on Inisherin who can keep intellectual pace with Colm — could hardly be more divided in her sympathies.

Siobhan’s presence — and her own fiercely individual decisionmaking — opens up another dialectic. Although centered on the conflict between two equally unyielding men, the movie is no less about the tension between a small, isolated community and the vast world that lies beyond its overcast horizon. Mocked by the provincial townfolk for being single and bookish, Siobhan is eyeing her own possible escape. And who can blame her? “The Banshees of Inisherin,” like much of McDonagh’s earlier work, uses its physically remote setting to map out an entire human cosmos of greed, spite and self-delusion, populated by characters including a gossipy shopkeeper (Bríd Ní Neachtain), a physically abusive policeman (Gary Lydon), a witchy prophesier of doom (Sheila Flitton) and, on the more likable side, a village idiot named Dominic (Barry Keoghan).

Colin Farrell and Brendan Gleeson (Justin Jun Lee / For The Times)

Colin Farrell doesn’t have many ‘true friends.’ But Brendan Gleeson is one

From ‘In Bruges’ to ‘Saturday Night Live,’ the ‘Banshees of Inisherin’ co-stars have never had a problem picking up where they left off.

Oct. 19, 2022

With the exception of Dominic, a perpetual troublemaker whom Keoghan invests with wit, mischief and unexpected pathos, none of these peripheral characters reveals more than one or two dimensions. If “The Banshees of Inisherin” marks a significant improvement on the wildly uneven “Three Billboards,” it still doesn’t entirely shake off some of the reflexively glib, cynical aspects of McDonagh’s writing, namely his tendency to reduce some of his characters to one-note personalities, or to make them the butt of cruel comic (and sometimes cosmic) punchlines. They are the playthings of a God who dispenses punishments with a whimsical, even arbitrary hand, and whom few of these habitual churchgoers — maybe not even the meddlesome priest (David Pearse) who’s enlisted to mediate the central conflict — ultimately really trusts or believes in.

And so Colm is only right to be consumed with despair. Which doesn’t make Pádraic wrong to assume that there are salves for life’s woes, and that he might, in fact, be one of them. Farrell’s performance, one of the finest he’s ever given, is a balm in itself, a thing of rough-hewn simplicity and exquisite delicacy, nailing comic beats and striking emotional chords with the same deft touch. Without ever turning leaden or oppressive, he shows us a man who isn’t the same by movie’s end, who’s experienced more loss, fury and grief than he’d ever thought possible. All he can count on anymore, really, is the ground beneath his feet — and in that respect at least, McDonagh suggests, he may be far less alone than he realizes.

‘The Banshees of Inisherin’

Rated: R, for language throughout, some violent content and brief graphic nudity Running time: 1 hour, 54 minutes Playing: Starts Oct. 21 at AMC the Grove, Los Angeles; AMC Century City

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The Banshees Of Inisherin Review

21 Oct 2022

The Banshees Of Inisherin

How do you break up with a best friend? It’s a good question, tackled brilliantly by Seinfeld way back in its first season. After all, the rules of social disengagement are pretty clear when it comes to sexual relationships, even more so when they involve divorce. But separating from a buddy you just don’t like anymore? When the pair of you live on a small, scantily populated island with only one pub? How do you go about that?

In Martin McDonagh ’s world, the answer is: brutally. After resolving to dissolve his friendship with the dependable but dull Pádraic ( Colin Farrell ), Colm ( Brendan Gleeson ) bluntly tells his ex-friend he doesn’t want talk to him or drink with him ever again. No explanation given. No attempt made to soften the blow. Of course, if you’re familiar with writer-director McDonagh’s previous film work, from In Bruges to Three Billboards Outside Ebbing, Missouri , such tactlessness should come as no surprise — McDonagh’s scripts are so abrasive, you could use them as sandpaper. So the focus of the film is less on Colm’s decision, and more on Pádraic’s reaction, not to mention the impact it has on his “limited” (another character’s word, not ours) life.

Farrell is fantastic, delivering one of his best-ever performances.

Ironically, for a story about a friendship-wreck, The Banshees Of Inisherin is also a reunion: of McDonagh with the double act that made the hitman antics of In Bruges such a piquant treat. However, Farrell and Gleeson don’t spend nearly as much time on screen together here, for self-evident reasons. It’s a shame, in a small way, but it does add to the pervading sense of wrongness.

Colm is largely inscrutable, despite the occasional revelation of sorts, and the odd flash of kindliness. McDonagh never fully reveals what drives him to the Pádraic-alienating extremes he goes to later in the film, and that makes him the more emotionally distant of the two men.

This is primarily Pádraic’s story; the tale of a good, decent fella who, through an enforced process of self-examination, finds and embraces other, sharper facets to his personality. Farrell is fantastic in the role, delivering one of his best-ever performances. He takes on a kind of sagging anti-charisma, a seeming guilelessness which he initially plays for laughs, but then gradually and convincingly brews into something much darker.

Complementing him perfectly is Kerry Condon as Pádraic’s savvy sister, Siobhan. Her exasperation at her brother’s response to Colm’s ultra-dick move is thoroughly relatable, and you’ll welcome every moment she spends on screen. Siobhan also evokes the most sympathy as a woman who has clearly, desperately outgrown this cliff- edged, wall-scarred speck of an island — a realisation only underlined by the clumsy amorous attentions of Barry Keoghan’s damaged youth, Dominic, a character that sadly gets the shortest narrative shrift of the bunch.

The drama may be intimate, but the backdrop feels epic.

Tenderly scored by Carter Burwell and gorgeously shot by cinematographer Ben Davis — the drama may be intimate, but the backdrop feels epic — The Banshees Of Inisherin is a film whose unhurried pace never drags. It is, we suppose, McDonagh’s gentlest offering yet (and the fact that his gentlest film involves acts of mutilation says a lot about his other work). That said, you could also argue it is his first war movie. And not just because it is set during the Irish Civil War of 1922-23, which is heard raging just a few miles across the water. After all, Colm and Pádraic’s split is really just that war in microcosm. The causes are obscure and confusing, the emerging conflict escalates fast, the previously close participants employ tactics that would have once been unthinkable. And the after-effects will be felt for years to come.

McDonagh has never been one for neat resolutions, so it’s not giving anything away to say that we’re denied one here, too. This is no bromantic-comedy, and you really shouldn’t be hoping for any feel-good vibes (though there are plenty of laughs, if your humour verges on the dark side). But the film is engrossing and beautifully mounted, and is sure to not disappoint anyone who’s enjoyed McDonagh’s previous rough rides.

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The Banshees of Inisherin review: A friendship turns into a feud overnight

Colin Farrell and Brendan Gleeson are best friends suddenly on the outs in Martin McDonagh's brilliant, serrated black comedy.

Leah Greenblatt is the critic at large at Entertainment Weekly , covering movies, music, books, and theater. She is a member of the New York Film Critics Circle, and has been writing for EW since 2004.

It's been nearly 15 years since Martin McDonagh made his feature directorial debut with In Bruges , a neat, nasty little gem of a movie about two bungling hitmen ( Colin Farrell and Brendan Gleeson ) on the lam — and not doing it well — in Belgium. The Banshees of Inisherin reunites him with his two leading men in a film that turns out to be pretty much the furthest thing from a sequel to Bruges , but still feels like a kind of homecoming nonetheless. And a testament, too, to how they've each evolved as artists: A prolific playwright whose last screen outing, Three Billboards Outside Ebbing, Missouri, won Oscars for both Frances McDormand and Sam Rockwell, McDonagh has always been known for his particular brand of bleak existential comedy. Tar-black, bloody, and tinged with the surreal, it can also come off as ruthless, even casually cruel. Inisherin , though, feels like his most humane and deeply felt offering to date — which says a lot about a movie rife with blasphemy, self-mutilation, and miniature donkeys — and the actors here respond accordingly with some of the richest, most fully realized performances of their careers.

It's 1923 on a small windblown island off the coast of Ireland, and Pádraic (Farrell) seems like a happy-enough creature of habit: He lives in a modest cottage with his wry, bookish sister, Siobhán ( Better Call Saul 's Kerry Condon), tends to a small stable of animals, and meets his best mate Colm (Gleeson) regularly for pints at the local pub. That is, until the day Colm announces that he no longer wants to get pints, ever again. Life is too short, and Pádraic is too dull; Colm would prefer to be left alone with his dog and his fiddle, and maybe write a piece of music that actually means something before he dies. This abrupt change of heart isn't just bewildering for Pádraic, it's entirely destabilizing. Who is he, if not the man who gets pints with Colm?

Banshees , with its Kelly-green vistas, warbled shanties, and blithe obscenities ("feck" is a noun, an adjective, and sometimes a verb),could easily come off as the kind of Irish burlesque we've seen many times before; instead, the movie turns out to invert cliché as much as it embraces it. Inisherin may not be a hotbed for making new friends, but it's still a place rife with outsize characters: the local "idjit," Dominic ( Dunkirk 's puckish Barry Keoghan ) and his abusive constable father (Gary Lydon); the blustery parish priest (David Pearse); an elderly neighbor so wizened and witchy she looks like she might have once shared a staff with Gandalf. Their dialogue unfurls in Mcdonagh's signature rhythms, a sort of profane poetry that skitters between farce and calamity, often within the same sentence.

The cast tasked with it is masterful, from Keoghan's holy fool to Condon's long-suffering Siobhán, a nervy, sharp-witted woman stranded in a sea of petty grievances and grown adolescents. Farrell — alternately bruised, defiant, achingly sincere, and also very funny — wears the sum of his years here with fresh significance; he's still almost obscenely handsome, but there's a depth of feeling that could only come from lived experience, and a tender, shaggy gravitas in Gleeson too. Their falling out, of course, is not just about pints, or Pádraic's little house donkey that he keeps by his side like a border collie. To be corny, which the film (due in theaters Oct. 21) is decidedly not, it's about life: the brevity of it, the risks we do or don't take, who we choose to share it with in the end. And for all the gall, absurdity, and outright threats of physical violence, it's pretty feckin' wonderful. Grade: A–

Banshees of Inisherin, The (Ireland/UK/USA, 2022)

It could be argued that The Banshees of Inisherin works better as an allegory than a straightforward narrative. There’s power in the message conveyed by writer/director Martin McDonagh’s screenplay; it’s less a drama and more a rumination about the failings of humanity.

The movie is set on a remote island off the coast of Ireland during the year-long Irish Civil War (which transpired during the second half of 1922 and the first half of 1923). It’s a raw, inhospitable place with rolling hills atop granite cliffs that plunge into the raging waters below. Ben Davis’ camerawork captures the untamed beauty of the place while McDonagh takes care to get the period details right – this is a primitive world where electricity hasn’t yet arrived and communication is via letters that can take weeks to reach their destination. Life is basic in the small village where everyone knows not only everyone else’s name but their business as well. Purpose #1 in life is tending to the farms and animals that provide sustenance. Leisure time encompasses playing music, reading books, and sitting in the town’s lone pub, idly chatting over a pint or two. McDonagh brings Inisherin to life so forcefully that the place almost overwhelms those living in it.

