June 17Liam Neeson, the gravel-voiced titan known for his particular set of skills in action thrillers, is embarking on an unexpected and highly anticipated comedic turn, stepping into the iconic shoes of Frank Drebin in Paramount Pictures’ upcoming reboot of THE NAKED GUN. This August 1st release sees Neeson, who admits to being “a little bit nervous” about a full-length comedic role after dabbling in short TV skits, leading a new generation of absurdity. He’s joined by Paul Walter Hauser as Captain Ed and Pamela Anderson as the love interest, a role she’s already earning rave reviews for from Neeson himself, who declared, “I’m madly in love with her. She’s just terrific to work with… No huge ego. She just comes in to do the work. She’s funny and so easy to work with. She’s going to be terrific in the film.” More than three decades have passed since the last NAKED GUN film, but the spirit of Leslie Nielsen’s Detective Frank Drebin, born from the absurd humor of the sitcom POLICE SQUAD!, lives on. This new iteration, directed by Lonely Island’s Akiva Schaffer and produced by Seth MacFarlane and Erica Huggins, promises to uphold that legacy of silly gags and laugh-out-loud moments. Neeson’s casting, while surprising to some, feels like a stroke of comedic genius; his ability to deliver the most outlandish lines with a perfectly straight face makes him a natural fit for the deadpan humor that defined the original. Schaffer, with his impressive comedic pedigree including MACGRUBER, HOT ROD, POPSTAR: NEVER STOP NEVER STOPPING, and I THINK YOU SHOULD LEAVE, is the ideal captain for this ship of fools. The trailer alone, which features Paul Walter Hauser as Ed Hocken Jr. and Pamela Anderson delivering a standout gag by literally dragging a chair out of the room when invited to “take a chair,” has already garnered significant pre-release laughter, suggesting that even in an era of sequel and reboot fatigue, THE NAKED GUN is poised to be a much-needed comedic triumph this summer. With other recent comedic efforts like FRIENDSHIP and ONE OF THEM DAYS hinting at a strong year for laughter, THE NAKED GUN is shaping up to be a hilarious addition to Neeson’s increasingly diverse career, proving that even a seasoned action star can find his comedic stride. Instagram Youtube [...]
June 16The recent Vanity Fair piece on Riley Keough’s IN PROCESS series is a timely reminder of the deep well of creativity thriving in Hollywood. While Keough’s exploration of artistic evolution promises to be captivating, it also begs us to turn our attention to an actress who consistently embodies the very essence of “process” through her transformative performances: the incomparable Ruth Negga. This past year, and looking ahead, Negga has solidified her position as one of the most compelling and versatile talents working today. Her choices are consistently bold, her portrayals deeply nuanced, and her impact on screen nothing short of profound. Currently captivating audiences, Ruth Negga’s role as Barbara Sabich in Apple TV+’s PRESUMED INNOCENT is a standout. Starring opposite Jake Gyllenhaal, Negga delivers a performance that is a masterclass in controlled intensity and emotional depth. As the wife navigating the fallout of a shocking murder accusation, Negga deftly portrays the complexities of loyalty, suspicion, and personal grief. Her ability to convey so much with a subtle glance or a quiet word is a testament to her immense skill. It’s no surprise that she’s generating Emmy buzz for this role, initially even being considered for a lead submission, before shifting to supporting – a category where her impactful presence will undoubtedly be felt. Last year, Negga showcased her range in Dan Levy’s directorial debut, GOOD GRIEF for Netflix. In this intimate exploration of loss and the enduring power of friendship, Negga, alongside Levy and Himesh Patel, navigates the messy, often contradictory emotions of grieving. Her portrayal of Sophie is grounded and deeply human, adding layers of authenticity to a story that resonates with anyone who has faced profound sorrow. It’s a testament to her ability to anchor a film with a quiet yet powerful presence. While not strictly “recent” in the last 12 months, it’s impossible to discuss Ruth Negga’s impact without highlighting her utterly breathtaking performance as Clare Bellew in Rebecca Hall’s PASSING. This black-and-white film, exploring racial identity and self-discovery in 1920s New York, saw Negga deliver a tour-de-force. Her Golden Globe and BAFTA nominations for Best Supporting Actress, and her Independent Spirit Award win, speak volumes about the critical acclaim she garnered. Her performance was a delicate dance between vulnerability and defiance, capturing the inherent tragedy and societal pressures of her character’s existence. The exciting news continues with Negga attached to star and executive produce the limited drama series JOSEPHINE a raw and unflinching look at the life of the legendary Jazz performer and civil rights activist Josephine Baker. This project promises to be a monumental undertaking, and there is no doubt Negga will bring her characteristic depth and power to this iconic role. Ruth Negga doesn’t just act; she inhabits. Her commitment to her craft, her fearless exploration of complex characters, and her ability to evoke profound emotion are what truly set her apart. As we celebrate the “in process” journeys of artists like Riley Keough, let us also celebrate and champion the already accomplished and continuously evolving artistry of Ruth Negga – a true luminary of the screen whose work leaves an indelible mark. Instagram Youtube [...]
June 14Guy Ritchie’s latest action-adventure film for Apple TV+ takes viewers on an ambitious globe-trotting quest that feels familiar yet undeniably entertaining. The film’s secret weapon proves to be Domhnall Gleeson as Owen Carver, the dying billionaire financing their adventures. Gleeson, whose recent career has showcased remarkable range across genres from STAR WARS to EX MACHINA to ABOUT TIME, brings nuanced complexity to what could have been a thankless role. His Carver is far more than the typical wealthy benefactor, revealing layers that keep audiences guessing about his true motivations. Gleeson navigates the character’s mysterious depths with the same intelligence and subtle humor that has made him one of the most compelling actors of his generation. Ritchie demonstrates his mastery of action choreography throughout, particularly in standout sequences like the Lusitania rescue and an unexpectedly whimsical knife fight in the Austrian National Library. The director injects his signature humor into the relentless pacing, creating moments of levity that prevent the film from taking itself too seriously. While FOUNTAIN OF YOUTH treads familiar ground in the treasure-hunting adventure genre, its commitment to practical locations and elaborate set-pieces creates genuine spectacle. The film embraces its streaming platform origins while delivering action sequences that would undoubtedly dazzle on the big screen. Its exotic locales and glossy production values mark it as the sort of entertaining escapism perfectly suited for Apple TV+’s growing roster of original content. The story concludes with the inevitable hints at potential sequels, positioning itself as a potential franchise starter for the streaming service. Whether audiences will embrace another globe-trotting adventure series remains to be seen, but FOUNTAIN OF YOUTH certainly provides enough thrills and visual splendor to make the journey worthwhile. In an era of streaming content that often prioritizes quantity over spectacle, Ritchie has crafted something that genuinely feels cinematic in scope and ambition. Instagram Youtube [...]
June 12Pat O’Connor’s 1984 Northern Irish film CAL stands as a testament to the power of restraint in storytelling, proving that the most profound emotions often emerge from the quietest moments. Adapted by Bernard MacLaverty from his own novel, this remarkable work transcends the typical treatment of the Troubles, offering instead a deeply human meditation on guilt, love, and the impossible weight of secrets. Helen Mirren’s Cannes-winning performance anchors the film as Marcella, a Catholic woman whose Protestant police officer husband has been murdered by the IRA. The killer’s reluctant accomplice was Cal, played with gaunt intensity by John Lynch in what would become his breakout role. This devastating irony forms the film’s emotional core: Cal, haunted by his complicity in destroying Marcella’s life, finds himself inexorably drawn to the very woman he has wronged. The film’s genius lies in its patience. In an era of explosive action and melodrama, CAL moves with the deliberate rhythm of grief itself. Cal and his gentle father, beautifully portrayed by Donal McCann, are forced from their Protestant neighborhood by loyalist gangs, leaving them adrift in a landscape of perpetual threat. When Cal finds work at Marcella’s farm and shelter in her outbuilding, the stage is set for a romance that unfolds with almost unbearable tension. What emerges is a love story unlike any other, where the principals don’t share so much as a kiss until more than an hour into the film. This restraint serves the story brilliantly, building an atmosphere of suppressed longing that makes every glance, every moment of proximity, electric with possibility and dread. The Protestant family members who take pity on Cal, played with exceptional skill by Ray McAnally and Catherine Gibson, add layers of complexity to what could have been a simple sectarian narrative. O’Connor finds dark humor in the bleakest circumstances, particularly in scenes involving Cal’s manipulative friend Crilly and the local republican hardman Skeffington. A sequence where Cal reluctantly serves as getaway driver for a cinema robbery during a screening of SUPERMAN III provides both comic relief and a reminder of how ordinary people become trapped in extraordinary circumstances. The film’s attention to period detail is remarkable, from Sinn Féin posters featuring Martin McGuinness to the authentic texture of rural Irish life in the 1980s. The countryside becomes almost a character itself, echoing the pastoral tradition of Thomas Hardy as Cal works the potato fields alongside other laborers. These sequences ground the film’s romantic elements in physical reality, suggesting that love, like farming, requires both patience and faith in uncertain outcomes. The contrast between the brutal urban violence of the Troubles and the timeless rhythms of agricultural work creates a powerful counterpoint to the central relationship. When Mirren and Lynch finally come together, their love scene stands as a masterclass in depicting intimacy with honesty and dignity. Nothing feels exploitative or gratuitous; instead, we witness two damaged souls finding temporary solace in each other’s arms, even as the audience knows their connection is built on a foundation of terrible deception. Mirren brings to Marcella a complexity that goes far beyond the typical grieving widow, while Lynch invests Cal with a vulnerability that makes his impossible situation genuinely tragic. The film’s lasting power comes from its refusal to offer easy answers or false hope. Cal’s love for Marcella is real and transformative, but it cannot erase his guilt or change the fundamental impossibility of their situation. This moral complexity elevates CAL above simple melodrama, creating instead a work that honors both the reality of political violence and the persistence of human connection in the face of overwhelming odds. Nearly four decades after its original release, CAL remains a pinnacle of British and Irish cinema, a film that trusts its audience to engage with difficult emotions and moral ambiguity. Its rerelease offers contemporary viewers a chance to experience a work of rare maturity and compassion, one that finds profound beauty in the most unlikely circumstances while never minimizing the cost of violence or the weight of conscience. CAL is in UK and Irish cinemas from 13 June. Instagram Youtube [...]
June 11Jamie Dornan is stepping into his most complex role yet with Netflix’s THE UNDERTOW, a gripping crime noir that promises to showcase the full range of his dramatic capabilities. Fresh from his acclaimed performance in Kenneth Branagh’s BELFAST and his chilling turn in the BBC’s THE TOURIST, Dornan continues to distance himself from his FIFTY SHADES era, choosing projects that challenge both him and audiences with their psychological depth. THE UNDERTOW sees Dornan taking on the demanding dual role of identical twins Adam and Lee, whose fractured relationship becomes the catalyst for a week-long nightmare of deception and buried emotions. The series, adapted from the Norwegian thriller TWIN, transplants its Nordic noir sensibilities to the rugged Scottish Highlands, where Dornan’s characters find themselves at the center of a dangerous web of secrets that threatens to destroy everyone involved. The story begins when Lee, Adam’s long-estranged twin brother, crashes back into the life of Nicola, Adam’s wife played by Mackenzie Davis. What makes this reunion particularly volatile is the tangled romantic history between Lee and Nicola, a past that never truly died despite her loveless marriage to his brother. When a split-second decision leads to a terrible accident, Nicola is forced to protect her children at any cost, binding her fate to Lee’s in a desperate attempt to maintain their web of lies. For Dornan, this represents another strategic move in his evolving career trajectory. Following his breakout in THE FALL, where he masterfully portrayed a serial killer with unsettling charm, and his recent work in projects like WILD MOUNTAIN THYME and BARB AND STAR GO TO VISTA DEL MAR, THE UNDERTOW allows him to explore the complexities of playing against himself. The challenge of embodying two distinct personalities while maintaining the physical similarities that make their deception possible will test every aspect of his craft. The production, helmed by SLOW HORSES director Jeremy Lovering, brings together a impressive creative team including BRIDGERTON’s Sarah Dollard and GANGS OF LONDON’s Kam Odedra as part of the writing ensemble. This collaboration suggests a series that will balance the psychological thriller elements with the kind of character-driven storytelling that has defined the best of contemporary television drama. Filming across the Scottish Highlands in May 2024 provides THE UNDERTOW with a atmospheric backdrop that mirrors the internal turmoil of its characters. The landscape becomes almost a third character in the story, its stark beauty hiding the same kinds of secrets that the twins and Nicola desperately try to keep buried. This setting choice also aligns with the Nordic noir tradition, where the environment often reflects the moral ambiguity of the characters who inhabit it. While Netflix has yet to announce an official release date, THE UNDERTOW is expected to premiere sometime in 2025, giving Dornan another opportunity to prove that his post-FIFTY SHADES career choices represent a deliberate evolution toward more substantive, challenging material. The series arrives at a time when audiences are hungry for sophisticated thrillers that trust viewers to engage with morally complex characters and situations without easy answers. THE UNDERTOW represents more than just another role for Dornan; it’s a statement about the kind of actor he’s become and the stories he wants to tell. By choosing to adapt a acclaimed Norwegian series rather than simply remaking American properties, the production signals an commitment to bringing international storytelling sensibilities to English-language television. For viewers seeking the kind of slow-burning psychological tension that made series like THE KILLING and BORGEN international sensations, THE UNDERTOW promises to deliver that same compelling blend of character study and crime drama, anchored by Dornan’s most ambitious performance to date. Instagram Youtube [...]
June 10Jim Sheridan, the Oscar-nominated director behind MY LEFT FOOT and IN THE NAME OF THE FATHER, has returned with his most provocative work yet. RE-CREATION, which premiered at the Tribeca Film Festival, places one of Ireland’s most notorious unsolved murders under an unflinching microscope. The film centers on the 1996 killing of French filmmaker Sophie Toscan Du Plantier at her West Cork vacation home. Sheridan’s compelling approach constructs a fictional trial around Ian Bailey, the British journalist who became the prime suspect but never faced trial in Ireland, despite being convicted in absentia by French courts. Working with co-director David Merriman, Sheridan has crafted a “fiction-reality hybrid” that drops viewers into a jury room where twelve people grapple with the case’s complexities and contradictions. The film forces audiences to confront a justice system wrestling with insufficient evidence and compromised investigations. Vicky Krieps delivers a “remarkable and magnetic” performance as the lone holdout juror, serving as moral compass in a room where tempers flare and personal experiences with injustice surface. Colm Meaney’s silent portrayal of Bailey dominates the film despite never speaking, reflecting how Bailey was silenced more by public opinion than any court verdict. Bailey died in January 2024, maintaining his innocence until the end. Sheridan believes there is “not a shred of evidence” linking Bailey to the murder. The case was plagued by investigative missteps: Sophie’s body lay unexamined for more than a day, witness identifications were confused, and Bailey was reportedly coerced. Mysteriously, Bailey was called to the murder scene and arrived at the exact location of the body. The director frames this as a “double injustice” – against Sophie, whose killer was never identified, and Bailey, who lived under suspicion without receiving a fair trial in Ireland despite his French conviction. While reviews have been mixed, RE-CREATION succeeds in its ambitious goal. It’s not traditional entertainment but a civic exercise disguised as cinema, asking viewers to do what the Irish justice system never did – sit in judgment of the evidence and reach their own conclusions. For Sheridan, RE-CREATION represents a return to the politically charged, morally complex storytelling that made his reputation. In an era where true crime has become binge-watching entertainment, his approach feels refreshingly serious. He’s created a film that honors both victim and accused while challenging audiences to grapple with the uncomfortable reality that justice, like truth, is often more elusive than we’d like to believe. Instagram Youtube [...]
June 9Domhnall Gleeson continues his remarkable streak of commanding performances with ECHO VALLEY, proving once again why he remains one of cinema’s most compelling character actors. Fresh off his turn in Guy Ritchie’s FOUNTAIN OF YOUTH, Gleeson delivers a masterclass in controlled menace as Jackie Lawson, a drug dealer whose relentless pursuit of payment becomes the catalyst for an extraordinary family drama. ECHO VALLEY centers on Kate Garretson, played with devastating authenticity by Julianne Moore, who struggles to maintain her horse farm while drowning in grief over her wife’s tragic death. When her estranged daughter Claire, a chronic addict portrayed with raw vulnerability by Sydney Sweeney, arrives desperate for money after yet another relapse, their fractured relationship becomes entangled with dangerous criminal elements. Kate’s ex-husband Richard, played by Kyle MacLachlan in a brief but impactful role, refuses to enable their daughter’s addiction, leaving Kate to navigate the treacherous waters alone. This is where Gleeson’s Jackie enters the picture, transforming what could have been a straightforward addiction drama into something far more sinister and complex. Gleeson crafts Jackie as a predator who operates with chilling efficiency, demanding payment for missing drugs he claims Claire and Richard are responsible for. His portrayal is so viscerally unsettling that audiences will find themselves wanting to reach through the screen to confront him, the hallmark of truly exceptional villain work. What elevates Gleeson’s performance beyond typical antagonist territory is his ability to make Jackie’s greed feel both calculated and desperate. He doesn’t play the character as a cartoon villain but as someone whose complete disregard for human cost makes him all the more terrifying. His scenes with Moore crackle with tension, creating some of the year’s most electrifying acting exchanges. These moments showcase why Gleeson has become such a sought-after performer, capable of holding his own against one of cinema’s most accomplished actresses. The film benefits tremendously from Fiona Shaw’s presence as Kate’s friend, whose storyline provides crucial emotional grounding for the increasingly dangerous situations. Shaw, as always, commands attention in every scene, strengthening the film’s final act with her nuanced performance. Director Brad Ingelsby uses these character dynamics to subvert audience expectations, taking the story in directions that feel both surprising and inevitable. Moore anchors the film with a performance that captures the dual nature of grief, mourning both those who have died and those we cannot save. Sweeney continues to prove her dramatic range by taking on challenging material that pushes beyond her comfort zone. But it’s Gleeson who provides the film’s dark heart, creating a character whose presence lingers long after the credits roll. ECHO VALLEY succeeds by operating on multiple levels simultaneously, functioning as both an emotional exploration of family dysfunction and a taut thriller about ordinary people pushed beyond their limits. Gleeson’s recent career trajectory demonstrates his remarkable ability to elevate every project he touches, whether in ensemble pieces or smaller character-driven dramas like this one. The film opens in theaters on June 6 and streams on Apple TV+ beginning June 13, offering audiences the chance to witness Gleeson’s latest tour de force performance in what promises to be one of the year’s most gripping dramas. Instagram Youtube [...]
June 5Belfast has emerged as a global leader in film and television production, earning prestigious recognition at the Global Production Awards during the Cannes Film Festival. In a remarkable double victory, Northern Ireland Screen received the Special Recognition Award while Belfast was crowned Best City of Film, beating fierce competition from major international hubs including New York City, Gold Coast, Sydney, and Zagreb. The judges were particularly impressed by Belfast’s clear vision for leveraging film success to create broader economic growth. The city’s strategic approach encompasses not just attracting productions, but building lasting economic benefits through skills development, infrastructure investment, and tourism integration. This holistic view has positioned Belfast as more than just a filming location—it’s become a comprehensive creative hub. The Global Production Awards, held during Cannes with over 270 industry executives in attendance, celebrate outstanding sustainable work and highlight the best global locations. Belfast’s victory in this international arena signals a shift in how the industry values comprehensive, sustainable approaches to film production. As the global production landscape continues to evolve, Belfast’s success story offers a compelling blueprint for other cities seeking to develop their screen industries. By combining economic strategy with cultural preservation, environmental responsibility with commercial success, and local talent development with international appeal, Belfast has demonstrated that sustainable film production isn’t just possible—it’s profitable. This recognition from Cannes affirms that the future of film production lies not just in spectacular locations or tax incentives, but in creating comprehensive ecosystems that support creative excellence, economic impact, and environmental responsibility. Belfast has shown the way forward, and the global film industry is taking notice. Instagram Youtube [...]
June 4After commanding audiences as Gotham’s most menacing villain in THE PENGUIN, Colin Farrell found himself yearning for something fundamentally different. The HBO series had required three hours of daily prosthetics and makeup to transform him into one of Batman’s most notorious foes, immersing him in what he describes as a world consumed by “trauma and its various articulations and calcifications.” When the opportunity arose to step into A BIG BOLD BEAUTIFUL JOURNEY alongside Margot Robbie, Farrell embraced what he calls “stepping from the darkness into the light.” This pivot represents more than just a genre shift for Farrell—it signals a deliberate choice to explore healing rather than harm, connection rather than corruption. While THE PENGUIN showcased his ability to disappear into darkness, A BIG BOLD BEAUTIFUL JOURNEY allows him to illuminate the tender complexities of human connection. The film, directed by Kogonada, follows two strangers whose brief encounter at a wedding evolves into something extraordinary when David’s GPS system begins asking existential questions and magical doorways open pathways through time and space. For Robbie, who hadn’t appeared on camera since wrapping BARBIE in 2022, the project offered a return to acting after her $1.4 billion blockbuster earned eight Oscar nominations. Her longest break between roles in years could have felt daunting, but instead she found immediate comfort in both the story and Kogonada’s direction. The filmmaker, known for critically acclaimed works like COLUMBUS and AFTER YANG, was deliberately seeking “something a little bit larger and lighter” after years of more contemplative projects. What emerges is a romance that transcends typical meet-cute conventions, using surreal elements to explore how relationships unfold when two people can literally walk through each other’s histories. Sarah and David don’t just fall in love—they experience the joy and grief of discovering someone’s past as their shared journey plays out across time and space. The film’s magical realism serves the emotional truth of how profound connections can feel like stepping outside normal reality. With supporting performances from Lily Rabe, Kevin Kline, and Phoebe Waller-Bridge, A BIG BOLD BEAUTIFUL JOURNEY arrives September 19 as part of the ongoing resurgence of big-screen romantic comedies. For Farrell, it represents not just a career pivot but a philosophical one—moving from stories about trauma’s grip to tales about trauma’s release. After months of embodying Gotham’s darkness, he’s found his way back to the light, proving that sometimes the most transformative performances come not from disappearing into character, but from revealing the humanity that connects us all. Instagram Youtube [...]