Padraic Suilleabhain (Colin Farrell) and Colm Doherty (Brendan Gleeson) have been best friends for decades – until one day, seemingly without motivation, Colm decides he no longer wants to spend time with Padraic. There’s no specific trigger for this decision. Like a marriage in which one spouse falls out of love with the other, it has been building over time. Colm has grown tired of Padraic’s endless prattle. He wants silence so he can focus on what has meaning for him: writing music and playing it on his violin. He has come to see his former friend as an anchor whose existence is without purpose. This is a brutal shock to Padraic. His life has three foundational pillars: the companionship of his sister, Siobhan (Kerry Condon), with whom he shares a house; the love of his pet miniature donkey, Jenny; and the friendship of Colm, with whom he ventures to the pub every afternoon at precisely 2:00. With one of those gone, he’s teetering on the brink of collapse, lost and alone. Soon, he has attached himself to the guileless Dominic (Barry Keoghan), a youth who functions as the town idiot while being brutalized by his policeman father (Gary Lydon), but Dominic doesn’t fill the hole.

This is a reunion among friends: McDonagh, Farrell, and Gleeson having already teamed-up in 2008’s critically beloved In Bruges . I didn’t love that movie (I felt let down by the third act) nor did I adore McDonagh’s follow-up, Seven Psychopaths (with Farrell but not Gleeson), which suffered from the same late-film narrative problems. But his third outing, Three Billboards Outside Ebbing, Missouri (with neither Farrell nor Gleeson but with Kerry Condon), is his most complete film to-date. Although The Banshees of Inisherin isn’t as emotionally fraught as Three Billboards , it avoids the narrative collapses of McDonagh’s earlier productions and delivers a movie whose themes linger and demand to be ruminated over late at night, while lying abed.

While I won’t argue that this is McDonagh’s best film, it is unquestionably his most Irish. And, despite the presence of a couple of internationally recognizable faces, The Banshees of Inisherin is designed more for art film audiences than those who camp out in multiplexes awaiting the next blockbuster. If indies are endangered then movies like this are to be embraced. Although the film will work if streamed (or otherwise viewed at home), a case can be made for seeing The Banshees of Inisherin theatrically. The tapestry is large enough for the big screen and the overall experience will reward the movie-goer far more than something slick and superficial like Don’t Worry Darling .

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Catholic Review

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Movie Review: ‘The Banshees of Inisherin’

NEW YORK – There are some things to celebrate but others to bewail about “The Banshees of Inisherin” (Searchlight). In fact, this bleak combination of black comedy and rural drama incorporates elements that make it acceptable for only a small number of grown movie fans.

Set in 1923 on the imaginary Irish island of the title, the film focuses on the friendship between two of its residents, amateur fiddler and composer Colm Doherty (Brendan Gleeson) and farmer Pádraic Súilleabháin (Colin Farrell). When, after years of shared daily trips to the local pub, Colm abruptly ends their relationship, Pádraic is bewildered by this wholly unexpected turn of events.

Though Colm eventually explains himself, claiming that Pádraic’s conversational dullness is cramping his style and interfering with his creativity, his pal not only continues to brood about the cause of the mysterious breach, he refuses to accept that their bond is at an end. Whereupon Colm threatens a drastic reaction if Pádraic doesn’t leave him alone.

As the increasingly dire consequences of the rift between the pair play out – against the distant background of the real-life Irish Civil War that was then raging – writer-director Martin McDonagh carries Celtic bloody-mindedness to an extreme some may not find credible. Yet he manages to maintain suspense via viewer dread.

Though Catholicism – personified by the unnamed priest (David Pearse) who makes periodic visits from themainland – pervades the atmosphere, it does nothing to soften the human relations of the community. Nor does it offer hope to any of the characters.

Besides the two ex-pals, the more prominent of these include Pádraic’s goodhearted sister, Siobhán (Kerry Condon), and Dominic Kearney (Barry Keoghan), an intellectually challenged youth to whom Pádraic turns for companionship after Colm abandons him. Dominic’s brute of a policeman father, Peadar (Gary Lydon), is oppressive in public as well as vicious and perverse to his son behind closed doors.

Grisly sights and grim themes make Inisherin a destination fit only for the hardiest. Whether they will find its striking inhabitants and sweeping landscapes – beautifully captured by cinematographer Ben Davis – sufficient reward for the rigors of their sojourn remains an open question.

Look for: Strong performances and an interesting study in moral degeneration.

Look out for: An ambivalent portrayal of faith, numerous gruesomely gory images, full male nudity in a nonsexual context, mature references, including to incestuous sexual abuse, about a half-dozen instances each of profanity and milder swearing, pervasive rough language and some crude terms.

The Catholic Moviegoer’s guidance is L – suitable for a limited mature audience. The Motion Picture Association rating is R – restricted. Under 17 requires accompanying parent or adult guardian.

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The 10 Most Underrated Colin Farrell Movies, Ranked

Colin Farrell’s status as a Hollywood star has only increased in recent years.

Unquestionably, one of the most talented actors of his generation, Colin Farrell ’s status as a Hollywood star has only increased in recent years . Farrell made a breakthrough in 2022 when he received his first Academy Award nomination for his work in Martin McDonagh ’s punishing dark comedy The Banshees of Inisherin , which took advantage of his “sad sack” personality to its fullest extent. Within the same year, he also earned acclaim for his heartbreaking performance in the sci-fi family drama After Yang and his terrifying version of The Penguin in Matt Reeves’ reboot of The Batman .

Known for his intense commitment and knack for playing unusual characters, Farrell has a unique career that isn’t just defined by his biggest successes . Farrell is t he type of actor who can even elevate a mediocre movie , and generally makes projects more interesting as a result of his involvement. While some of his best films are now regarded as modern classics, much of Farrell’s filmography has been sadly overlooked by general moviegoers. Here are the ten most underrated Colin Farrell movies, ranked.

10 ‘Phone Booth’ (2002)

Directed by joel schumacher.

While Joel Schumacher earned some significant backlash for the campy direction he took the Batman franchise, his underrated 2002 thriller Phone Booth is an expert way of creating tension within a confined environment . Farrell gives one of his most unlikeable performances as the arrogant publicist Stu Shepard, who is forced to answer calls from an enigmatic stalker ( voiced by the great Kiefer Sutherland ) as he waits at a public New York phone booth.

While the events of the film quickly escalate and grow increasingly unbelievable, Farrell helps keep Phone Booth somewhat grounded in reality with his measured performance . Nonetheless, it’s a role that also suitably fits his inherent idiosyncrasies as an actor, allowing Farrell to relish in the absurdity of the material. Critics of Schumacher’s other films shouldn’t be dissuaded from checking out this nail biting satire of toxic masculinity that’s personified by one of Farrell’s wildest performances.

Phone Booth

Rent on Amazon

9 ‘The New World’ (2005)

Directed by terrence malick.

While Terrence Malick is a filmmaker of great acclaim , The New World is a highly ambitious historical epic that aims to rewrite common myths about the foundation of America’s first community . Set during the emergence of the Jamestown colony in the early 17th century, The New World stars Farrell as the British traveler Captain John Smith, whose life was saved by the Powhatan Princess Pocahontas ( Q'orianka Kilcher ). Over the course of their relationship, Smith begins to drift from the woman who saved his life, leading to a heartbreaking love triangle with her new suitor James Rolfe ( Christian Bale ).

While it’s certainly a heavily romanticized version of actual history, The New World deserves credit for its visceral beauty and earnest romanticism. The film showed a more empathetic and compassionate side of Farrell, who shied away from any overt melodrama to give one of the more grounded performances of his career. It’s an underrated gem that serves as a deepening of Farrell’s persona and a more thoughtful depiction of indigenous culture than most historical epics have included.

Watch on Max

8 ‘Miami Vice’ (2006)

Directed by michael mann.

While the original Miami Vice series changed television forever with its stylized approach to the procedural cop drama, Michael Mann radically reinvented the original source material he helped create with his heavily existential 2006 reboot . Farrell and Jamie Foxx step into the iconic roles played by Don Johnson and Philip Michael Thomas in the original series for a thrilling new mystery that tests their characters’ partnership.

Miami Vice showed a deepening of Farrell’s charisma , as his version of Detective Sonny Crockett is a far more realistic version of the character than Johnson’s. While Miami Vice initially attracted criticism for its gloomy atmosphere and largely incomprehensible narrative, it has since become a cult classic thanks to its impact on the development of digital cinema. While certainly a technical marvel, Miami Vice has remained such an essential crime thriller because of the emotional foundation of Farrell’s performance.

7 ‘The Imaginarium of Doctor Parnassus’ (2009)

Directed by terry gilliam.

Although it's often ranked among the best films directed by Terry Gilliam , The Imaginarium of Doctor Parnassus was a film that was completed under tragic circumstances . Although Heath Ledger had initially been cast in the leading role of Ennis Del Mar, his death in 2008 forced Gilliam to recast him in order to complete the film. In order to pay respect to the fallen icon, Gilliam enlisted the help of Farrell, Johnny Depp, and Jude Law to help finish Ledger’s role in the film.

Farrell’s real friendship with Ledger makes his performance in The Imaginarium of Doctor Parnassus more powerful, as it's evident that he’s channeling the late star’s energy in an emotionally charged performance. While not the commercial hit that Gilliam may have anticipated, The Imaginarium of Doctor Parnassus is certainly not a film that lacks ambition; thanks to Farrell, it’s not lacking in sincerity either.

The Imaginarium of Doctor Parnassus

6 ‘the way back’ (2010), directed by peter weir.

While the survival thriller genre has sadly been deprived of new classics in recent years, The Way Back is a refreshingly old-fashioned throwback to classic adventure films . Set during World War II, Peter Weir ’s large scale epic centers on the prisoners Janusz Wieszczek ( Jim Sturgess ), Irena Zielińska ( Saoirse Ronan ), and Valka (Farrell) as they escape from a Soviet labor camp in Siberia. Tensions escalate when the escapees must survive within the debilitating conditions of the wilderness.

The Way Back is effective because of Farrell’s commitment to the physicality, as the film shows the immense burden that these characters experience as a result of their traumatic conditions. While the film’s characterization of history may have been a bit too bleak for general audiences, both Farrell and Weir deserve credit for treating this powerful segment of history with the respect that it needed.

Watch on Amazon

5 ‘Seven Psychopaths’ (2012)

Directed by martin mcdonagh.

Following the success of their collaboration on In Bruges , Farrell proved once more that he was perfectly suited for Martin McDonagh’s comedic sensibilities with the 2012 crime comedy Seven Psychopaths . Farrell stars as a struggling writer caught in over his head when his best friend ( Sam Rockwell ) kidnaps a dog that belongs to a ruthless criminal ( Woody Harrelson ). What begins as an amusing comedy of errors becomes a profound deconstruction of the artistic process that reckons with the trauma that “writer’s block” can have.

Farrell’s performance is underrated in how nuanced it is ; while Seven Psychopaths is a film that relies upon the over the top sensibilities of actors like Christopher Walken and Michael Stuhlbarg , Farrell has a hilariously deadpan role that is even more amusing in comparison. The film’s bracingly dark sense of humor works because of the inherent charisma that Farrell has on screen.

Seven Psychopaths

Watch on Paramount+

4 ‘Solace’ (2015)

Directed by alfonso poyart.

Originally pitched as an odd legacy sequel to David Fincher ’s classic crime drama Se7en , Solace is an engaging serial killer thriller that features a delightfully villainous turn from Farrell . Jeffrey Dean Morgan gives a terrific performance as the FBI Agent Joe Merriwether, who teams up with the psychic John Clancy ( Anthony Hopkins ) to track down the violent murderer Charles Ambrose (Farrell). While director Alfonso Poyart doesn’t have the same attention-to-detail that made Fincher’s film such an all-timer, he does make up for it in terms of visceral thrills.

Solace is evidence that Farrell doesn’t need a lot of screen time to be memorable . Despite not having a substantial role in the film until the last act, Farrell’s delightfully demented performance is reason enough for genre fans to check out Solace. The film’s direct-to-VOD release was unfortunate considering its strong performances and style.

3 ‘The Beguiled’ (2017)

Directed by sofia coppola.

While the 1971 film starring Clint Eastwood was a classic in its own right, Sofia Coppola’s remake of The Beguiled manages to improve upon the original in every way. Set at an all-female boarding school during the Civil War era, The Beguiled centers on the wounded soldier McBurney as he is rescued by the teacher Miss Farnsworth ( Nicole Kidman ). As he is nursed back to health, McBurney begins to develop a romantic relationship with the young woman Edwina ( Kirsten Dunst ).

While the original version of The Beguiled leaned into its kinetic genre elements, Coppola’s remake becomes a haunting study on toxic masculinity that is unafraid to lean into the campiness of the material. Farrell gives a brave performance that epitomizes male insecurity and jealousy; he transforms his inherently endearing persona into a villain that the viewer learns to love to hate.

The Beguiled (1971)

Watch on Netflix

2 ‘After Yang’ (2022)

Directed by kogonada.

A quiet, pensive consideration of what constitutes both humanity and family, After Yang contains one of Farrell’s most open-hearted and empathetic performances . Set in the not so distant future, After Yang centers on the parents Jake (Farrell) and Kyra ( Jodie Smith-Turner ) as they struggle to care for both their adopted stepdaughter Mika ( Malea Emma Tjandrawidjaja ) and the android Yang ( Justin H. Min ) who they’ve adopted as a son. Farrell has a very nuanced role; he has to play a father who faces existential questions about the future of both his marriage and lineage.

While it received rave reviews upon its festival debut, After Yang was sadly only given a limited theatrical release, preventing many cinephiles from seeing it in the best possible format. Although it’s a far slower and more intimate sci-fi film than some may have expected, After Yang indicated Farrell could succeed in films without traditional commercial prospects.

1 ‘Thirteen Lives’ (2022)

Directed by ron howard.

Based on the incredible true story of the 2018 Tham Luang cave rescue, Thirteen Lives is an inspiring tribute to real heroism that benefits from the seasoned direction of Ron Howard. Farrell stars as John Volanthen, a veteran diver who worked alongside his partner Richard Stanton ( Viggo Mortensen ) to rescue a group of Thai children who were trapped within a cave that was flooded with water. Farrell characterizes Volanthen as a seasoned, yet compassionate professional who understands the weight of responsibility that he is burdened with.

While a documentary about the same subject titled The Rescue was also quite popular, Thirteen Lives justifies its existence as a dramatized feature thanks to the empathic performances from Farrell and the entire cast . While its hybrid release on Prime Video left it severely underrated, Thirteen Lives tells one of the more inspirational stories in Farrell’s filmography.

Thirteen Lives

KEEP READING: The 10 Most Underrated Tom Cruise Movies, Ranked

10 most popular movies of 2024 so far, ranked

A fter a promising 2023 box office thanks to “ Barbenheimer “ and The Super Mario Bros. Movie , 2024 is projected to go down. According to Gower Street Analytics , the 2024 global box office is expected to be less than 2023’s total. However, the domestic market in the first three months of 2024 was 1% above projections. It’s a marginal victory for theater owners but a win nonetheless.

Movies in 2024 are off to an interesting start. No Marvel or DC movie premiered in the first quarter, with the only major superhero release, Deadpool & Wolverine, coming in July 2024. The biggest hits of 2024 have been sequels, making up four of the five highest-grossing films domestically. While it’s obvious what sits at the top, there are a few surprising entries in the top 10, considering two are considered catastrophic flops. Below are the 10 most popular movies of 2024 ranked by domestic gross.

Note: U.S. domestic box office grosses come via Box Office Mojo on April 9. The list only includes films released in 2024.

10. Night Swim ($32,494,740)

January has provided multiple horror hits over the past few years, including M3GAN and Scream . Night Swim did not make nearly as much money as those two films. However, it’s the biggest horror film of 2024 so far, which should not come as a surprise with Blumhouse Productions behind it. Directed by Bryce McGuire in his feature directorial debut, Night Swim stars Wyatt Russell as Ray Waller, a former MLB player forced into an early retirement.

Ray, his wife Eve ( The Banshees of Inisherin ‘s Kerry Condon), and two kids move into a new house with a swimming pool in the backyard. The pool miraculously heals Ray’s injuries, but a sinister force in the water wreaks havoc on the family. Despite negative reviews, Night Swim’s intriguing premise and brisk runtime (98 minutes) are enough to warrant a stream.

Stream Night Swim on Peacock .

9. Madame Web ($43,809,294)

Where to even begin with Madame Web ? The latest entry in Sony’s Spider-Man Universe was a cultural phenomenon for all the wrong reasons. From the puzzling dialogue about researching spiders in the Amazon to the confusing action sequences, Madame Web is Digital Trends’ worst movie of 2024 so far . For those who haven’t seen it, Madame Web stars Dakota Johnson as Cassandra Webb, a Manhattan paramedic who will one day become Madame Web.

After a near-death experience allows her the ability to see the future, Cassie must protect three teenage girls — Julia Cornwall (Sydney Sweeney), Anya Corazon (Isabela Merced), and Mattie Franklin (Celeste O’Connor)—from Ezekiel Sims (Tahar Rahim), who plans to kill the trio. Madame Web is only on this list because it’s early in the year. However, Hollywood is in trouble if Madame Web remains in the top 10 by the summer.

Rent Madame Web on Prime Video , YouTube , Apple , or Google .

8. Argylle ($45,207,275)

Matthew Vaughn , the creative force behind the Kingsman movies, attempted to launch his second spy franchise with Argylle , but it ended in disaster. Argylle (Henry Cavill) is a gifted secret agent tasked with bringing down a spy organization. However, Argylle is the fictional creation of author Elly Conway (Bryce Dallas Howard), the spy novelist behind the Argylle series.

Unbeknownst to Elly, her novels predict the future, making her the target of an evil organization known as the Division. When the Division attacks Elly on a train, Aidan Wylde (Sam Rockwell), a real spy, intervenes and saves the day. Aidan must keep Elly alive to write the next chapter and stop the Division. Unlike the Kingsman franchise that spawned multiple sequels, Argylle will likely be one-and-done, as the film only made $45 million domestically against a $200 million budget.

Stream Argylle on Apple TV+ starting April 12.

7. The Beekeeper ($66,220,535)

Jason Statham is one of our finest B-movie action stars . The Transporter , Crank , and The Mechanic are some of Statham’s better offerings. Add The Beekeeper to the list. After losing $2 million to scammers, landlord Eloise Parker (Phylicia Rashad) commits suicide. Eloise’s tenant, beekeeper Adam Clay (Statham), is devastated to learn about her death and seeks vengeance against the scammers.

Adam is not an ordinary person. He once worked as an operative for the “Beekeepers,” a secret organization. All you need to know about The Beekeeper is that Statham does what he does best: fight, kill, and wreak havoc. This simple but satisfying premise is why The Beekeeper grossed over $150 million worldwide, including $66 million domestically.

Rent The Beekeeper on Prime Video , YouTube , Apple , or Google .

6. Mean Girls ($72,404,248)

In 2004, Tina Fey invited audiences into the cutthroat world of high school in Mean Girls . Twenty years later, Fey returned to high school, but with a musical twist, in Mean Girls . After years of homeschooling in Kenya, Cady Heron (Angourie Rice) returns to the U.S. and attends North Shore High School. Cady’s friends — Janis ‘Imi’ike (Auliʻi Cravalho) and Damian Hubbard (Jaquel Spivey) — open her eyes to the social cliques of high school, led by the popular Regina George (Reneé Rapp) and her group of minions known as the Plastics.

After Cady receives an invite into the Plastics, Janis convinces her to infiltrate the group and ruin Regina’s reputation. Since Mean Girls is based on a stage musical, the cast performs numerous songs throughout the film, which garnered some unfavorable social media reactions around its release. However, the somewhat off-key singing and awkward staging did not affect the box office, as a $72-plus million domestic haul is a solid win for Paramount.

Stream Mean Girls on Paramount+ .

5. Ghostbusters: Frozen Empire ($89, 362, 551)

In 2024, the answer to “Who you gonna call?” remains the same: the Ghostbusters. The paranormal investigators head back to where it all began, New York City, in Ghostbusters: Frozen Empire . It’s been three years since the events of Ghostbusters: Afterlife , and the Spengler family—Callie (Carrie Coon), Trevor (Finn Wolfhard), and Phoebe (Mckenna Grace)—move to the Big Apple with Gary Grooberson (Paul Rudd) to help re-establish the Ghostbusters.

The quartet joins Ray Stantz (Dan Aykroyd) and Winston Zeddemore (Ernie Hudson) in the fight against a new evil force that could cause a second Ice Age. Frozen Empire is a nostalgia play with mixed results. Although there are plans for another sequel , Ghostbusters: Frozen Empire will need to have legs at the box office and surpass $100 million domestically before having any serious discussions about the future.

Ghostbusters: Frozen Empire is now in theaters.

4. Bob Marley: One Love ($96,602,729)

Bob Marley: One Love is hands-down the surprise hit of 2024. Directed by Reinaldo Marcus Green, Bob Marley: One Love stars Kingsley Ben-Adir as the titular Jamaican singer and songwriter. The film begins in 1976 with an assassination attempt on Marley and his wife Rita (Lashana Lynch) at a peace concert.