June 3There’s something wonderfully poetic about two friends bonded by the shared experience of disappearing beneath layers of prosthetics to become one of Batman’s most memorable villains. Danny DeVito and Colin Farrell, who’ve known each other for decades, each took their turn wearing the mantle of the Penguin, separated by thirty years but united by the peculiar torture and triumph of complete physical transformation. DeVito first waddled into Gotham’s underworld as Oswald Cobblepot in Tim Burton’s gothic masterpiece BATMAN RETURNS in 1992, a performance so deliriously unhinged it remains the gold standard for comic book villainy. Three decades later, Farrell emerged from his own chrysalis of makeup and prosthetics as Oz Cobb in Matt Reeves’ THE BATMAN and the subsequent HBO series THE PENGUIN, delivering a grittier, more grounded take on the character that somehow managed to honor DeVito’s legacy while carving out entirely new territory. When the two actors sat down for Variety’s Actors on Actors interview, their conversation inevitably turned to the shared ordeal that defines their Penguin experiences: the makeup chair. “I was obsessed with that film,” Farrell confessed to DeVito, before diving into the practical realities of their transformations. Both men spoke with the weary camaraderie of soldiers who’ve survived the same battlefield, trading war stories about seven-hour initial makeup tests that eventually got whittled down to a more manageable three to three-and-a-half hours each morning. The ritual became almost sacred in its repetition. DeVito would arrive at 4:30 or 5 in the morning, deliberately dawdling with his tea while the makeup artist stood ready with brush and glue. “She’d be there all ready with her weapon, the brush,” he recalled with mock dread. Farrell understood completely, describing that first moment when the paintbrush touches skin as “a bit depressing.” But both actors discovered something transformative in the process once they surrendered to it. Coffee, music, and conversation became the gentle distractions that made the hours bearable, turning what could have been daily torture into something approaching meditation. What emerges from their conversation isn’t just shop talk between professionals, but a deeper appreciation for the craft of complete reinvention. “The first time I saw yours, I said, ‘Oh my.’ It was a total transformation,” DeVito remarked about Farrell’s version, and “Burial,” Farrell replied, perfectly capturing the sensation of disappearing beneath someone else’s skin. Both actors understood that playing the Penguin wasn’t just about putting on a costume; it was about allowing themselves to be completely subsumed by the character, to the point where their own faces became unrecognizable. The contrast between their interpretations speaks to the evolution of both Batman lore and cinematic storytelling. DeVito’s Oswald Cobblepot was a creature of pure theatrical malevolence, perfectly suited to Burton’s expressionistic Gotham. Farrell’s Oz Cobb exists in a more tactile, street-level world where the grotesque serves psychological rather than purely aesthetic purposes. Yet both versions required the same fundamental leap of faith: trusting that somewhere beneath all that latex and spirit gum, they could find the character’s beating heart. Neither actor minded the daily ritual, finding unexpected pleasure in the enforced stillness and the gradual emergence of their alter ego. There’s something almost monastic about spending three hours each morning in contemplation while artists literally reshape your face, and both DeVito and Farrell seemed to recognize this as one of the unexpected gifts of the role. As DeVito prepares to return to another beloved character, the equally shameless Frank Reynolds in the seventeenth season of IT’S ALWAYS SUNNY IN PHILADELPHIA, and Farrell continues to make waves with his Penguin portrayal, their shared experience stands as a testament to the peculiar alchemy of performance. Sometimes the most memorable characters emerge not despite the constraints of elaborate makeup and prosthetics, but because of them, forcing actors to find new ways to communicate humanity through layers of artifice. In the end, the Penguin belongs to both of them, and to neither. It’s a character that exists in the space between actor and role, in the daily ritual of transformation, and in the strange intimacy that develops between performer and prosthetic. DeVito and Farrell understand this better than most, having both discovered that sometimes you have to disappear completely to find the most authentic version of a character, even when that character is a flightless bird with a taste for mayhem. Instagram Youtube [...]
June 2Andrew Scott’s remarkable career transformation continues to captivate audiences as the Irish actor joins the star-studded cast of WAKE UP DEAD MAN: A KNIVES OUT MYSTERY, marking another prestigious addition to his increasingly impressive filmography. The announcement places Scott alongside Daniel Craig’s returning detective Benoit Blanc, with Josh O’Connor and Cailee Spaeny rounding out the ensemble for Rian Johnson’s highly anticipated third installment in the beloved mystery franchise. This casting represents a reunion for Scott and Craig, who previously shared the screen in the James Bond thriller SPECTRE back in 2015, though Scott’s career trajectory has undergone a dramatic evolution since that collaboration. What began as a memorable supporting role in the Bond universe has blossomed into leading man status, with Scott emerging as one of the most compelling actors of his generation. The transformation has been nothing short of remarkable. Scott’s breakthrough as the “hot priest” in Phoebe Waller-Bridge’s FLEABAG introduced audiences to his magnetic screen presence and emotional depth, but it was his recent starring role in Netflix’s RIPLEY that truly showcased his range as a leading man. The neo-noir psychological thriller, based on Patricia Highsmith’s 1955 crime novel THE TALENTED MR. RIPLEY, allowed Scott to demonstrate his ability to carry a complex, morally ambiguous character across an entire series, earning critical acclaim for his nuanced portrayal of the titular manipulative protagonist. Scott’s career momentum shows no signs of slowing. His performance alongside Paul Mescal in the critically acclaimed ALL OF US STRANGERS, directed by Andrew Haigh, further cemented his reputation as an actor capable of delivering deeply emotional, authentic performances. The film’s exploration of love, loss, and human connection provided Scott with another opportunity to showcase the vulnerability and intensity that have become hallmarks of his recent work. Johnson’s decision to cast Scott in WAKE UP DEAD MAN speaks to the actor’s rising star power and the director’s confidence in his ability to hold his own alongside Craig’s established Benoit Blanc character. The KNIVES OUT franchise has become synonymous with stellar ensemble casting, and Scott’s inclusion suggests another memorable performance in what promises to be another intricate mystery. The film’s title, like its predecessors KNIVES OUT (Radiohead) and GLASS ONION (The Beatles), draws from music, specifically U2’s somber acoustic track from their 1997 album Pop. Netflix has hinted that close listening might reveal clues about the plot, adding another layer of intrigue to a franchise known for its clever mysteries and cultural references. As WAKE UP DEAD MAN prepares for its December 2025 Netflix premiere, Scott’s involvement represents more than just another casting announcement. It signals the continued rise of an actor who has successfully reinvented himself from supporting player to leading man, proving that talent, timing, and smart project choices can transform a career in unexpected and thrilling ways. With production set to begin in 2025, audiences can anticipate another showcase for Scott’s evolving artistry within Johnson’s expertly crafted mystery universe. Instagram Youtube [...]
May 28Golden Globe nominee Aidan Gillen continues his commanding presence in Irish crime cinema with AMONGST THE WOLVES, a gritty new thriller that marks another compelling chapter in his recent career trajectory. Following his acclaimed work in KIN and his iconic turn in LOVE/HATE, Gillen once again inhabits the dark underbelly of Irish organized crime, this time as Power, a menacing local criminal whose violent world collides with that of a desperate homeless veteran. Director Mark O’Connor, known for CARDBOARD GANGSTERS, has crafted an unflinching exploration of Dublin’s criminal underworld, where Gillen’s Power serves as the primary antagonist threatening both Danny, a PTSD-haunted former soldier played by co-writer Luke McQuillan, and troubled teenager Will, portrayed by newcomer Daniel Fee. The film, which has been earning strong reviews on the festival circuit, finally arrives in Irish cinemas this May after an independent production journey that O’Connor describes as only possible thanks to an incredible cast and crew. AMONGST THE WOLVES weaves together themes of redemption, trauma, and survival as Danny navigates homelessness while haunted by military flashbacks, ultimately forming an unlikely bond with Will as they both face threats from Power’s violent organization. The film attempts to balance intimate character study with high-stakes thriller elements, exploring how untreated PTSD affects every aspect of life while examining societal attitudes toward homelessness and the court systems that often fail those most in need. For Gillen, AMONGST THE WOLVES represents another opportunity to explore the psychological complexities of criminal characters within distinctly Irish contexts. While the role may feel familiar given his previous work, it reinforces his status as one of Ireland’s most reliable performers when it comes to bringing authenticity and gravitas to stories about crime, loyalty, and the human cost of violence. As the film opens in cinemas nationwide, audiences will once again witness Gillen’s ability to embody the dangerous charisma that has made him such a compelling presence in contemporary Irish cinema. Watch the trailer below. [...]
May 27Pierce Brosnan continues to redefine his post-Bond career with increasingly complex and emotionally resonant roles, and his latest film FOUR LETTERS OF LOVE represents perhaps his most introspective performance yet. The newly released trailer for this Irish romantic drama showcases Brosnan in a role that feels both deeply personal and artistically ambitious, marking another bold choice in what has become a fascinating second act to his storied career. Based on Niall Williams’ internationally acclaimed novel that was translated into more than 30 languages after its 1997 publication, FOUR LETTERS OF LOVE finds Brosnan playing William, a man whose sudden divine revelation to become a painter shatters his family’s quiet existence. The role allows Brosnan to explore themes of artistic calling, family responsibility, and the sometimes destructive nature of pursuing one’s dreams—a narrative that feels particularly relevant to an actor who has spent recent years deliberately choosing smaller, more personal projects over blockbuster spectacle. Since hanging up his tuxedo, Brosnan has consistently gravitated toward roles that challenge both himself and audiences’ expectations. His recent filmography reads like a masterclass in career reinvention, from THE LAST RIFLEMAN to MOBLAND. FOUR LETTERS OF LOVE continues this trajectory, placing him alongside powerhouse performers Helena Bonham Carter and Gabriel Byrne in what promises to be his most emotionally demanding role in years. The film’s Irish setting, shot across the stunning landscapes of Donegal and Antrim, provides the perfect backdrop for Brosnan’s return to his Celtic roots. There’s something particularly poignant about watching the Irish-born actor, now 71, taking on roles that feel increasingly connected to themes of home, family, and the weight of life’s choices. In FOUR LETTERS OF LOVE, his character William’s decision to abandon his family in pursuit of artistic fulfillment creates a ripple effect that drives the entire narrative, connecting the fates of star-crossed lovers Nicholas and Isabel across time and circumstance. What makes this casting particularly compelling is how it mirrors Brosnan’s own artistic journey. Just as William in the film pursues painting as a divine calling, Brosnan himself has spent the past decade painting his career with increasingly bold strokes, choosing projects that prioritize emotional truth over commercial appeal. His collaborations with international directors and willingness to take supporting roles that serve the larger story demonstrate an actor who has found freedom in stepping away from leading-man expectations. The film’s description as a “life-affirming tale about faith and doubt, maybes and almosts, and the miracle of love” could easily describe Brosnan’s own approach to his recent work. Each role seems carefully chosen to explore different facets of human experience, from grief and redemption to the complex relationships between fathers and sons. In FOUR LETTERS OF LOVE, these themes converge in what appears to be one of his most vulnerable performances. With Ann Skelly and Fionn O’Shea carrying the central love story as Isabel and Nicholas, Brosnan’s William serves as both catalyst and cautionary tale. His character’s pursuit of artistic truth at the expense of family stability creates the circumstances that will ultimately test whether love can indeed conquer all obstacles. It’s a role that requires Brosnan to embody both the selfish pursuit of personal fulfillment and the genuine belief in something greater than oneself. As FOUR LETTERS OF LOVE prepares for its July 18 cinema release, it arrives at a moment when Brosnan’s career choices feel more intentional and impactful than ever. This isn’t simply another job for a working actor; it’s a continuation of an artistic journey that has seen him evolve from international action star to one of cinema’s most thoughtful character actors. The film promises to be both a celebration of Irish storytelling and a showcase for an actor who has never been more committed to his craft. For audiences who have followed Brosnan’s career transformation, FOUR LETTERS OF LOVE represents the latest chapter in what has become one of Hollywood’s most successful reinventions. Here is an actor who has discovered that the most interesting roles often come not from what you’ve done before, but from what you’re brave enough to do next. Watch the trailer below. [...]