After surviving the gunshots, One Love traces Marley’s career over the next few years, from the recording of Exodus to his meteoric rise to global superstardom. Bob Marley: One Love doesn’t reinvent the biopic, but Ben-Adir’s performance and the landmark reggae songs should satisfy most Marley fans. The film exceeded expectations by grossing over $50 million throughout its six-day Valentine’s Day week opening, with its current domestic total at $96 million.

Stream Bob Marley: One Love on Prime Video , YouTube , Apple , or Google .

3. Godzilla x Kong: The New Empire ($136,359, 532)

Critics were never going to like Godzilla x Kong: The New Empire . Do you want to know who does enjoy these monster movies? Audiences. Despite a day-and-date release in 2021, Godzilla x Kong’s predecessor, Godzilla vs. Kong , set several pandemic box office records on its way to $470 million worldwide gross. In 2024, the two sworn enemies form an unlikely alliance to battle a new threat in Godzilla x Kong: The New Empire .

Despite the effort to tell an interesting and thought-provoking story, MonsterVerse fans are going to the movies to see Godzilla and Kong engage in epic battles, not learn about their mythology. In terms of spectacle, Godzilla x Kong: The New Empire delivers. The New Empire is on its way to passing Godzilla vs. Kong at the domestic box office with $134 million and counting.

Godzilla x Kong: The New Empire is now in theaters.

2. Kung Fu Panda 4 ($166,404,960)

Never underestimate the power of Jack Black. The 54-year-old comedian is a glorified family movie star thanks to recent hits, including The Super Mario Bros. Movie, two Jumanji films, and The House with a Clock in Its Walls . Black recently returned to his kid-friendly martial arts comedy franchise for a fourth time in Kung Fu Panda 4 . Po (Black) embarks on a quest to find his successor as the Dragon Warrior. However, the shapeshifting creature, The Chameleon (Viola Davis), threatens the Valley of Peace with her ability to copy kung fu techniques.

Po reluctantly teams up with the mischievous Zhen (Awkwafina) to save the kung fu masters from Chameleon’s wrath. Because of the lack of family movies in Q1, Kung Fu Panda 4 has found a significant audience at the theaters, earning over $165 million domestically. As long as Kung Fu Panda continues to have legs, Kung Fu Panda 5 will likely become a reality.

Kung Fu Panda 4 is now in theaters.

1. Dune: Part Two ($265,646,536)

The movie event of 2024 to this point has been Dune: Part Two . Denis Villeneuve’s highly anticipated sequel to 2021’s Dune has been met with overwhelmingly positive reviews thanks to stunning visuals, electrifying action, and sensational direction. Dune: Part Two continues to follow the rise of Paul Atreides (Timothée Chalamet), the gifted Duke who wishes to liberate the Fremen and exact revenge on the Harkonnens for murdering his father.

Originally scheduled for a November 2023 release, Warner Bros. delayed the film to March 2024 because of the actor and writer strikes. The gamble paid off, as Dune: Part Two’s $265 million domestic total is already more than Dune’s $108 million haul. Dune: Part Two will likely stay in the top 10 the entire year as it marches toward the 2025 Oscars.

Dune: Part Two is now in theaters. The film arrives on digital on April 16 .

10 most popular movies of 2024 so far, ranked

The 25 Best New Movies Streaming in April 2024

From horror hits to films destined to become cult classics

April is here, and with it plenty of new movies to stream. This month we’re running down the best new releases on the major streamers, from horror hits to Oscar winners to films that didn’t break the bank at the box office but could become “a thing” on streaming. We’ve curated a list based on what’s new on Netflix , Prime Video , Hulu, Disney+, Paramount+ and Peacock to bring you the best of the best, including some great library titles that were added this month.

Check out our picks for the best new movies streaming in April 2024 below.

Lisa Frankenstein

All hail “Lisa Frankenstein,” which made a sneaky debut on Peacock at the end of March so we’re counting it here for April. The latest horror comedy from Diablo Cody, who wrote the similar (but superior) “Jennifer’s Body,” follows Lisa (Kathryn Newton), a young woman in the stifling 1980’s who yearns for a Victorian man who finds himself resurrected (Cole Sprouse). When she realizes that she can restore him by killing people and using their body parts (with some help from her pageant queen step-sister’s tanning bed), the movie folds in some delightfully dark elements. While the whole thing doesn’t quite come together, with Zelda Williams, in her directorial debut, failing to completely reconcile the disparate tones (also the PG-13 rating really cuts down on what could have been some very squishy fun), “Lisa Frankenstein” is very much worth the watch. Newton is absolutely wonderful, as she oscillates between swooning for her love and become incredibly frazzled (she does both adorably), as is Sprouse. And Liza Soberano turns in a star-making performance as Lisa’s sunny step-sister Taffy. Plus, there are enough Cody one-liners to undoubtedly turn “Lisa Frankenstein” into a future classic. As Newton says, quite memorably, “Shit is transpiring, man.” – Drew Taylor

Paramount+ – April 1

Last year’s must-see A24 horror movie was “Talk to Me,” which also served as the directorial debut of Danny and Michael Philippou, brothers who up until this point had been making must-see YouTube videos. The Philippous clearly know what they’re doing, as they crafted one of the most unforgettable horror movies in recent memory. In “Talk to Me” a bunch of Australian teenagers (led by Sophie Wilde in a breakout role) use a possessed hand as a party drug – they commune with the dead while hanging out in their parents basement. Of course, when Wilde’s Mia starts to realize she could use the hand to talk to her dead mother, things take an altogether more sinister path. Scary and spooky, with moments of shocking violence, “Talk to Me” is the perfect put-on-at-a-slumber-party favorite, concluding with one of the very best horror movie twist endings ever. And don’t worry, there’ll be more – A24 has already announced a sequel, “Talk 2 Me.” Our guess is it’ll be double the scares. – Drew Taylor

Disney+ – April 3

Meant as a celebration of the first 100 years of Disney Animation, “Wish” harkens back to Disney animated classics like “Snow White and the Seven Dwarfs” and “Sleeping Beauty,” complete with a storybook narrative and a painterly art style. In “Wish” Ariana DeBose voices Asha, a 17-year-old girl who lives in a magical Mediterranean kingdom called Rosas, who is ruled over by a benevolent sorcerer named Magnifico (Chris Pine), who grants the citizens’ wishes. When Asha uncovers the truth about Magnifico, she teams up with an anthropomorphic star and a talking goat (Alan Tudyk) to take down the king and share what she knows with the kingdom. “Wish” is beautiful; splendid even. And while the story sometimes meanders when it should sprint, it’s still an enjoyable trek through Easter eggs and shoutouts, full of hidden callbacks to the company’s legacy of animated greatness. And while the movie failed to connect with audiences or critics, it should do just fine on streaming, where families can watch the movie again and again, singing along to its serviceable songs and looking for all of those hard-to-find references. – Drew Taylor

Prime Video – April 4

Internet sensation Rudy Mancuso has crafted an anti-romantic rom com and coming of age story exploring his own real life condition of synesthesia. His character in the film, a semi-autobiographical Rudy, has experienced every day sound as notes to arrange into patterns of rhythm in his head. The film features slapstick comedy, one-liner riffs from the puppet Diego and a not so romantic meet cute between Mancuso and his current girlfriend in real life Camila Mendes, who portrays Isabella in the film. Directed by Mancuso, the film also features his real-life mother Maria, who brings just as much off the cuff humor as that of the more practiced Mancuso. Piano imagery appears throughout the film in an artistic nod to the first instrument Mancuso learned to play, and sometimes piano notes accompany sets of keys whether outlined on his toast in jam or painted onto the steps that Rudy walks down. – Dessi Gomez

Gillian Anderson and Rufus Sewell in "Scoop" (Netflix)

Netflix – April 5

Based on the true events, “Scoop” dramatizes and details how the BBC’s “Newsnight” landed their explosive interview with Prince Andrew to confront him about his relationship with convicted sex offender Jeffrey Epstein. Billie Piper portrays Sam McAlister, the real-life interview booker (more like a wrangler) who nabbed the exclusive sit-down with Queen Elizabeth’s second son and King Charles’ younger brother. Gillian Anderson plays Emily Maitlis, the journalist who grilled the prince. High stakes make this adrenaline rush of a film one that will have viewers on the edge of their seats. “Scoop” launches on Netflix on April 5. – Dessi Gomez

From left to right: Billie Piper, Rufus Sewell and Gillian Anderson in "Scoop" (Netflix)

The Zone of Interest

Max – April 5

Jonathan Glazer’s uncompromising, Oscar-winning masterpiece, hits streaming. Let’s see if you can make it through the whole thing. “The Zone of Interest,” based loosely on the Martin Amis novel of the same name, follows Rudolf Höss (Christian Friedel), commandant of the Auschwitz concentration camp, who lives with his wife Hedwig (Sandra Hüller) in an idyllic home right next door to the camp. Instead of showing what’s happening on the other side of the wall, Glazer keeps his focus keenly on Höss, his wife and their family. You hear screams, see smoke, watch a train cruelly creep into the background, a family trip to a nearby stream is interrupted when human ash floods the creek. At one point Höss brings his boots into a basin to wash them off; as the water runs over them, blood flows freely. It’s nightmarish in a way few films are, a work of art created by a master of his craft. (The hubbub over Glazer’s Oscar acceptance speech feels very much beside the point.) This is a film that reminds us of what we did to each other not that long ago, which echoes very much in our world today. It’s a profoundly disturbing masterpiece, one that you’ll be glad you watched but probably won’t be quick to return to. – Drew Taylor

Peacock – April 5

How scary is a haunted swimming pool? As it turns out: pretty scary! “Night Swim,” from horror super-producers James Wan and Jason Blum, follows a family led by Wyatt Russell and “The Banshees of Inisherin” breakout Kerry Condon, who move into a house with a very creepy pool. Russell is a former baseball player sidelined because of an injury. He thinks that the pool can help with his physical therapy. But the pool has other ideas. Written and directed by Bryce McGuire, based on a short film that he and Rod Blackhurst made a decade ago, the goal is to do for swimming pools what “Jaws” did for the ocean. And they do try, nobly, although some fuzzy logic and knotty mythological underpinnings often do much to obscure the elemental power of what could be described as ghouls in the pool. “Night Swim” turned a healthy profit, so maybe we’ll see further installments. “Night Swim 2: The Deep End” anyone? – Drew Taylor

Brandy Helville and the Cult of Fashion

Brandy Melville pictured in "Brandy Helville & the Cult of Fast Fashion" (Max)

Max – April 9

Academy Award-winning film director Eva Orner uses the scandal behind clothing store Brandy Melville to highlight the harmful effects of fast fashion on the planet as a whole. Layers and layers of sketchy behavior fueled store that captivated teenage girls in the 2010s with its soft “one size fits most” clothing that trended with the help of Instagram and Tumblr photoshoots. Former employees tell their stories and nightmare experiences working for the store’s shady founder Stephan Marsan, who micromanaged all of the stores and the hiring process, favoring skinny white girls and copying designs from other artists and brands. It’s almost impressive how the helter skelter business model grew so — and sadly remains so — successful, but the racist, anti-semitic behavior and promotion of eating disorders should have cancelled this brand a long time ago. The fact that it still does well is disturbing, as chronicled in the greater context of the discarded clothes that the United States dumps in Ghana and the fast fashion hub of Prato, Italy. – Dessi Gomez

Drive Away Dolls

Peacock – April 12

When the Coen Brothers split up, they went in very different directions. Joel Coen made a high-minded adaptation of “The Tragedy of MacBeth” for A24, with Denzel Washington in the title role, flanked by Frances McDormand, Brendan Gleeson and Corey Hawkins, shot in velvety black-and-white by regular Coen Brothers collaborator Bruno Delbonnel. Ethan Coen, on the other hand, collaborated with his wife Tricia Cooke on a gaudy, bad-taste lesbian road trip movie called “Drive-Away Dolls.” What else were you expecting? Set in 1999, it follows a couple of lovable but dim lesbian BFFs (Margaret Qualley and Geraldine Viswanathan) as they accident fall into possession of a briefcase with phalluses modeled after a prominent politician (Matt Damon). Soon, everybody is after them, including a pair of goons dispatched by a mob boss (Colman Domingo) and a cop that happens to know the girls (Beanie Feldstein). There are cameo appearances by Miley Cyrus and Pedro Pascal, an incredibly quotable scene with Bill Camp as the rental car guy, and more absurd editorial flourishes than you could possibly imagine. Your mileage may vary on “Drive-Away Dolls,” probably depending on your threshold for lowbrow humor and how hilarious you find lesbians, but there’s a crummy, throwaway charm to “Drive-Away Dolls” that borders on the undeniable. Also, mercifully, it’s only 84 minutes long. How great is that? – Drew Taylor

Apple TV+ – April 12

“Argylle,” originally meant to debut directly on Apple TV+, was shrouded in mystery. Marketing materials only pulled from the first half hour of the movie; the movie was based on a book whose author remained shrouded in confusion. Director Matthew Vaughn further muddied things by explaining that, not only would there be subsequent “Argylle” films but that “Argylle” and his “Kingsman” movies take place in a single shared universe. Now you can finally watch “Argylle” at home and decide what was really important and what didn’t matter much. The movie itself follows a nebbish novelist (Bryce Dallas Howard), who discovers that her spy novels oddly mirror real-world missions, putting her in danger, with a CIA Agent (Sam Rockwell) forced to team up with the author to thwart disaster. It’s a lot. Henry Cavill, sold as the star of the movie, is only in it for a handful of moments; Dua Lipa, also highly touted in the marketing, is in it even less. Ultimately, the movie almost completely breaks down due to a series of giant, catastrophic twists, and action set pieces that probably seemed cleverer in Vaughn’s head. Given that the movie was met with complete commercial and critical indifference, further adventures in the “Argylle” universe seem doubtful. That’s probably a good thing. – Drew Taylor

Strange Way of Life

Netflix – April 12

Pedro Pascal and Ethan Hawke play ex-lovers in this half-hour short film from director Pedro Almodovar. “Strange Way of Life” is a Western about a man (Pascal) who travels to visit his friend, a Sheriff (Hawke). Once reconciled, they rekindled their past romance before conflict ensues. This one premiered at the Cannes Film Festival last year and is now making its streaming debut on Netflix – Adam Chitwood

The Greatest Hits

Hulu – April 12

The latest film from writer/director Ned Benson, of “The Disappearance of Eleanor Rigby” fame, stars Lucy Boynton, Justin H. Min and future Superman David Corenswet. Here’s the official synopsis from Hulu: “Harriet finds art imitating life when she discovers certain songs can transport her back in time – literally. While she relives the past through memories of her former boyfriend, her time traveling collides with a new love interest in the present.” The film premiered at the South by Southwest Film Festival earlier this spring, where it received warm reviews from critics. If you’re looking for an original rom-com from a director with something on his mind and a mischievous, fantastical streak, you could do worse than “The Greatest Hits.” Crank up the volume, grab your favorite concert T-shirt, and get ready to fall in love. – Drew Taylor

Rebel Moon – Part Two: The Scargiver

Sofia Boutella as Kora and Djimon Hounsou as Titus in Rebel Moon

Netflix – April 19

That’s right. There’s another “Rebel Moon” movie. But, good news, “Rebel Moon – Part Two: The Scargiver” is significantly better than last year’s “Rebel Moon.” It’s bigger, badder, more full of life, and with a manageable amount of characters that you can easily follow. (All of this is in stark contrast to the first movie.) This time around Sofia Boutella’s Kora, a former warrior who thought she had eluded combat by retiring to a small backwoods planet, mobilizes the farmers and townspeople of her village against the evil Motherworld. And most of the movie is an extended action sequence, as the villains invade her small town and the townsfolk and her fellow warriors (including Djimon Hounsou, Doona Bae and Anthony Hopkins as the voice of a weird robot) work together to defend themselves and render a blow to the Motherworld. Will they be success? And who will survive to celebrate that success? There’s only one way to find out. Director Zack Snyder, who also co-wrote the screenplay, produced the movie and shot it, indulges in his base impulses for better or worse, lingering poetically on a swaying blade of wheat or reveling in the way that a laser sword sticks into the hull of a spaceship. The whole thing is unabashedly over-the-top, in a way that is charming and forgivable. But we won’t see the true scope of Snyder’s demented vision until the R-rated version of this movie comes out. Snyder claims that he is having to make cuts to avoid an NC-17. Ah yes. The ultimate unstoppable Motherworld – the ratings board. – Drew Taylor

Peacock – April 19

Fun for the whole family, DreamWorks’ “Migration” follows a family of ducks who — after much debate between dad Mack (Kumail Nanjiani) and mom Pam (Elizabeth Banks) — decide to fly south for the winter in order to try something new. Mack is intent on staying safe in the pond they’ve lived at for years, but a visiting family of birds inspires Pam to make her argument for them to go on an adventure. Children Dax (Caspar Jennings) and Gwen (Tresi Gazal) brave the wilderness as the whole family ends up going on all kinds of adventures to save birdkind like Chump the pigeon (voiced by Awkwafina) and Delroy the parrot (Keegan-Michael Key). Heartwarming and hilarious, “Migration” has something in it for everyone. – Dessi Gomez

Disney+ – April 22

Disneynature, the imprint of the company that makes nature documentaries in the style of Walt Disney’s True-Life Adventures, is one of the most unsung gems in the great Disney media portfolio. There was also some question if it would continue after Disney purchased the 21st Century Fox assets and, along with it, National Geographic. Thankfully, Disneynature has survived. And on the fifteenth anniversary of its very first film, “Earth,” we have a brand-new documentary to watch on Earth Day. “Tiger” follows Ambar, a tigress raising her tiger cubs in the forests of modern-day India. The trailer is adorable, but these movies always touch on larger ecological issues, from the dwindling ice caps to the perilousness facing forests and jungles. (“Polar Bear,” released in 2022, might be the bleakest Disney movie ever made. It felt like a first-person account of the end of the world.) “Tiger,” the first Disneynature film since 2022, was directed by Mark Linfield, co-directed by Vanessa Berlowitz and Rob Sullivan, and features narration by Priyanka Chopra Jonas. Disneynature movies are always an immense joy. “Tiger” will make this year’s Earth Day even more special. – Drew Taylor

The Holdovers

Prime Video – April 29

The Oscar-nominated “The Holdovers” hits Prime Video this month if you don’t have Peacock, and what a wonderful film to enjoy. From “Nebraska” and “Election” filmmaker Alexander Payne, the film takes place over Christmas break at an all-boys boarding school in 1970. Paul Giamatti is the curmudgeonly teacher assigned to stay back with the boys who can’t go home for the holidays, Dominic Sessa is the lone student left behind and in an Oscar-winning performance, Da’Vine Joy Randolph is a cook grieving the loss of her son. It’s a heartfelt character piece about what it means to feel lonely. – Adam Chitwood

Baby Driver

Netflix – April 1

“Shaun of the Dead” and “Scott Pilgrim vs. the World” filmmaker Edgar Wright combined his love of music and action filmmaking in 2017’s “Baby Driver,” which is packed wall-to-wall with music. Ansel Elgort is a getaway driver with tinnitus who constantly listens to music to drown out the ringing in his ears, but Wright times the action beats of the story to the songs that are playing, resulting in something of an action musical. Lily James is the object of Baby’s affection, and the ensemble cast also includes Jamie Foxx, Jon Hamm, Eiza Gonzalez and, uh, Kevin Spacey. – Adam Chitwood

inside-man-denzel-washington-chiwetel-ejiofor

Spike Lee’s 2006 thriller “Inside Man” is one of the director’s best and most entertaining films. The story opens in the aftermath of a bank heist, with those taken hostage giving their interviews to police about what happened. The film then flashes back to portray the events as they unfold, with Denzel Washington playing the detective trying to talk down the robber and kidnapper (played by Clive Owen) who seems to be harboring some kind of secret. Mind games ensue, and this one keeps you guessing all the way up through the end. – Adam Chitwood

Molly’s Game

Aaron Sorkin’s directorial debut “Molly’s Game” is a solid effort from the Oscar-winning screenwriter, and a tremendously enjoyable deep-dive into the world of celebrity poker. Based on a true story, the film stars Jessica Chastain as a woman who ran a high stakes poker game in Hollywood for years, then was thrown under the bus when legal issues arose. The film plays out in two timelines – Idris Elba is her lawyer trying to get her the best deal, while her past plays out as she tells him her story. Come for the witty banter, stay for Michael Cera playing Tobey Maguire. – Adam Chitwood

The Matrix Trilogy

Carrie-Anne Moss and Keanu Reeves in The Matrix

When the first “Matrix” debuted in the spring of 1999 (25 years ago!) it was like a bomb went off. Made by two relatively unknown filmmakers, Lana and Lilly Wachowski, “The Matrix” synthesized a number of their influences, from Japanese anime to old Kung-Fu movies to philosophical debates about the nature of free will, into a thoroughly thrilling mélange, adorned with cutting-edge visual effects (remember how jaw-dropping “bullet time” was?) and a whip-smart script, brought to life by Keanu Reeves, Carrie-Anne Moss and Laurence Fishburne. It was unlike anything anybody had ever seen. And the public clamored for more. The Wachowskis quickly made a deal for two subsequent installments, even though they had originally planned for a trilogy but crammed everything into the first movie.