May 26In the shadow of Belfast’s skyline, where high-rise towers puncture a city more accustomed to lower horizons, stands New Lodge—a community frozen in time, wrestling with ghosts that refuse to be buried. Alessandra Celesia’s THE FLATS, winner of the 2025 IFTA George Morrison Award for feature documentary, emerges from this landscape as a work of rare emotional precision, crafted not from the grand narratives of history but from the cracks and residue they leave behind. Celesia, born in Italy and living between Paris and Belfast, discovered New Lodge through what she calls “a crazy coincidence”—the visual pull of the towers leading her to uncover that this was where her husband’s father’s family originated. During The Troubles, New Lodge was among the most dangerous places in Northern Ireland, with IRA roots and British Army occupation creating a siege that left violence rife in streets, stairwells, and the minds of children. “I said I would never make a film about the Troubles,” Celesia reflects. “It’s the past, it’s finished. But in New Lodge, it’s just so clear there is this whole generation traumatized by this thing that they never got over.” The film’s emotional center is Joe McNally, a man whose interior landscape remains defined by the 1975 murder of his uncle Cook, one of four Catholic workers shot by loyalists at Casey’s bottling plant. Joe was seven when it happened, and the loss cracked something open that never healed. The most arresting sequences involve Joe and a friend carrying a coffin into his flat, staging a reenactment of Cook’s wake—the absurdity of maneuvering a coffin into a cramped lift becoming a powerful metaphor for grief borne floor by floor. These reenactments, inspired by Joshua Oppenheimer’s THE ACT OF KILLING, function as emotional excavations where Joe lies in the coffin contemplating his own death, later using it to simulate Bobby Sands’ wake. But THE FLATS extends beyond Joe to embrace the women of New Lodge—Jolene, Angie, and Jolene’s sister—who carry burdens of domestic violence, addiction, and caregiving. Angie recounts shooting her abusive husband in the hip with an IRA gun, delivered with a dry quip about how he refrained from retaliation because the hunger strike was on, revealing the dark entanglement of personal violence and political context. Celesia’s approach remains notably non-didactic, embedding herself within the community to elicit emotional truths rather than political rhetoric. Her long-standing connection to Belfast provides closeness without exploitation, while her position as non-native maintains observational distance that allows her to ask what locals might leave unsaid. The estate, filmed just before demolition, becomes a character itself—its graffiti, cracked stairwells, and outdated lifts embodying history that refuses burial. Even smallest details resonate: Joe’s dog named Freedom, a Che Guevara mural beside hand-scrawled “Blood of an Irish Rebel,” Catholic neighbors lighting candles while Protestant bonfire stacks rise across the road. The camera finds beauty too—Jolene’s unexpectedly melodic voice singing in parkland offers fragile counterpoint to surrounding bleakness, while two women applying fake bruises to recreate abuse scenes remark “So relaxing,” the irony sharp and heartbreaking. THE FLATS doesn’t strive for neutrality or promise redemption, acknowledging that peace came at cost in what it left unhealed. Joe’s therapy sessions with suicide prevention charity PIPS provide emotionally naked moments where he declares through tears, “I want to be happy”—a desire simple, human, and achingly out of reach that resonates louder than any political slogan. His anger, sometimes manifesting in impulsive hunger strikes comparing himself to Bobby Sands, targets the failed promises of the Good Friday Agreement and state neglect of working-class communities still mired in addiction and poverty. This collaboration between Celesia and producer Jean-Laurent Csinidis represents documentary cinema at its most essential, asking the right questions about grief, memory, inheritance, and legacy. THE FLATS doesn’t offer answers but honors the complexity, pain, and spirit of New Lodge’s people without reducing them to platitudes, standing as powerful, difficult work that refuses comfort while insisting on the necessity of witness. [...]
May 22Documentary filmmaker Trisha Ziff has carved out a remarkable career capturing the most complex and controversial figures of our time, and her latest work promises to be her most compelling yet. This summer, Ziff will premiere GERRY ADAMS: A BALLYMURPHY MAN at the Galway Film Fleadh, marking a significant milestone in both her directorial journey and in the documentation of one of Ireland’s most pivotal political figures. The film represents Ziff’s bold approach to storytelling, as she becomes the first filmmaker to secure intimate access to Gerry Adams, the 76-year-old former Sinn Féin leader who has remained intensely private throughout his decades in the public eye. For a man who has protected his family from media scrutiny and rarely spoken candidly about his personal journey, his decision to sit down with Ziff speaks volumes about her reputation as a filmmaker who can navigate sensitive political terrain with both respect and unflinching honesty. Adams himself is one of the most controversial and transformative leaders of our era, a figure who led the people of Northern Ireland through the treacherous path from conflict to peace between 1968 and 1994. His story is one of extraordinary contradiction: imprisoned and shot, demonized by dominant media as a subversive and terrorist, yet ultimately recognized as legitimate enough that the British government and their allies were forced to negotiate with him and Sinn Féin to forge the Good Friday Agreement. He was a critical voice in the IRA’s historic decision to lay down arms after their twenty-five-year war against British rule, a choice that fundamentally altered the trajectory of Irish history. What makes Ziff’s documentary particularly compelling is her ability to present Adams not as the mythologized figure of political rhetoric, but as a complete human being whose journey spans from teenage activist to party leader to elder statesman. The film promises to be relaxed, informal, and uncensored, offering insights into Adams’ world that have never been shared publicly. Ziff has woven his personal narrative with a wealth of imagery from what remains one of the most documented conflicts of our time, creating what appears to be both an intimate portrait and a historical document. The timing of the film’s release is particularly significant, coming as Adams continues his work as an elder statesman supporting the next generation on their peaceful and inclusive path toward Irish unity. His recent appearance in KNEECAP, the critically acclaimed Irish-language film about three Belfast lads who formed a rap group and became unlikely advocates for civil rights and the preservation of the Irish language, demonstrates his ongoing connection to contemporary Irish cultural movements. KNEECAP itself tells the quasi-biographical story of how the group formed when childhood friends were inspired by a local music teacher, with their origin story rooted in civil disobedience – one member was arrested for spray-painting “Cearta” (Rights) before the Irish Language Act march in Belfast in 2022, and refused to speak English during his police interview. The world premiere at the Galway Film Fleadh on July 12th at the Town Hall Theatre represents more than just another film screening; it’s a cultural moment that bridges Ireland’s complex past with its evolving present. As Fleadh Director of Programming Maeve McGrath noted, documentary filmmakers play a pivotal role in bringing the world’s stories to screen, and Ziff’s work exemplifies this mission by presenting Adams’ story from his youth to the present day. For Ziff, this documentary represents the culmination of her skills as a filmmaker who understands that the most powerful stories often come from the most unlikely sources. Her ability to secure this level of access and trust from such a historically guarded figure speaks to her reputation and approach to documentary filmmaking. In an era where political documentaries often fall into predictable partisan patterns, Ziff appears to have created something more nuanced and human, a film that allows audiences to encounter Adams not as a symbol or caricature, but as a complex individual whose choices shaped the course of modern Irish history. The film arrives at a moment when Ireland continues to grapple with questions of identity, unity, and the legacy of the Troubles, making Adams’ story not just historical documentation but contemporary commentary on the ongoing Irish experience. Through Ziff’s lens, audiences will finally hear directly from the man who helped shepherd one of the most remarkable political transformations of the late twentieth century, told in his own words and on his own terms for the first time. [...]
May 16Andrew Scott has been captivating audiences, and his recent triumph at the 75th Berlin International Film Festival, where he received the Silver Bear for Best Supporting Performance, underscores his compelling talent. This prestigious award recognizes his portrayal of Richard Rodgers in Richard Linklater’s highly anticipated biopic, BLUE MOON. The film, which premiered in Berlin on February 18th, offers a poignant glimpse into the tumultuous final days of Broadway lyricist Lorenz Hart, Rodgers’ pivotal collaborator before his legendary partnership with Oscar Hammerstein II. Starring alongside Ethan Hawke as Hart, Scott inhabits the role of Rodgers during a critical juncture, primarily set against the backdrop of the 1943 opening night of OKLAHOMA!. This groundbreaking musical not only revolutionized musical theatre but also cemented Rodgers and Hammerstein’s status as a dominant force. However, BLUE MOON delves into the preceding era, spotlighting the fruitful yet ultimately strained collaboration between Rodgers and Hart, a partnership that gifted the world 28 stage musicals, including ON YOUR TOES and PAL JOEY, and timeless standards like “Blue Moon,” “The Lady Is a Tramp,” “My Funny Valentine,” and “Bewitched, Bothered, and Bewildered.” As Hart’s struggles with alcoholism led Rodgers to seek new creative avenues, BLUE MOON promises to offer a nuanced portrayal of this pivotal moment in Broadway history. Featuring a talented ensemble cast including Margaret Qualley, Bobby Cannavale, Jonah Lees, Simon Delaney, and Cillian Sullivan, and with a screenplay penned by Robert Kaplow, BLUE MOON is set for a limited theatrical release in Los Angeles and New York on October 17th, followed by a nationwide roll-out on October 24th, inviting audiences to witness Scott’s award-winning performance and explore this fascinating chapter of American musical theatre. Watch the trailer below. [...]
May 14Gabriel Byrne’s enigmatic presence enters the JOHN WICK universe in BALLERINA, the upcoming spinoff slated for theaters June 6, marking a significant addition to the veteran actor’s recent career renaissance. The two-time Emmy nominee and Golden Globe winner joins a franchise that has redefined modern action cinema, bringing his trademark mysterious aura to a world of stylized assassins and vendettas. Producer Basil Iwanyk highlighted the perfect alignment between Byrne’s talents and the film’s needs, stating, “For decades, Gabriel’s mysterious and enigmatic presence has enriched dozens of films – you can never quite be sure what he’s thinking, or if what he’s telling you is on the level. That’s perfect for this world.” The Irish actor’s participation in BALLERINA represents another carefully selected role in what has become an increasingly discerning late-career phase. While the final trailer released Monday showcases Ana de Armas as Eve, an assassin seeking vengeance for her father’s death, Byrne’s addition to the cast elevates the project’s dramatic credentials. His ability to convey complex, morally ambiguous characters promises to add layers of intrigue to a franchise already known for its rich mythology. Set during the events of JOHN WICK: CHAPTER 3 – PARABELLUM, the film features Keanu Reeves reprising his role as the legendary hitman, with scenes showing him battling de Armas’s character amid fiery and snow-covered landscapes. The trailer captures de Armas declaring, “When you think of me, you should think of fire, rising from the ashes again and again,” establishing the film’s intense tone. Byrne joins an impressive ensemble that includes returning franchise veterans Ian McShane and the late Lance Reddick, alongside fellow newcomers Anjelica Huston, Catalina Sandino Moreno, and Norman Reedus. For Byrne, this represents a strategic move into one of Hollywood’s most successful contemporary franchises, demonstrating his continued relevance in an industry where veteran actors often struggle to find meaningful roles. With production completed under the guidance of producers Iwanyk, Erica Lee, and Chad Stahelski, with Lionsgate executives Brady Fujikawa and Chelsea Kujawa overseeing the project, BALLERINA appears poised to benefit significantly from Byrne’s gravitas. His presence in the JOHN WICK spinoff follows a pattern in his recent career of selecting roles that capitalize on his unique ability to project intelligence, menace, and moral complexity simultaneously – qualities that have defined many of his most memorable performances. As the release date approaches, the addition of Byrne to this meticulously crafted universe suggests that BALLERINA aims to balance spectacular action with the kind of nuanced character work that has become the actor’s hallmark. Watch the trailer below. [...]
May 13The final trailer for Apple TV+’s highly anticipated film F1 has arrived, showcasing Brad Pitt as Sonny Hayes, a Formula 1 driver making a dramatic comeback to the sport he once abandoned. The trailer reveals an emotionally charged confrontation between Hayes and Kate, portrayed by Kerry Condon, who challenges his solitary approach to what she emphatically defines as a “team sport.” Condon’s recent career trajectory has been nothing short of remarkable. Following her Academy Award nomination for her nuanced performance in THE BANSHEES OF INISHERIN, she has carefully selected roles that showcase her exceptional range and intensity. Her work in THE MARVELS further demonstrated her versatility, and now in F1, she emerges as a powerful counterbalance to Pitt’s lone wolf protagonist, bringing emotional depth and authenticity to the high-octane narrative. The film chronicles Hayes’ journey back to Formula 1 racing after a devastating crash in the 1990s prematurely ended his career. Thirty years later, he returns to partner with promising rookie Joshua Pearce, played by Damson Idris, as part of the fictional APXGP team. Javier Bardem joins the stellar cast as Ruben Cervantes, Hayes’ former teammate who convinces him to get behind the wheel once again. TOP GUN: MAVERICK director Joseph Kosinski helms this ambitious project, with an impressive production team including Kosinski himself, Pitt, powerhouse producer Jerry Bruckheimer, seven-time Formula 1 world champion Lewis Hamilton, and acclaimed producers Dede Gardner, Jeremy Kleiner, and Chad Oman. The film races into theaters on June 27, promising a perfect blend of heart-stopping action and compelling human drama on and off the track. Watch the trailer below. [...]
May 9From missing his high school prom in Dublin to rubbing shoulders with legends at star-studded events, Barry Keoghan’s meteoric rise has been nothing short of extraordinary. The Irish actor, whose name continues to be mispronounced despite his growing fame, recently reflected on his remarkable journey from humble beginnings to Hollywood stardom. Keoghan’s current career trajectory reads like a fantasy screenplay. Just weeks after attending the prestigious Met Gala, he found himself at Ringo Starr’s home, meticulously studying the Beatles drummer’s mannerisms in preparation for his role in the upcoming BEATLES biopic. “It’s surreal,” Keoghan admits about the experience of meeting his musical idol and transforming into him for the camera. His star-struck moments extend beyond the music world. Keoghan recently fulfilled a childhood dream when he met football legend David Beckham, a encounter that left the normally composed actor momentarily speechless. These brushes with celebrity represent a stark contrast to Keoghan’s teenage years in Ireland, where he missed out on traditional milestones like the Debs (Ireland’s equivalent of prom). The actor’s versatility continues to shine through his diverse project choices. He recently collaborated with The Weeknd on the highly anticipated film HURRY UP TOMORROW, adding another impressive credit to his already substantial filmography. His physical dedication to roles has become legendary in the industry—he’s even had his hands insured for substantial sums after the intensive training required for certain performances. This commitment to craft was particularly evident when he engaged in sparring sessions with Chris Hemsworth for a recent project, pushing himself to physical limits to achieve authenticity on screen. What makes Keoghan’s ascent particularly compelling is his unconventional entry into acting. Unlike many of his peers who followed traditional paths through drama schools, Keoghan discovered his passion through a chance encounter that ignited something profound within him. This unorthodox beginning has imbued his performances with a raw authenticity that continues to captivate audiences and directors alike. As Keoghan continues his ascent in Hollywood, he carries with him the grounding influence of his Irish roots and the perspective of someone who appreciates every moment of his extraordinary journey. From the streets of Dublin to the homes of musical legends and Hollywood sets, Barry Keoghan’s story reminds us of cinema’s transformative power—both for audiences and for the performers who find themselves unexpectedly in its spotlight. [...]
May 8Irish actor Domhnall Gleeson continues his impressive career trajectory with his latest role in Werner Herzog’s highly anticipated film BUCKING FASTARD, which recently wrapped production in Dublin, Sligo, and Slovenia. The film is expected to make its debut at the Cannes Film Festival this month, where it will be shown to potential buyers in what promises to be one of the festival’s most talked-about screenings. Gleeson, who has steadily built a reputation for taking on challenging and diverse roles since his breakthrough in ABOUT TIME, joins an impressive ensemble that includes real-life siblings Kate and Rooney Mara as the film’s central characters. In recent years, Gleeson has demonstrated remarkable versatility, moving effortlessly between indie darlings and major franchises, making his casting in Herzog’s return to narrative filmmaking particularly noteworthy. In BUCKING FASTARD, Gleeson portrays Timothy, a government-issued social worker tasked with helping the eccentric Holbrooke twins adapt to modern life after they become unexpected tabloid sensations. The Mara sisters play Jean and Joan Holbrooke, inseparable twins who live on the fringes of society and share an extraordinary bond – speaking in unison, loving the same man, sharing identical dreams, and even making the same linguistic slips simultaneously. Their quest to find “the Orkneys,” an imaginary land where true love exists, leads them to attempt the impossible: digging a tunnel through an entire mountain range. This marks the first on-screen collaboration between Kate and Rooney Mara, with the latter having previously filmed in Ireland for Jim Sheridan’s THE SECRET SCRIPTURE. The legendary Werner Herzog, whose last narrative feature was released in 2022 with his documentary THEATER OF THOUGHT, describes BUCKING FASTARD as completing “an operatic triptych” with his previous acclaimed works FITZCARRALDO and GRIZZLY MAN. “We cannot see the world as Jean and Joan Holbrooke see it,” Herzog explained, “but we do see how the world reacts to them – through the courts and the press, through those that want to help and those who want to use them, through the eyes of beasts both tame and wild, and even through their own echoes in the core of the earth.”  [...]
May 7The entertainment world is buzzing with anticipation as Netflix prepares to release JAY KELLY, a self-described heartbreaking comedy that brings together Hollywood heavyweights George Clooney and Adam Sandler for the first time. While this powerhouse pairing alone would generate significant excitement, the film’s appeal is further enhanced by the inclusion of two rising Irish talents in its impressively stacked ensemble cast. Dublin native Eve Hewson and Northern Ireland’s Thaddea Graham are set to shine alongside the leading men in what promises to be one of Netflix’s major awards contenders this year. Hewson, daughter of U2 frontman Bono, has been steadily building an impressive acting resume in recent years, particularly through her acclaimed performance in Sharon Horgan’s darkly comedic hit BAD SISTERS, where she previously worked with Graham. This Netflix project marks yet another significant step in Hewson’s flourishing career as she continues to emerge from her famous father’s shadow and establish herself as a formidable talent in her own right. The film, directed by indie darling Noah Baumbach of MARRIAGE STORY and THE SQUID AND THE WHALE fame, features Clooney in the titular role of Jay Kelly, a man who paradoxically seems known by everyone except himself. Though Netflix remains characteristically tight-lipped about plot specifics, they’ve tantalized audiences with a cryptic tagline: Everybody knows Jay Kelly, but Jay Kelly doesn’t know himself. The stellar cast also includes Billy Crudup, Laura Dern, Riley Keough, Patrick Wilson, Jim Broadbent, Emily Mortimer, and Greta Gerwig. Following Netflix’s established awards season strategy, JAY KELLY will receive a limited theatrical release beginning November 14, 2025, before arriving on the streaming platform on December 5. For Baumbach, this project represents a pivot from his previous Netflix venture WHITE NOISE, reportedly a $150 million production that failed to meet expectations. This new film, set between New York City and London, appears to be more aligned with the romantic comedy format that Netflix audiences have consistently embraced. With its fall release timing, industry insiders expect JAY KELLY to make appearances at prestigious film festivals including Venice, Toronto, Telluride, and New York, further cementing its position as a potential awards contender and highlighting Hewson’s continued ascent in Hollywood’s competitive landscape. [...]
May 5Ireland’s film industry celebrates a milestone achievement as acclaimed actor Jamie Dornan and fellow Northern Irish talent Conor MacNeill announce the launch of their new production company, Blackthorn Films. The venture represents a homecoming for both performers who have risen to international prominence while maintaining deep connections to their native soil. Having first collaborated on the 2015 film THE SIEGE OF JADOTVILLE, the duo’s creative partnership has flourished through projects including THE TOURIST, THE FALL, and Kenneth Branagh’s Oscar-winning BELFAST. Dornan, whose career has seen remarkable evolution since his breakthrough role in THE FALL—which earned him an Irish Film and Television Award for Best Actor and a BAFTA TV Award nomination—has established himself as one of Ireland’s most versatile performers. His supporting performance in BELFAST garnered Golden Globes, Critics Choice, and IFTA nominations, solidifying his reputation beyond his earlier work. Fans can anticipate his upcoming dual role portraying twin brothers in Netflix’s crime noir series THE UNDERTOW, as well as his collaboration with Anthony Mackie in the limited series 12 12 12 for Apple TV+, where Dornan also serves as executive producer. Blackthorn Films will be headquartered in Northern Ireland, where both founders were born and raised, with a mission to spotlight indigenous stories with global appeal. “Blackthorn Films was born out of a shared desire to create indigenous stories from the island of Ireland that have a true global reach,” the partners explained. “The company’s aim is to produce work that flips the lens and presents fresh narratives, particularly from the North of the country.” This commitment to authentic storytelling has already earned the company recognition as a recipient of the BBC’s TV Small Indie Fund, which supports emerging production companies across the United Kingdom. To shepherd their creative vision, Dornan and MacNeill have brought aboard producer Shauna Shivers-McAtamney, whose impressive credentials include work with Element Pictures on acclaimed productions like THE FAVOURITE. Her experience as script editor for the BBC-Hulu adaptation of Sally Rooney’s CONVERSATIONS WITH FRIENDS, the BAFTA-nominated THE DRY, and the forthcoming TRESPASSES starring Gillian Anderson positions her perfectly to advance Blackthorn’s ambitions. “We are both most creatively content when working at home and we are excited to collaborate with the wealth of skilled and talented filmmakers there, many of whom we have worked with before,” said Dornan and MacNeill. “The professionalism, positive mindset and down-to-earth nature of the key talent and crews in Ireland, North and South, is something we want to harness and embolden.” Through Blackthorn Films, these two accomplished performers aim to channel their international success back into the communities that shaped them, creating a new chapter in Ireland’s rich storytelling tradition while opening doors for emerging voices from a region often overlooked in mainstream cinema. [...]
May 3In a striking turn for his seventh decade in entertainment, Pierce Brosnan saddles up alongside Samuel L. Jackson in what promises to be one of summer’s most anticipated Western standoffs. Saban Films, in partnership with Roadside Attractions, has secured North American rights to THE UNHOLY TRINITY, slated for nationwide theatrical release on June 13. This Western actioner marks a compelling chapter in Brosnan’s evolving career, positioning the former 007 as Irish lawman Gabriel Dove against Jackson’s enigmatic outlaw, St. Christopher. Set amid the rugged terrain of 1870s Montana, THE UNHOLY TRINITY unfolds as a tale of vengeance and moral complexity. The story begins with the impending execution of Isaac Broadway, who charges his estranged son Henry with avenging his wrongful conviction. Young Henry, portrayed by Brandon Lessard, journeys to the isolated town of Trinity only to find himself trapped between Brosnan’s upstanding new sheriff and Jackson’s mysterious figure. The newly released trailer showcases these screen legends in unprecedented territory, with Jackson, 76, delivering the ominous line, “Man don’t know what he is ’til his back’s against the wall,” while Brosnan, at 71, brings his characteristic gravitas to the frontier lawman. This role represents Brosnan’s continued pursuit of character-driven projects that showcase his range well beyond his GOLDENEYE days. What makes this particular project even more significant for the veteran actor is the participation of two of his sons, Paris and Dylan Brosnan, whom he shares with wife Keely Shaye Smith. “I had my two sons with me, they are in the movie,” Brosnan revealed to Variety in October 2024. “If they want to be actors, I am not going to stop them. They know how difficult it is.” Paris plays a character named Thomas, while Dylan takes on the role of a pastor, marking a meaningful family collaboration in Brosnan’s late-career renaissance. The supporting cast further enhances the production’s credentials, featuring Tim Daly as Isaac Broadway, alongside Q’orianka Kilcher, David Arquette, Ethan Peck, Veronica Ferres, Gianni Capaldi, and Katrina Bowden. Saban Films Co-Presidents Jonathan Saba and Shanan Becker expressed their enthusiasm for the project, noting that THE UNHOLY TRINITY “embodies everything we love about Westerns—an exploration of lawlessness vs. justice, civilization vs. the frontier, and a trio of gunslingers navigating a morally complex world.” They particularly praised the chemistry between Brosnan and Jackson, whose combined screen presence promises what they describe as “an unforgettable ride” across sweeping landscapes and pulse-pounding confrontations, ultimately begging the question that will draw audiences to theaters: which of these legendary actors would triumph in the inevitable showdown? [...]