The two subsequent films, “The Matrix Reloaded” and “The Matrix Revolutions,” are both interesting. Yes, they upped the action (think of the car chase in the second movie or the big fight between Neo and Agent Smith in part three) but they also increased the level of philosophical discourse, to the point where the second movie ended with Neo and a character called The Architect simply discussing the moral and theological implications of him saving Trinity. (If you don’t remember, that’s okay. It was a bit of a snooze.) Still, the filmmaking in the sequels, the sheer technical craft, is unimpeachable and often quite fun, even if it doesn’t totally make sense. – Drew Taylor

You’ve Got Mail

Tom Hanks’ priceless facial expressions add layers of levity to the otherwise pretty serious and stone-cold Joe Fox, the face behind the corporate machine of Fox & Sons Books. His family’s chain bookstore, similar to Barnes & Noble, puts indie bookstores out of business in New York City and makes big bucks doing it. Meg Ryan’s effortlessly charming Kathleen Kelly, owner of The Shop Around the Corner, an adorable one-of-a-kind children’s bookstore across the street from the newest Fox location, wants nothing more than to fall in love. The unlikely duo message back and forth via email and hit it off, but when they meet face-to-face (not realizing that they are pen pals), they can’t stand each other. Their conflict of interest business-wise, might have something to do with that. Dave Chappelle, Steve Zahn and Sara Ramirez also star in this beloved Nora Ephron film. – Dessi Gomez

Prime Video – April 1

One of the best and funniest comedies of the century so far, “MacGruber” is as outlandish as it is committed to the bit. The bit being a feature length adaptation of an “SNL” sketch that ripped off “MacGuyver,” only this adaptation packs on a story of revenge and throat-ripped through the eyes of Will Forte’s insane action hero. Val Kilmer is delicious as a villain with a crude name, Ryan Phillippe is more than game as MacGruber’s reluctant right-hand and Kristen Wiig is phenomenal as MacGruber’s cohort/sometimes lover. This movie rules. – Adam Chitwood

Out of Sight

“Out of Sight” is one of Steven Soderbergh’s best films, and that’s saying something. This stylish, sexy and compelling crime thriller stars George Clooney as a thief on the run and Jennifer Lopez as a U.S. Marshal who, after a sweaty run-in with the criminal, gets hot on his trail. It’s a cat-and-mouse game but also a romance, with vibes coming out the wazoo. Ving Rhames, Don Cheadle, Albert Brooks and Michael Keaton co-star. – Adam Chitwood

Wonder Woman

Hulu – April 1

Zack Snyder’s interconnected DCEU may be defunct, but “Wonder Woman” remains one of the best superhero movies ever made. Director Patty Jenkins and star Gal Gadot crafted an emotional, joyous and impactful story for this World War I-set tale, which details the origin story of Diana Prince and follows her off the island of Themyscira and into the world of man for the first time. Chris Pine is perfect as the romantic foil, taking a backseat to Gadot’s towering feat of superheroism. – Adam Chitwood

50 First Dates

As far as Adam Sandler romcoms go, “50 First Dates” is one of the best. Released in 2004, the film takes place in Hawaii and follows a veterinarian (Sandler) who crosses paths with a lovely young woman (Drew Barrymore) and has a pleasant day. But when he goes to follow up and ask her on a date the next day, she doesn’t remember who he is. As it turns out, she suffers from short-term memory loss and her memory resets every day. So he spends the rest of the film winning her over day after day to try and strike up a relationship. It’s extremely sweet, and Barrymore and Sandler are dynamite together just as they were in “The Wedding Singer.” – Adam Chitwood

The Fifth Element

Let’s first clear the air: yes, Luc Besson’s legacy has been tarnished by a series of allegations of sexual misconduct. While he has not been prosecuted by French officials (or even charged), it is enough to put a bad taste in your mouth, particularly when looking back at the questionable sexual politics of early films like “Le Femme Nikita” or “Léon.” Thankfully, there isn’t too much you can raise an eyebrow at in “The Fifth Element,” the director’s gonzo sci-fi extravaganza that starred a wonderful Bruce Willis, Besson’s then-wife Milla Jovovich and Gary Oldman, so over-the-top that it’s unclear if he even knew where “the top” was. Combining French comic books with the grandeur of something like “Star Wars,” Besson tells the story of a cab driver (Willis), who encounters an otherworldly being (Jovovich) and together with a radio DJ (Chris Tucker) and a monk (Ian Holm) attempt to stop the end of the world. There still hasn’t been anything quite like “The Fifth Element” before or since, with its candy-colored visuals (Jean-Paul Gaultier designed the iconic costumes), lush soundtrack by Éric Serra and unwieldy mixture of tones and styles. Even when Besson tried something in the same vein, “Valerian and the City of a Thousand Planets” in 2017, it lacked the charm, creativity and wonder of “The Fifth Element.” (Still, it’s quite fun.) If it’s been a while since you’ve seen “The Fifth Element,” you owe it to yourself to take another trip to the sci-fi future. – Drew Taylor

no-time-to-die-daniel-craig-ana-de-armas

Vague Visages

Movies, tv & music • independent film criticism • soundtrack guides • forming the future • est. 2014, review: robert lorenz’s ‘in the land of saints and sinners’.

Vague Visages’ In the Land of Saints and Sinners review contains minor spoilers. Robert Lorenz’s 2023 movie features Liam Neeson, Kerry Condon and Jack Gleeson. Check out the VV home page for more film reviews , along with cast/character summaries , streaming guides and complete soundtrack song listings .

Before Taken (2008), Liam Neeson starred in two movies about the struggle for Irish independence: Mike Hodges’ A Prayer for the Dying (1987), about an ex-IRA soldier on the run, and Neil Jordan’s Michael Collin s (1986), in which the actor stars as Collins, a 20th century revolutionary advocating for a free Irish state. Besides the odd auteur collaboration and one or two buttoned-up indie films, the Neeson of today has long since moved past such dialogue-driven dramas, which is why Robert Lorenz’s In the Land of Saints and Sinners feels like such a breath of fresh air .

In the Land of Saints and Sinners spirits audiences away to the nowhere-nobody-nothing town of Glencolmcille on the windswept Irish coastline. Neeson plays Finbar Murphy, a weary hitman stoically approaching his retirement. But this is Ireland in the 1970s — west Ulster, at that — and there’s unfortunately no rest for the protagonist, not as long as there’s a war going on and bodies to bury. The opening act introduces a crew of IRA members, led by Doireann (Kerry Condon), as an orchestrated bombing accidentally kills some kids. The sequence is a long fuse with a brutal climax, and after that mistake, Doireann and her crew are on the run, so it’s off to that coastal village (whose name they can’t pronounce) to lie low until the heat dies down .

In the Land of Saints and Sinners Review: Related — Know the Cast & Characters: ‘Heat’

The title of Lorenz’s 2024 film sets viewers up to identify morality in easy black and white. Finbar and Doireann symbolize the sinners as two killers who conduct their work in secret and have very little to show for it. The former character is content with his quiet life romancing his sweet neighbor, Rita (Niamh Cusack), and having a pint at the pub with the local lawman, Vincent O’Shea (Ciarán Hinds). Meanwhile, Doireann, has much more ambition with the rage to match, and she’s fighting for freedom rather than killing for cash. Lorenz and his screenwriters, Mark Michael McNally and Terry Loane, establish their characters well but don’t draggle them in shades of grey the way the material requires. Finbar, despite nabbing his hits and vanishing them Miller’s Crossing- style in the woods, is portrayed as a kind, gentle man, albeit the kind of person who knows his way around a double-barreled shotgun. And Doireann, despite dedicating her life to the cause of Irish independence, descends further and further into reckless ferocity and paroxysms the tighter the noose gets.

In the Land of Saints and Sinners Review: Related — Soundtracks of Cinema: ‘Irish Wish’

In the Land of Saints and Sinners — though perfectly poised to explore the Troubles through the lens of a Neeson crime thriller — cares disappointingly little about its historical conflict. But the film evokes Irish history and culture better than many other Irish movies at the moment. Contrast In the Land of Saints and Sinners with Irish Wish , a 2024 Netflix film that’d might as well be a free CD included in a box of Lucky Charms, or compare it to Martin McDonagh’s The Banshees of Inisherin (2022) — a sophisticated, handsome and endlessly entertaining production that nevertheless disregards Irish history in favor of a smooth, simplistic portrait of the national culture, replete with fiddles, lively pubs, supernatural old women, coastal cliffs and familiar tropes of violence, poverty and drunkenness.

In the Land of Saints and Sinners Review: Related — Know the Cast: ‘Irish Wish’

Condon, Oscar-nominated for her role in The Banshees of Inisherin, evokes the chill and ice of Rebecca Ferguson’s most intimidating characters. And in the past decade, Neeson has rarely been better — the actor is great as an action man, but Finbar matches his age. And Neeson’s voice is so iconic that it’s easy to forget how perfect his visage is for these gruff, weathered characters . He has a cliff-like face, craggy and severe, and it can harden when Finbar clenches his jaw and pulls the trigger just as easily as it can soften and glow when he’s with friends, keeping his hitman life a secret. It’s wonderful to see Neeson paired with an age-appropriate love interest, too, as he and Cusack have delightful, wholesome chemistry.

In the Land of Saints and Sinners Review: Related — Soundtracks of Cinema: ‘The Killer’

And then there’s Hinds, whose affable presence during In the Land of Saints and Sinners brightens up everything. He’s charming, sympathetic and sincere as the small-town policeman who’s in way over his head. Rounding out the impressive cast is Game of Thrones alum Jack Gleeson (cheesing it up in a wonderfully despicable role), Colm Meaney (as Finbar’s guarded but friendly employer) and Dublin Murders star Sarah Greene (making a meal out of a relatively small bartender part).

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In the Land of Saints and Sinners truly sings during its quietest moments. Despite the ever-present war between Irish Republicans and the Loyalists, the most energetic moments of the film are when Rita shares gardening tips with Finbar, or when Finbar and Vinnie shoot cans together on the cliffs, or when the camera glides over the dark, churning sea as waves crash against the rocks, perhaps reminding viewers of the conflict that’s creeping in the darkness and has just arrived in Finbar’s town uninvited. Maybe that’s the moral purpose of In the Land of Saints and Sinners, as well as some thematic tissue it shares with The Banshees of Inisherin: Ireland, for all its vast and beautiful landscapes, is still an island . Conflict travels quickly and easily, and — like an infection — it doesn’t take long for war to spread. Even for quiet and little Glencolmcille, history catches up.