May 2From stadium anthems to intimate confessions, U2’s cinematic journey continues to evolve with Apple Original Films’ announcement of BONO: STORIES OF SURRENDER, premiering globally on Apple TV+ on May 30, 2025. True to the band’s pioneering spirit, this documentary will make history as the first feature-length film available on Apple Vision Pro in Apple Immersive Video, placing viewers directly onstage with Bono in a groundbreaking 180-degree visual experience captured in 8K with Spatial Audio. Directed by acclaimed filmmaker Andrew Dominik (THE ASSASSINATION OF JESSE JAMES), this documentary reimagines Bono’s critically-acclaimed one-man stage show based on his 2022 memoir, “Surrender: 40 Songs One Story.” The film peels back layers of the iconic frontman’s life, revealing intimate stories about his journey as a son who lost his mother at 14, a husband who met his wife Ali the same week he joined U2, a father, an activist, and the rockstar we’ve watched evolve over decades. “These are the tall tales of a short rock star,” Bono quips in the trailer with characteristic self-awareness. “This is my story, I’m stuck with it.” The documentary features never-before-seen footage from his April 2023 residency at New York’s Beacon Theatre, intertwining personal reflections with performances of the iconic U2 songs that have shaped both his life and legacy. The cinematic pedigree behind BONO: STORIES OF SURRENDER is as impressive as U2’s musical credentials. The film is produced by RadicalMedia’s Oscar and Emmy-winning team Jon Kamen and Dave Sirulnick, known for SUMMER OF SOUL and HAMILTON, alongside Plan B Entertainment’s Oscar-winning producers Brad Pitt, Dede Gardner, and Jeremy Kleiner, whose credits include MOONLIGHT and 12 YEARS A SLAVE. Bono himself serves as executive producer alongside Jennifer Pitcher (KISS THE FUTURE) and Kelly McNamara (V-U2 AN IMMERSIVE CONCERT FILM AT SPHERE LAS VEGAS). This latest visual offering continues U2’s long tradition of embracing innovative filmmaking to connect with audiences. From their groundbreaking concert films to documentary explorations, the band has consistently used the cinematic medium to extend their artistic vision beyond music alone. The Apple Vision Pro version represents the natural evolution of this approach, literally placing fans center stage in Bono’s narrative. Coinciding with the film’s release, fans can look forward to an abridged and updated edition of Bono’s memoir featuring a film tie-in cover and new introduction by the author. The book, like the film, structures Bono’s life story through 40 of U2’s songs, creating a multimedia tapestry that weaves together music, memory, and meaning. BONO: STORIES OF SURRENDER represents more than just another music documentary; it’s the latest chapter in U2’s ongoing exploration of how technology and art can create deeper, more immersive connections between artist and audience. For a band that has consistently pushed boundaries since their earliest days, this cinematic journey feels like both a fitting reflection on their past and a glimpse into the future of music storytelling. [...]
April 29The unstoppable ascent of Paul Mescal’s career takes another impressive turn as Chloe Zhao’s highly anticipated film HAMNET secures a prime awards season release. Focus Features will debut the Shakespeare-era historical drama in limited release on November 27 before expanding nationwide on December 12, strategically positioning it between major blockbusters ZOOTOPIA 2 and James Cameron’s AVATAR: FIRE AND ASH. The Irish actor, who first captured international attention with his breakout role in “Normal People,” continues to demonstrate his remarkable versatility. Currently delivering powerful performances off-Broadway in A STREETCAR NAMED DESIRE, Mescal is simultaneously preparing for what might be his most high-profile role yet as Paul McCartney in Sam Mendes’ upcoming Beatles biopic. This four-part epic will feature an impressive ensemble including Joseph Quinn as George Harrison, Barry Keoghan as Ringo Starr, and Harris Dickinson as John Lennon. HAMNET, adapted from Maggie O’Farrell’s bestselling 2020 novel that has sold two million copies and been translated into 40 languages, fictionalizes the life of Shakespeare’s son who died at a young age and explores the profound love story that ultimately inspired the creation of HAMLET. Mescal stars as William Shakespeare opposite Jessie Buckley as his wife Agnes, with Joe Alwyn portraying Bartholomew and Jacobi Jupe in the titular role of Hamnet. The film represents a significant return for director Chloe Zhao, who made history as only the second woman ever to win the Oscar for Best Director with her 2020 masterpiece NOMADLAND. Zhao co-wrote the screenplay with O’Farrell herself and has assembled an extraordinary production team including heavyweight producers Steven Spielberg and Sam Mendes. Mescal’s co-star Jessie Buckley is experiencing her own career momentum, with her next role coming in Maggie Gyllenhaal’s Frankenstein spinoff THE BRIDE! opposite Christian Bale. The pairing of these two formidable Irish talents in HAMNET creates extraordinary anticipation for what promises to be a deeply emotional historical drama. As HAMNET prepares to make its mark during the competitive awards season, it further cements Mescal’s transformation from television breakthrough to genuine movie star. His thoughtful choice of challenging, prestige projects with acclaimed directors suggests an actor committed to crafting a career of substance and artistic merit rather than mere celebrity. With HAMNET’s release and the Beatles biopic on the horizon, Paul Mescal’s trajectory in cinema continues its meteoric rise with no signs of slowing down. [...]
April 28Netflix has unveiled the first glimpse of its highly anticipated adaptation of Richard Osman’s bestselling novel, THE THURSDAY MURDER CLUB, featuring Pierce Brosnan and Helen Mirren in leading roles. The film, slated for release on August 28, brings together an extraordinary ensemble cast in a charming yet thrilling murder mystery. For Brosnan, this project represents another significant addition to his impressive post-James Bond career renaissance, where he has increasingly gravitated toward character-driven ensemble pieces that showcase his versatility beyond the action hero archetype. In THE THURSDAY MURDER CLUB, Brosnan portrays Ron, a former union activist who forms part of a quartet of retirees who solve cold cases as a hobby until a real murder occurs in their retirement community. The chemistry between Brosnan and Mirren, who plays ex-spy Elizabeth, has been described as magical by those involved with the production, with Mirren noting the cast’s shared enthusiasm: “There was a sense of, ‘Gosh, guys, isn’t this amazing? Here we all are again. How fantastic it is.'” The impressive cast also includes Sir Ben Kingsley as Ibrahim, an ex-psychiatrist, and Celia Imrie as Joyce, a former nurse, completing the amateur sleuthing group. Supporting roles are filled by acclaimed actors including Jonathan Pryce, Naomi Ackie, Henry Lloyd-Hughes, Daniel Mays, David Tennant, Tom Ellis, and Richard E. Grant. Brosnan’s involvement in this project follows his recent career pattern of selecting character-rich roles in films that allow him to demonstrate his considerable acting range beyond the suave spy persona that defined his earlier career. The film, directed by Chris Columbus of HOME ALONE and HARRY POTTER fame, was filmed between June and September 2024 and represents a significant acquisition for Netflix, with Steven Spielberg’s Amblin Entertainment producing after securing the adaptation rights in September 2020. Based on the first of Osman’s four-book series, THE THURSDAY MURDER CLUB could potentially launch a new franchise for Brosnan and company if successful, allowing the actor to further cement his status as one of Hollywood’s most enduring and adaptable leading men. [...]
April 24After carving out an impressive cinematic legacy with two Oscar nominations and starring roles in blockbuster franchises like X-MEN and ALIEN, alongside acclaimed performances in 12 YEARS A SLAVE, STEVE JOBS, INGLOURIOUS BASTERDS, SHAME, and NEXT GOAL WINS, Michael Fassbender has made a surprising career pivot. The actor who once commanded the big screen has returned to television as the lead in Paramount+’s espionage thriller THE AGENCY playing a seasoned spy reintegrating into London headquarters after years in the field. This calculated career move marks a full-circle moment for Fassbender, who began his career in television before Hollywood beckoned. The project’s irresistible appeal becomes clear when examining its pedigree: a stellar ensemble featuring fellow film luminaries Richard Gere, Jeffrey Wright, Jodie Turner-Smith, and John Magaro; the producing might of George Clooney, Grant Heslov, and Yellowstone’s 101 Studios; direction from Joe Wright; and writing from Tony Award winners Jez and John Henry Butterworth. Fassbender’s recent work reveals a particular affinity for the espionage genre. Alongside THE AGENCY which begins filming its second season next month across London and international locations, he stars opposite Cate Blanchett in Steven Soderbergh’s critically acclaimed spy thriller BLACK BAG. When asked about playing James Bond—a role he once discussed with producers before Daniel Craig secured it—Fassbender expressed contentment with his current spy characters, which offer greater complexity than the iconic 007 role. His recent career choices suggest an actor increasingly drawn to nuanced, challenging material rather than mainstream fare. Fassbender has expressed interest in exploring more comedic roles following his experience with Taika Waititi’s NEXT GOAL WINS, revealing a desire to expand his already versatile range. His artistic ambitions extend beyond film—he’s adapted a Quentin Tarantino work for the stage, showcasing his commitment to storytelling across different mediums. This thoughtful evolution of Fassbender’s career demonstrates an actor prioritizing creative fulfillment over traditional Hollywood trajectories—choosing projects that challenge him while collaborating with premier talent, regardless of whether they appear on streaming platforms or in theaters. [...]
April 23The eagerly anticipated live-action Spider-Noir series starring Nicolas Cage has reportedly secured an early 2026 release window, according to Nexus Point News. While awaiting official confirmation, this timeline aligns with what’s known about the production schedule for this MGM+ exclusive that will later move to Prime Video. The series marks Cage’s live-action debut as the character he memorably voiced in SPIDER-MAN: INTO THE SPIDER-VERSE, but it’s the involvement of Brendan Gleeson that particularly stands out among recent casting news. Gleeson, whose career has experienced a remarkable renaissance, joins an impressive ensemble alongside Cage, Lamorne Morris, and Lukas Haas. Haas recently shared enthusiastic insights about working with both headliners, specifically praising Gleeson who plays his boss in the noir-styled adaptation. “Brendan Gleeson is amazing,” Haas revealed, highlighting the authentic film noir approach to production where even the playback monitors displayed the footage in atmospheric black and white with dramatic shadowing that transported the actors to the 1930s setting. Gleeson’s involvement comes during a career-defining period that’s seen him deliver critically acclaimed performances in films like THE BANSHEES OF INISHERIN, for which he received an Oscar nomination, followed by his chilling work in THE HOLDOVERS and scene-stealing supporting roles in JOKER: FOLIE À DEUX and KILLERS OF THE FLOWER MOON. His casting as a presumably gritty authority figure in Spider-Noir’s Depression-era New York continues this exceptional streak. The series itself reimagines the character (originally introduced in Marvel Comics in 2009) as an aging private investigator in an alternate 1930s New York who returns to his superhero roots amid rising crime. Unlike the traditional Spider-Man origin, this Earth-90214 variant gained his abilities when bitten by a spider emerging from a mystical spider-god idol while investigating a smuggling operation. Under showrunners Oren Uziel and Steve Lightfoot, the production appears committed to maintaining the distinctive noir aesthetic that defines this unique corner of the Spider-Verse, creating what promises to be a visually striking and tonally distinct entry in Marvel’s expanding multiverse of storytelling approaches. [...]
April 21In the quiet corners of retirement, Marian’s world has shrunk to suffocating dimensions—annual holidays on repeat, a silent home, and a husband whose criticisms have become her daily soundtrack. VERDIGRIS, Patricia Kelly’s remarkable feature directorial debut, follows this retired woman’s journey as she secretly takes a job as a census enumerator in inner-city Dublin, far from her comfortable South Dublin suburb. Her husband Nigel, preoccupied with war figurines and class politics, maintains rigid control over their finances and her autonomy. When Marian encounters Jewel, a young woman with a bruised face and sharp tongue, an unexpected friendship blooms. Their relationship becomes a sanctuary where Marian finally speaks her long-suppressed truths—her sexless marriage, body shame, and the isolated grief of multiple miscarriages. In turn, Marian offers Jewel the maternal guidance she never received. But this delicate connection fractures when Marian expresses concern about Jewel’s work as a sex worker, and Jewel bristles at perceived judgment. As their bond is tested, both women face escalating threats: Jewel from a dangerous client and Marian from her increasingly controlling husband whose grip tightens as her newfound confidence grows. VERDIGRIS emerged as a true labor of love and determination. Kelly financed the film through a credit union loan and crowdfunding campaign, bringing together 40 cast and crew for an intensive 15-day shoot. Her persistence through a challenging editing process—whittling down an initial two-and-a-half-hour cut—paid off magnificently when the film claimed Best Independent Film at 2023’s Oscar-qualifying Galway Film Fleadh, followed by Best Irish Film and the Audience Award at Newport Beach Film Festival in LA. The film’s genesis traces back to Kelly’s own experience as a census enumerator, with the script meticulously workshopped with actors and refined through training and writing groups. In just 95 minutes, VERDIGRIS tackles an ambitious range of themes—sexuality, bodily shame, domestic violence, class divides, found family, and personal autonomy. Yet it’s at its most compelling when focusing on the healing relationship between two wounded women. The performances anchor the film’s emotional weight, particularly Geraldine McAlinden’s heartbreaking portrayal of Marian. Though familiar from small roles in BLACK ’47, THE SECRET SCRIPTURE, and BAD SISTERS, McAlinden finally steps into a well-deserved spotlight, delivering a quiet, grounded performance charged with profound emotional resonance. Maya O’Shea’s defensive generosity as Jewel creates a chemistry with McAlinden that elevates their scenes together, with Marian’s eventual emotional breakdown standing as the film’s most powerful moment. Dublin itself emerges as a character through Tania Freimuth’s precise cinematography, which crafts distinct visual worlds for each setting—from claustrophobic domestic spaces to liberating seaside walks. Two-time Emmy-nominated composer Joseph Conlan complements this visual storytelling with a succinct score that enhances without overwhelming. These creative elements coalesce into something greater than their parts: a showcase of emerging Irish talent and a triumph of grassroots filmmaking. VERDIGRIS is now playing in selected cinemas, representing the best kind of debut—one that turns heads and opens doors for its creator and cast alike. [...]
April 20Barry Keoghan continues his meteoric rise in Hollywood with a starring role in HURRY UP TOMORROW, an intriguing psychological thriller that pairs him with rising star Jenna Ortega and marks the feature film acting debut of music superstar Abel Tesfaye, better known as The Weeknd. Following Keoghan’s critically acclaimed performances in SALTBURN and THE BANSHEES OF INISHERIN, this new project further establishes him as one of cinema’s most captivating talents capable of embodying complex, often unsettling characters. The film represents an ambitious creative extension for Tesfaye, who not only stars as himself but also co-wrote the screenplay alongside Reza Fahim, his collaborator from the controversial HBO series THE IDOL. Director Trey Edward Shults, known for atmospheric psychological works like IT COMES AT NIGHT and WAVES, helms the project, suggesting audiences can expect a visually striking and emotionally intense experience. With a reported budget exceeding $20 million, the film’s enigmatic synopsis describes “a musician plagued by insomnia pulled into an odyssey with a stranger who begins to unravel the very core of his existence.” Ortega portrays this mysterious stranger named Anima, while Keoghan plays Lee, apparently a friend of The Weeknd’s character. Industry whispers suggest possible inspiration from Stephen King’s MISERY, potentially positioning Keoghan in another psychologically complex role that could showcase his talent for portraying characters with unsettling depths. The project intertwines with Tesfaye’s musical career, serving as a companion piece to his sixth studio album of the same name, which concludes a musical trilogy including After Hours and Dawn FM. The film will feature several songs from the album, including CRY FOR ME and OPEN HEARTS which Tesfaye performed at a surprise CinemaCon appearance. Interestingly, Tesfaye has hinted this might represent his “last hurrah as The Weeknd,” adding another layer of significance to the project. For Keoghan, HURRY UP TOMORROW represents another carefully chosen role that continues to diversify his portfolio while playing to his strengths as an actor who excels at portraying enigmatic, often unsettling characters. Following his Oscar-nominated turn in THE BANSHEES OF INISHERIN and his controversial performance in SALTBURN, this new project alongside established talents like Ortega and within the creative vision of The Weeknd suggests Keoghan continues making bold career choices that cement his position as one of his generation’s most fascinating actors. UK and Irish audiences can experience HURRY UP TOMORROW when it arrives in cinemas on May 16, promising an unusual cinematic experience that Ortega describes as “more like an experience” that makes sense when approached with an open mind. [...]
April 19What began as a fairy tale for Irish widower Jason Corbett quickly descended into an unfathomable nightmare. When the Limerick businessman and father of two found love again with his American au pair, Molly Martens, in 2008, it seemed like a fresh start. The couple, along with Jason’s children Jack and Sarah, relocated from Ireland to North Carolina to build their new life together. Yet on August 2, 2015, this seemingly idyllic existence shattered when Jason was brutally killed in his home by Molly and her father Thomas Martens, a former FBI agent. Now, Netflix’s gripping new documentary A DEADLY AMERICAN MARRIAGE delves deep into this Irish tragedy, offering viewers unprecedented access to the case that shocked both nations. Set to premiere on May 9, this fly-on-the-wall documentary has been meticulously crafted over four years and promises to be what Netflix describes as “a chilling exploration of love and betrayal.” The 102-minute special features exclusive interviews with members of both the Corbett and Martens families, including rare perspectives from Molly, Thomas, and Jason’s children Jack and Sarah, who were just 10 and 8 years old respectively when their father was killed. At the heart of this documentary lies the haunting question: Was Jason’s death an act of self-defense as Molly and Thomas claimed, or something far more calculated? In 2023, Molly pleaded no contest and Thomas pleaded guilty to voluntary manslaughter to avoid trial, after successfully overturning their initial murder convictions. Their subsequent release from prison in June 2024 only intensified public scrutiny and reignited debates over the true nature of that fatal night. Behind this powerful documentary are award-winning filmmakers Jessica Burgess, known for Rich & Shameless and American Monster, and Jenny Popplewell who directed What Jennifer Did and American Murder: The Family Next Door. Their unflinching examination was inspired by books written by Jason’s sister Tracey Corbett-Lynch, “My Brother Jason,” and his daughter Sarah, “A Time For Truth.” As viewers bear witness to the conflicting narratives surrounding Jason’s death, A DEADLY AMERICAN MARRIAGE challenges us to contemplate the elusive truths beneath a once seemingly picture-perfect life that ended in unimaginable violence. The documentary is expected to attract massive audiences both in Ireland and the United States, bringing renewed attention to a case that continues to resonate with profound questions about justice, truth, and the sometimes deceptive nature of domestic bliss. [...]
April 18In the shadow of Ireland’s medieval Kilkenny Castle, Cartoon Saloon has quietly built an animation empire that continues to expand its artistic boundaries. The acclaimed studio that brought us THE BREADWINNER, SONG OF THE SEA, and WOLFWALKERS has just reached another milestone with its latest project Julián earning a coveted spot at the prestigious Cannes Annecy Animation Showcase this May. The showcase, serving as an appetizer to June’s main course at the Annecy Animation Festival, has selected only five promising animated projects for its 2025 edition, with Cartoon Saloon’s latest jewel among them. This isn’t merely a screening opportunity but a crucial bridge connecting animation’s artistic ambitions with industry partners who can bring these visions to global audiences. On May 18th, as part of Cannes’ Animation Day, creative teams will pitch their projects to potential sales agents, distributors, and festival programmers—a pivotal moment in any film’s journey from concept to screen. JULIAN, adapted from Jessica Love’s picture book “Julián Is a Mermaid,” follows a wide-eyed boy through a transformative summer with his Abuela in New York City. Under Louise Bagnall’s direction (known for her Oscar-nominated LATE AFTERNOON, this coming-of-age tale promises to blend whimsy and depth as it explores identity, family bonds, and self-expression. The narrative will take viewers from Brooklyn streets to ocean depths in an intergenerational story that examines heritage and gender expression through the colorful chaos of Abuela’s world and the stories she shares with her grandson. This selection reinforces Cartoon Saloon’s position at the forefront of animation innovation. Since their international breakthrough with WOLFWALKERS and continuing through their Oscar-nominated works, the studio has consistently delivered visually stunning films that marry folklore elements with contemporary themes. Their distinctive hand-drawn animation style stands in defiant contrast to the computer-generated dominance of larger studios, proving that traditional techniques can still captivate modern audiences when paired with powerful storytelling. The Cannes showcase highlights why animation remains one of cinema’s most exciting mediums, embracing diverse voices from emerging talents to seasoned auteurs. For Cartoon Saloon, Julián represents both a continuation of their artistic legacy and an evolution as they explore new narrative territories while maintaining the visual poetry that has become their signature. As the studio’s profile continues to rise on the international stage, this latest recognition suggests their most impactful work may still lie ahead. [...]
April 17Eve Hewson’s impressive career trajectory takes another significant leap forward as she joins the ensemble cast of Netflix’s highly anticipated film JAY KELLY. The Irish actress, who has been steadily building an impressive résumé with standout performances in BAD SISTERS and BEHIND HER EYES, now finds herself among Hollywood royalty in Noah Baumbach’s upcoming heartbreaking comedy. While early buzz from the film has centered on Adam Sandler’s reportedly Oscar-worthy performance, Hewson’s inclusion in this prestigious project marks another strategic step in her rising Hollywood career. The daughter of U2’s Bono has skillfully moved beyond any nepotism shadows, establishing herself as a compelling talent worthy of sharing the screen with industry veterans like George Clooney, Laura Dern, and Greta Gerwig. Hewson’s casting in JAY KELLY follows her critically acclaimed work in recent years, where she’s demonstrated remarkable range across genres. Her breakout role in the psychological thriller BEHIND HER EYES showcased her ability to navigate complex emotional territory, while her performance in the darkly comedic BAD SISTERS revealed her exceptional timing and depth as an actress. The upcoming Netflix film, described as a “heartbreaking comedy” co-written by Baumbach and cast member Emily Mortimer, features an extraordinarily stacked ensemble including Billy Crudup, Riley Keough, Jim Broadbent, Jamie Demetriou, Isla Fisher, Stacy Keach, and Patrick Wilson. Though plot details remain largely under wraps, the film is scheduled for release this fall. For Hewson, JAY KELLY represents not just another impressive credit, but potentially a career-defining opportunity that could elevate her visibility among mainstream audiences and industry decision-makers alike. As she continues her ascent in Hollywood, this high-profile project positions her alongside some of the industry’s most respected talents, further cementing her status as one of the most compelling actresses of her generation. [...]