In the Land of Saints and Sinners Review: Related — Soundtracks of Cinema: ‘Blood & Gold’

Lorenz mostly succeeds at transplanting the usual Neeson action to a specific historical setting. In the Land of Saints and Sinners comes up short, however, when exploring the shallow end of its political context. If the setting and history separate the film from Neeson’s most recent output, it’s disappointing that Lorenz’s film stays at waist depth, where its toes can still touch the bottom. The Troubles might be raging in the background, but it’s never clear what Finbar thinks of his countrymen fighting for independence. Lorenz is much more interested in essentially remaking High Noon (1952) with Neeson supplanting Gary Cooper’s role as Marshal Will Kane, though the director is most interested in the all-consuming nature of violence and how it shatters the peace of a small town than he is in examining justice, honor, mob mentality or the law .

In the Land of Saints and Sinners Review: Related — Know the Cast & Characters: ‘The Law According to Lidia Poet’

If all a man knows is violence, how’s he going to claw his way to salvation? This is a question that hangs over Finbar throughout In the Land of Saints and Sinners, and given Lorenz’s previous credits, it’s one that seemingly haunts the director. In the Land of Saints and Sinners tries to push into uncharted territory for its genre, just as Lorenz’s previous Neeson thriller, The Marksman (2021), did by focusing on tensions at the U.S-Mexico border.

Clement Tyler Obropta is a writer living in Scotland. He is the lead culture editor at MAYDAY magazine and a contributing editor at Film Inquiry.

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Categories: 2020s , 2024 Film Reviews , Action , Active Film Columns , Crime , Featured , Film , Movies , Thriller

Tagged as: 2023 , 2023 Film , 2023 Movie , Action Movie , Clement Tyler Obropta , Crime Movie , Film Actors , Film Actresses , Film Critic , Film Criticism , Film Director , Film Explained , Film Journalism , Film Publication , Film Review , Film Summary , In the Land of Saints and Sinners , Jack Gleeson , Journalism , Kerry Condon , Liam Neeson , Movie Actors , Movie Actresses , Movie Critic , Movie Director , Movie Explained , Movie Journalism , Movie Plot , Movie Publication , Movie Review , Movie Summary , Robert Lorenz , Rotten Tomatoes , Streaming , Thriller Movie

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Entertainment

Streaming on Max: The 22 Absolute Best Movies to Watch

Here are some highly rated films to check out, plus a look at what's new in April.

Wonka is now streaming.

Wondering what you should watch on the Max streaming service ?

Max replaced HBO Max last year and streams a variety of titles, including Warner Bros. movies like Dune and HBO originals like Tony Hawk: Until the Wheels Fall Off. Below, you'll find a batch of can't-miss films on the streamer, plus a look at new releases for this month. (If you're still trying to figure out if Max is for you, skim our review of the Warner Bros. Discovery streaming service ).

New releases for April

Note: These descriptions are taken from official websites for the films and lightly edited for style.

The Harry Potter franchise (2001-2011): Fantasy. The first entry, Harry Potter and the Sorcerer's Stone, tells the story of a boy who embarks on the adventure of a lifetime when he's invited to attend Hogwarts School of Witchcraft and Wizardry.
Lost in Translation (2003): Comedy-drama. It centers on two Americans in Tokyo -- a movie star in town to shoot a whiskey commercial and a young woman tagging along with her workaholic photographer husband.
The Social Network (2010): Drama. It's a story about the founders of the social-networking website, Facebook.
The Zone of Interest (2023): Drama. The commandant of Auschwitz, Rudolf Höss, and his wife Hedwig, strive to build a dream life for their family in a house and garden next to the camp.
Justice League: Crisis on Infinite Earths - Part One (2024): Superhero. Reality needs saving from an unstoppable antimatter armageddon, and the combined might of Superman, Wonder Woman, Batman, The Flash, Green Lantern and hundreds of Super Heroes from multiple Earths might be able to save it.

Read more: Best TV Shows to Watch on Max

The best movies to watch

The films below consist of notable new releases and blockbusters, HBO and Max originals and Warner Bros. films made exclusively for Max . All score around 65 or higher on Metacritic.

Wonka (2023)

Dune's Timothée Chalamet stars in this prequel to Roald Dahl's Charlie and the Chocolate Factory, and it's a total treat. With new and familiar tunes, a committed cast and oodles and oodles of whimsy, the film allows audiences to get to know a young Willy Wonka with giraffe-sized ambition and undeniable chocolate-making skill. It's a quirky, comforting flick from Paddington director Paul King that you'll absolutely want on your plate.

Barbie (2023)

Unless you've been living in Barbie Land (or another place that isn't the real world), chances are you're very familiar with this pink-coated comedy already. The flick -- Warner Bros.' highest-grossing global release of all time -- brings a long list of stars together for a hilarious and heartfelt adventure. Greta Gerwig directs, Margot Robbie plays the titular role, and Ryan Gosling belts out an incredible power ballad as Ken.

Father of the Bride (2022)

Max's Father of the Bride introduces a Cuban American family that includes patriarch Billy, a traditional guy who struggles to digest surprising news from his eldest daughter: She's met a guy, and she wants to marry and move away with him. The third film adaptation of a 1949 novel of the same name by Edward Streeter, the movie is an enjoyable iteration that includes stars like Andy Garcia and singer Gloria Estefan.

8-Bit Christmas (2021)

A playful comedy set in the '80s, 8-Bit Christmas follows the story of a young Jake Doyle, a dedicated 10-year-old who desperately seeks a Nintendo. The film is delightfully narrated by Neil Patrick Harris, an older Jake reminiscing on his past quest to secure the gaming console. Yes, there's a Christmas backdrop to the story, but Jake's unyielding commitment to his mission, and what he learns along the way, make this cheery feature a must-watch even after the holiday season.

Let Them All Talk (2020)

Meryl Streep playing an eccentric author in a Steven Soderbergh comedy. What more do you need to know? If you do want to know more: Pulitzer Prize-winning novelist Alice Hughes (Streep) is struggling to finish her next book, chased by her literary agent (Gemma Chan). She boards a cruise ship with old friends, who inspired her best-known work. Tensions are strong. It looks great -- Soderbergh uses crisp, natural light -- and most of the dialogue is improvised. See how Dianne Wiest, Candice Bergen, Lucas Hedges and the rest of the impeccable cast have fun with that.

Priscilla (2023)

Like A24 movies? Currently, new A24 releases wind up on Max, which means you'll eventually be able to take in buzzy flicks like The Iron Claw and the forthcoming title Civil War. For now, you may want to check out Sofia Coppola's Priscilla, about the relationship between her and Elvis Presley. Cailee Spaeny and Jacob Elordi star in the stylish flick, which tells things from Priscilla's point of view.

The Color Purple (2023)

This movie musical version of The Color Purple is adapted from Alice Walker's 1982 novel and the Broadway play. Set in the early 1900s, it tells the story of Celie, a Black woman living in the South who faces multiple hardships but is able to find strength in the bonds in her life. The cast includes Fantasia Barrino, Taraji P. Henson, Colman Domingo, Halle Bailey and Danielle Brooks, who received a 2023 Oscar nomination for her role as Celie's daughter-in-law, Sofia.

Avatar: The Way of Water (2022)

Avatar: The Way of Water reintroduced audiences to James Cameron's film franchise after 13 years and won an Oscar for best visual effects. The sequel centers on the Sully family -- Jake, Neytiri and their kids -- and is brimming with adventure and heart. It'll be at least a couple of years until Avatar 3 arrives, but you can pass the time by rewatching this on Max.

Kimi (2022)

Steven Soderbergh directs this engaging tech thriller set during the COVID-19 pandemic. Angela, a Seattle tech worker played by a neon blue-haired Zoë Kravitz, has agoraphobia, a fear that prevents her from making it past the front door of her apartment. But when she uncovers an unsettling recording while doing her job, she's pushed to make the leap. Kimi is a stylish thriller complete with eye-catching cinematography, a solid score and a protagonist you'll be rooting for.

The Fallout (2022)

After a shooting occurs at her high school, 16-year-old Vada Cavell must navigate friendships, school and her relationship with her family. The Fallout skillfully approaches serious subject matter with realistic dialogue and compassion for its characters. With strong performances from stars Jenna Ortega, as Vada, and Maddie Ziegler, as her new friend Mia Reed, the feature will keep you glued to the screen for the entirety of its 90-minute runtime.

Dune (2021)

Remember 2021, when Warner Bros. movies hit HBO Max on the same day they premiered in theaters? That exciting period may be over, but at least we'll always have the memory of watching Denis Villeneuve's stunning sci-fi epic Dune at home. If you've never seen the film or need to brush up on what "the spice" is before Part Two, stream Dune now.

King Richard (2021)

King Richard is a feel-good biopic about the father of tennis legends Venus and Serena Williams. The film winds back the clock to before the sisters became household names, giving us a glimpse of their upbringing in Compton and time spent practicing on run-down courts with their father, Richard Williams (Will Smith). Convinced his daughters are going to be successful, Richard works tirelessly to get their star potential noticed by professional coaches. A complicated man with a tremendous personality, Richard is fascinating to get to know, and his unwavering belief in Venus and Serena is inspiring.

In the Heights (2021)

In the Heights stars Anthony Ramos (whom you might recognize as John Laurens in Hamilton) playing Usnavi, a bodega owner struggling to keep his business afloat while a heatwave strikes Washington Heights. Secretly in love with his neighbor Vanessa (Melissa Barrera), who dreams of getting out of the salon and out of the neighborhood, Usnavi serves the people of Washington Heights with a whole lot of love, lottery tickets and cafe con leche. Between the choreographed twirls and fireworks, In the Heights is an examination of wealth disparity, immigration, classism and the importance of culture.

Son of Monarchs (2020)

A rare (nowadays) 90-minute film, American Mexican drama Son of Monarchs will stay with you long after the end credits roll. This deep character study follows two brothers who are changed in markedly different ways by the trauma they suffered in childhood. This story, folding in magical realism, follows how they move forward in life -- the butterfly metaphors are strong, with biologist Mendel returning to his hometown surrounded by majestic monarch butterfly forests.

Bad Education (2019)

Based on a magazine article by journalist Robert Kolker, this tale about a public school embezzlement scandal and the student journalists who broke the news is captivating from start to finish. Allison Janney and Hugh Jackman are great in their roles as the school officials who took part in the scheme. The drama also won the 2020 Emmy award for Outstanding Television Movie.

The Menu (2022)

A dinner at an exclusive restaurant turns from something to savor to something to survive in this shocking horror satire. Viewers learn about the privileged guests dining at Hawthorne as Ralph Fiennes' experienced chef unveils his fateful menu. Find your seat for this delectable experience, which also stars Anya Taylor-Joy.

No Sudden Move (2021)

A movie from Steven Soderbergh, the great director behind Erin Brockovich, Ocean's Eleven and, more recently, Logan Lucky? Twists, thrills and desperate characters populate this crime thriller set in 1950s Detroit. When a seemingly simple job gets out of hand, a group of criminals must work together to uncover what's really going on. Take in the incredible cast: Don Cheadle, Benicio del Toro, David Harbour, Jon Hamm and Amy Seimetz. While the plot can be a little convoluted and some won't be able to get past the fish-eye lens cinematography, Soderbergh's sense of humor and immersive direction make this crime caper an entertaining night in.

Documentary

All That Breathes (2022)

This captivating documentary is filled with images that will stick with you. It centers on two brothers in New Delhi who run a bird hospital dedicated to black kites -- birds of prey that are a staple of the sky. It was a contender for best documentary feature at the 2023 Oscars.

Tony Hawk: Until the Wheels Fall Off (2022)

Tune into this HBO doc for the gravity-defying skateboard stunts, a time capsule of the '80s skateboarding scene, and a version of Hawk you've probably never seen. We get to know the renowned athlete as a lanky, stubborn but determined kid who adopted his own skateboarding style. Hawk's persistence is something to marvel at, along with all the stunning skateboard moves this film packs in. Hang on for a memorable ride.

Roadrunner: A Film About Anthony Bourdain (2021)

This film about beloved author, chef and globe-traveling TV host Anthony Bourdain comes from documentary filmmaker Morgan Neville, who also directed 2018's Won't You Be My Neighbor? and the Oscar-winning film Twenty Feet from Stardom. In interviews with people who knew Bourdain, like his friends, former partners and longtime colleagues, the doc tracks his career path, relationships and personal struggles. Bourdain fans and those less acquainted with the star will likely appreciate this two-hour look at his life.

The Batman (2022)

Robert Pattinson steps out as Batman in this superhero flick directed by Matt Reeves. The movie takes place in a perpetually gray and rain-soaked Gotham City, where Bruce Wayne starts to seek out a murderer with an affinity for riddles. Along the way, he meets Catwoman, played by a swaggering Zoë Kravitz. Great scene-setting and storytelling make this a satisfying dark mystery.

The Suicide Squad (2021)

Over-the-top violence abounds in this DC film about supervillains who agree to help the US government in exchange for some time off their prison sentences. Their mission is to destroy something alluded to as Project Starfish, harbored in the fictional island country of Corto Maltese. With a notable cast that includes Margot Robbie, Idris Elba and John Cena, 2021's The Suicide Squad is a wickedly entertaining, darkly funny bloodbath that differs from what you usually see in superhero movies. (Peacemaker, a spinoff TV series, is also available on Max.)

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COMMENTS

The Banshees of Inisherin movie review (2022)
One thing I didn't have on my lifetime cinematic bingo card—and I bet it is not on yours either—was Colin Farrell and Brendan Gleeson become the 21 st century's answer to Laurel and Hardy. And yet. With 2008's "In Bruges," and now "The Banshees of Inisherin," the Irish actors, under the writing and directing aegis of frequently pleasantly perverse Martin McDonagh, display a ...
The Banshees of Inisherin
Featuring some of Martin McDonagh's finest work and a pair of outstanding lead performances, The Banshees of Inisherin is a finely crafted feel-bad treat. Read critic reviews. Audience Says. If ...
'The Banshees of Inisherin' Review: Giving Your Friend the Finger
The boundaries of the realm extend from Spokane, Wash ., to the Belgian city of Bruges by way of Missouri and various actual and notional Irish spots. "The Banshees of Inisherin," McDonagh's ...
The Banshees of Inisherin review
There are plenty of quotable, laugh-out-loud moments in The Banshees of Inisherin (the title has a funereal musical twist) that meld odd-couple comedy with toxic bromantic satire. But as the soul ...
'The Banshees of Inisherin' review: Colin Farrell is at his best
Compared with that movie's wildly uneven mix of comedy and tragedy, The Banshees of Inisherin is a quieter, gentler work, but its melancholy also cuts much deeper. McDonagh opens the story with ...
The Banshees of Inisherin
Full Review | Original Score: C+ | Jul 22, 2023. Matthew Passantino Big Picture Big Sound. "The Banshees of Inisherin" is a movie that could only come from the mind of Martin McDonagh. The writer ...
'The Banshees of Inisherin' Review: Martin McDonagh's ...
'The Banshees of Inisherin' Review: Colin Farrell and Brendan Gleeson Reunite for a Darkly Comic, Devastating Feud Between Friends Reviewed at Venice Film Festival (Competition), Sept. 5, 2022 ...
Movie Review: 'The Banshees of Inisherin'
AILSA CHANG, HOST: The dark new comedy "The Banshees of Inisherin" doesn't have any banshees. What it does have are actors Colin Farrell and Brendan Gleeson. And critic Bob Mondello says when they ...
'The Banshees of Inisherin' Film Review: Colin Farrell in Dark Comedy
September 5, 2022 7:45am. Colin Farrell in 'The Banshees of Inisherin' Courtesy of TIFF. Ireland's rural West was the setting for a cluster of plays hatched out of a remarkably prolific early ...
The Banshees of Inisherin review
There are plenty of genuine laughs in this movie, but each of them seems to dovetail into a banshee-wail of pain. McDonagh reunites Colin Farrell and Brendan Gleeson, the co-stars from his 2008 ...
The Banshees of Inisherin (2022)
The Banshees of Inisherin: Directed by Martin McDonagh. With Colin Farrell, Brendan Gleeson, Kerry Condon, Pat Shortt. Two lifelong friends find themselves at an impasse when one abruptly ends their relationship, with alarming consequences for both of them.
The Banshees of Inisherin Movie Review
Our review: Parents say ( 10 ): Kids say ( 3 ): While hilarious at times, with real laugh-out-loud moments, the entire experience of this Irish comedy-drama is spiked by a dark undercurrent. The Banshees of Inisherin constantly surprises the viewer, leading us down some disturbing paths.
The Banshees of Inisherin review: will inspire awe for centuries to
The Banshees of Inisherin movie review: Martin McDonagh's latest with Colin Farrell is awe-inspiring. McDonagh is a modern-day Mozart and here he's composed an awe-inspiring tale of obsession ...
'Banshees of Inisherin' Review: Colin Farrell, Brendan Gleeson
This new film isn't so much a return to form as a re-circling back to his original subjects, and maybe original sins: an elliptical, almost folklorish story of men in crisis doubling as a ...
Review
November 1, 2022 at 12:54 p.m. EDT. Brendan Gleeson, left, and Colin Farrell in "The Banshees of Inisherin." (Searchlight Pictures) ( 2 stars) The Irish writer-director Martin McDonagh has ...
Whimsy and Violence in "The Banshees of Inisherin"
Anthony Lane reviews Martin McDonagh's black comedy "The Banshees of Inisherin," starring Brendan Gleeson, Colin Farrell, and Kerry Condon, and Charlotte Wells's much heralded début ...
'The Banshees of Inisherin' review: Dark Irish comedy
By Justin Chang Film Critic. Oct. 20, 2022 8 AM PT. It's hardly an original insight to note that "The Banshees of Inisherin," Martin McDonagh's caustic and mournful new movie, is also his ...
The Banshees Of Inisherin Review
The Banshees Of Inisherin Review. The small Irish island of Inisherin, 1923. Pádraic (Farrell) and Colm (Gleeson) have been friends for as long as anyone can remember. But one day, while civil ...
The Banshees of Inisherin review: Friendship becomes feud overnight
The Banshees of Inisherin. review: A friendship turns into a feud overnight. Colin Farrell and Brendan Gleeson are best friends suddenly on the outs in Martin McDonagh's brilliant, serrated black ...
'The Banshees of Inisherin' Review: From Friends to Enemies
Wounded but funny, quiet but resonant and resistant to anything like a Hollywood formula, "The Banshees of Inisherin" is a strangely profound little comedy. It's one of the few true ...
The Banshees of Inisherin
The Banshees of Inisherin (/ ˌ ɪ n ɪ ˈ ʃ ɛr ɪ n /) is a 2022 black tragicomedy film directed, written, and co-produced by Martin McDonagh. Set on a remote, fictional island off the west coast of Ireland in the 1920s, the film stars Colin Farrell and Brendan Gleeson as two lifelong friends who find themselves at an impasse when one abruptly ends their relationship, with severe ...
Banshees of Inisherin, The
A movie review by James Berardinelli. It could be argued that The Banshees of Inisherin works better as an allegory than a straightforward narrative. There's power in the message conveyed by writer/director Martin McDonagh's screenplay; it's less a drama and more a rumination about the failings of humanity. The movie is set on a remote ...
Movie Review: 'The Banshees of Inisherin'
NEW YORK - There are some things to celebrate but others to bewail about "The Banshees of Inisherin" (Searchlight). In fact, this bleak combination of black comedy and rural drama incorporates elements that make it acceptable for only a small number of grown movie fans. Set in 1923 on the imaginary Irish island of the title, the film ...
10 Most Underrated Colin Farrell Movies, Ranked
Farrell made a breakthrough in 2022 when he received his first Academy Award nomination for his work in Martin McDonagh's punishing dark comedy The Banshees of Inisherin, which took advantage of ...
Best Movies To Watch Before They Leave Hulu in March 2024
Reuniting McDonagh with Farrell and Gleeson for the first time after 14 years, The Banshees of Inisherin offers a simple message: all good things must come to an end.Lifelong friends Padraic ...
10 most popular movies of 2024 so far, ranked
Ray, his wife Eve (The Banshees of Inisherin's Kerry Condon), and two kids move into a new house with a swimming pool in the backyard. The pool miraculously heals Ray's injuries, but a ...
The 25 Best New Movies Streaming in April 2024
"Night Swim," from horror super-producers James Wan and Jason Blum, follows a family led by Wyatt Russell and "The Banshees of Inisherin" breakout Kerry Condon, who move into a house with ...
Review: Robert Lorenz's 'In the Land of Saints and Sinners'
Contrast In the Land of Saints and Sinners with Irish Wish, a 2024 Netflix film that'd might as well be a free CD included in a box of Lucky Charms, or compare it to Martin McDonagh's The Banshees of Inisherin — a sophisticated, handsome and endlessly entertaining production that nevertheless disregards Irish history in favor of a smooth ...
The Banshees of Inisherin Showtimes
Find The Banshees of Inisherin showtimes for local movie theaters. Menu. Movies. Release Calendar Top 250 Movies Most Popular Movies Browse Movies by Genre Top Box Office Showtimes & Tickets Movie News India Movie Spotlight. TV Shows. What's on TV & Streaming Top 250 TV Shows Most Popular TV Shows Browse TV Shows by Genre TV News.
Streaming on Max: The 22 Absolute Best Movies to Watch
Max replaced HBO Max last year and streams a variety of titles, including Warner Bros. movies like Dune and HBO originals like Tony Hawk: Until the Wheels Fall Off. Below, you'll find a batch of ...

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Reviewed at Venice Film Festival (Competition), Sept. 5, 2022. Running time: 114 MIN.

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