April 16Stephen Bradley’s charming mockumentary FRAN THE MAN brings a beloved YouTube series to the big screen, offering a delightful slice of Irish football culture with veteran comedian Ardal O’Hanlon delivering one of his most entertaining performances in recent years. While some might remember Steve Barron’s MIKE BASSETT: ENGLAND MANAGER from the early 2000s, Bradley’s film carves its own niche in the sports mockumentary genre. Set in Dublin’s characterful suburbs, the story follows the unpaid assistant manager Fran (played with dogged determination by Darragh Humphreys) as his amateur club St. Peter’s Athletic faces mounting pressure after being drawn against Shamrock Rovers in the FAI Cup. O’Hanlon, whose career has evolved considerably since his FATHER TED days and includes stints in DERRY GIRLS, brilliantly portrays the team’s untrustworthy manager—a stroke-friendly lawyer and adulterer who provides some of the film’s best moments. His performance showcases a comedic versatility that has matured wonderfully with age, seeming to relish every moment in this character. His timing remains impeccable, delivering the film’s relentless one-liners with the practiced ease of a comedy veteran who knows exactly how to hit every beat. The production cleverly floods the zone with accomplished Irish comedic talent. Deirdre O’Kane delivers a standout performance as sexually enthusiastic travel agent Dympna Greene, while Amy Huberman works hard as single mother “Jackie Charlton” to the promising player Bobby Charlton. Risteárd Cooper of Aprés Match fame and Toni O’Rourke play off each other effortlessly as detectives investigating an international match-fixing scheme that somewhat awkwardly entangles our protagonists. The film doubles as something of an Irish cultural reunion, featuring cameos from football personalities Brian Kerr and Tony O’Donoghue alongside appearances from emerging comedy talents like Michael Fry, Peter McGann, and Shane Daniel Byrne. This assemblage of Irish talent creates what feels like a loving tribute to both Irish comedy and society. While the international match-fixing plot occasionally feels strained and perhaps unnecessary, the script never lets up on worthwhile one-liners. When police inform Fran of a tip-off from Interpol, his reply—”They’re a team from Cyprus, aren’t they?”—perfectly captures the film’s irreverent humor. FRAN THE MAN connects genuinely with the selfless enthusiasm driving grassroots sports. It portrays an Ireland only peripherally altered by social changes of the past three decades—a nation still comfortable with the ramshackle. In an era where cinema increasingly relies on large-scale spectacle against backdrops of impending doom, this film offers a rare escape into everyday Irish life where you can appreciate the good done by ordinary people. For O’Hanlon, this role represents another successful step in his evolution from sitcom star to versatile character actor, proving his enduring appeal and comedic instincts remain as sharp as ever. While FRAN THE MAN won’t win best picture, it certainly wins hearts—and delivers plenty of laughs along the way, with O’Hanlon’s performance standing as one of its brightest highlights. [...]
April 9In what is shaping up to be one of spring’s most anticipated streaming releases, Guy Ritchie’s new adventure epic FOUNTAIN OF YOUTH has revealed its first full trailer, showcasing an intriguing partnership between John Krasinski and Natalie Portman as estranged siblings embarking on a global quest for immortality. The trailer introduces us to Krasinski’s character Luke, who reluctantly reaches out to his sister Charlotte (Portman) for help in locating the mythological Fountain of Youth. Their strained relationship is immediately evident when she answers his call with suspicion: “Are you in trouble? You only call when you’re in trouble.” This family tension provides the emotional backbone for what appears to be a globe-trotting adventure spanning “five continents, dozens of cultures, over thousands of years,” as Luke explains in the footage. Among the stellar supporting cast, Domhnall Gleeson‘s inclusion is particularly noteworthy, marking another compelling role in what has become an impressive recent career trajectory. Following his standout performances in  EX MACHINA, Gleeson has carved out a niche playing complex characters in thought-provoking films. His involvement in FOUNTAIN OF YOUTH continues this pattern of choosing projects that balance commercial appeal with artistic substance. The film, written by James Vanderbilt, also features Eiza González, Arian Moayed, Laz Alonso, Carmen Ejogo, and Stanley Tucci—an ensemble that promises to enhance Ritchie’s signature blend of fast-paced storytelling, sharp dialogue, and kinetic action sequences. Given Ritchie’s track record with films like THE GENTLEMEN and the SHERLOCK HOLMES franchise, audiences can expect his characteristic stylish direction applied to the treasure-hunt genre. At its core, FOUNTAIN OF YOUTH appears to blend high-stakes adventure with deeper themes of family reconciliation, as the siblings must leverage their historical knowledge to decipher ancient clues that might lead them to immortality—while potentially healing their fractured relationship in the process. The film arrives exclusively on Apple TV+ on May 23, continuing the streaming service’s investment in star-powered original content designed to compete with traditional theatrical releases. [...]
April 8In the intimate documentary STEPHEN REA: THE FIRE IN ME NOW viewers are granted unprecedented access to one of Ireland’s most commanding artistic presences as he enters his seventh decade as a professional actor. The film, which premieres on RTÉ One and RTÉ Player on Thursday, April 10th at 10:15pm (and later on BBC iPlayer from April 24th), captures Rea in a moment of profound artistic reflection while rehearsing Samuel Beckett’s KRAPP’S LAST TAPE in Dublin—a production where he performs opposite recordings of his younger self made over a decade ago. Born in North Belfast, Rea’s journey unfolds across the landscapes that shaped him—from his childhood home to his current residence north of Dublin, from London’s Maida Vale where he cut his teeth as a young actor, to the wild coastlines of his beloved Donegal. Throughout this geographical odyssey, we witness intimate conversations with long-time friends and collaborators including actor Sinéad Cusack, director Neil Jordan, and Civil Rights activist Eamon McCann, who reveal the self-described “messer” behind the often reserved public persona. Despite initial hesitations about participating in the documentary—”I am a deeply private person, and I’ve always believed that the work has to be bigger than your ego,” Rea confesses—he ultimately agreed to honor the collaborators who shaped his remarkable career. The film weaves together rare archive footage spanning over fifty years, from student sketches at Queen’s University Belfast in the 1960s to his electrifying recent work with former Royal Court Theatre Artistic Director Vicky Featherstone. The title, drawn from the final poignant lines of KRAPP’S LAST TAPE, aptly describes the undimmed intensity Rea brings to each performance. Though his collaborations with director Neil Jordan in films like THE CRYING GAME and MICHAEL COLLINS brought him international acclaim, the documentary reveals a man whose artistic fire burns most brightly when challenging conventional expectations. A proud North Belfast native, Rea hopes his story might inspire younger actors: “There’s not one set path to being an actor. It’s about being true to yourself.” Through this compelling portrait, produced by Walk on Air Films and commissioned by RTÉ and BBC Northern Ireland with support from Northern Ireland Screen, viewers witness not just the evolution of a singular talent, but a man whose artistic integrity and hypnotic screen presence have made him one of Ireland’s most treasured cultural ambassadors—a fire that, indeed, burns now as brightly as ever. [...]
April 6In the misty landscapes of western Ireland, a tale of vengeance unfolds in the new thriller BRING THEM DOWN, where Barry Keoghan continues his remarkable career ascent alongside Christopher Abbott. While Keoghan has become the talk of Hollywood following his transformative performances in SALTBURN and THE BANSHEES OF INISHERIN, his role as the unpredictable Jack in this rural drama showcases yet another facet of his versatile talent. BRING THEM DOWN, which premiered at the Toronto International Film Festival in September 2024 before receiving a wider theatrical release through Mubi, explores the destructive cycles of revenge between two farming families. Though revenge narratives aren’t novel in cinema, director Christopher Andrews’ debut feature proves that well-trodden paths can still yield compelling stories when executed with precision. The film employs a split point-of-view narrative structure, revealing events first through Michael’s perspective (Abbott) and then through Jack’s (Keoghan). Their bitter rivalry escalates into increasingly violent confrontations after Jack steals two of Michael’s rams, igniting long-simmering tensions between their families. This seemingly minor incident triggers a chain reaction that permanently alters both households, with Michael—already haunted by causing the death of his mother and scarring his girlfriend Caroline’s face years earlier—embarking on a brutal quest for retribution. While Keoghan’s star power might draw audiences to the film, it’s Abbott who delivers the more surprising performance as the taciturn Michael. With minimal dialogue in English or Gaelic, Abbott crafts a surprisingly deep and sympathetic portrayal through physical presence alone. From MARTHA MARCY MAY MARLENE to BLACK BEAR and SANCTUARY, Abbott has consistently delivered impressive work while remaining somewhat under the radar. His understated performance in BRING THEM DOWN might finally bring him the wider recognition he deserves. The emotional weight of the narrative finds perfect companionship in the raw, earthy cinematography capturing West Ireland’s foggy hills—a visual metaphor for the moral ambiguities permeating the story. Andrews builds tension masterfully, creating an atmosphere of dread that simmers throughout the film’s runtime. Though glimmers of hope are scarce in this world of entrenched conflict, the film avoids becoming merely a parade of misery. Keoghan’s involvement in BRING THEM DOWN adds another impressive credit to his rapidly expanding filmography. His portrayal of Jack—wayward and unpredictable—stands in stark contrast to his vulnerable outsider in THE BANSHEES OF INISHERIN or his chilling, privileged manipulator in SALTBURN. This chameleon-like ability to transform completely between roles has cemented Keoghan’s reputation as one of his generation’s most exciting talents. For viewers eager to experience this tense rural thriller, BRING THEM DOWN is now available to stream exclusively on Mubi. The film represents not just another milestone in Keoghan’s ascendant career, but also announces Christopher Andrews as a filmmaker with a distinct vision, capable of breathing fresh life into familiar narrative territory. Stream BRING THE DOWN now. [...]
April 5Liam Neeson, the 72-year-old veteran actor known for his dramatic roles and action-packed thrillers, is stepping into comedic territory with Paramount’s eagerly awaited reboot of the beloved NAKED GUN franchise. The first footage, released on April 3rd, reveals Neeson as Frank Drebin Jr., carrying on the legacy of Leslie Nielsen’s iconic character from the original spoof police movies. This marks a fascinating evolution in Neeson’s career, which has seen remarkable transformations since his Oscar-nominated performance in 1993’s SCHINDLER’S LIST. Following that critical acclaim, Neeson found unexpected success in action films, particularly the TAKEN series (2008-2014), establishing himself as a formidable presence in the genre despite his advancing age. Even after suggestions he might retire from action roles, Neeson continued starring in straight action movies, most recently appearing in 2024’s ABSOLUTION. This new comedic turn represents yet another surprising pivot for the versatile actor. The teaser trailer introduces Neeson’s character as considerably more polished than his bumbling father, showcasing a memorable scene where he disguises himself as a schoolgirl, disarms a villain with a sharpened lollipop, and delivers the menacing line “Your ass” when asked what he wants. The action sequence culminates with Neeson in a power pose, his strawberry-themed boxers prominently displayed—a clear nod to the franchise’s signature absurdist humor. In a touching moment, Neeson’s character addresses a photograph of Drebin Sr., honoring his father described on a plaque as the “all-time bad guy catcher.” Directed by Akiva Schaffer and produced by Seth MacFarlane of TED fame, the reboot also stars Pamela Anderson, who shared warm words about working with Neeson: “It was hard to keep a straight face in scenes together.” For his part, Neeson expressed admiration for Anderson, telling PEOPLE in October 2024, “With Pamela, first off, I’m madly in love with her. She’s just terrific to work with. I can’t compliment her enough.” Despite his impressive track record, Neeson remains characteristically humble about his ability to carry the comedic torch, admitting, “Whether I can carry it or not, I honestly don’t know.” The original NAKED GUN trilogy was both a critical darling and commercial powerhouse, earning $166 million at the box office while cultivating a devoted following through home entertainment and streaming platforms. The franchise’s co-creator Jim Abrahams passed away last year, while Nielsen himself died in 2010, making this reboot both a continuation and a tribute to the iconic series that revolutionized spoof comedy. As the promotional tagline cleverly notes—nodding to Neeson’s famous TAKEN monologue—”Only one man has the particular set of skills… to lead Police Squad and save the world.” Whether those skills translate to comedy remains to be seen, but this unexpected career move further cements Neeson’s status as one of Hollywood’s most adaptable and enduring performers, continually reinventing himself decades into his remarkable career. [...]
April 3Colin Farrell’s remarkable career evolution continues as he partners with Margot Robbie in the eagerly awaited fantasy romance A BIG BOLD BEAUTIFUL JOURNEY, which recently showcased its first trailer at CinemaCon in Las Vegas. The Irish actor, who has been enjoying critical acclaim for his transformative performance in THE PENGUIN, is poised to charm audiences in this imaginative tale directed by South Korean-American filmmaker Kogonada. The intriguing trailer, unveiled on March 31 as part of Sony Pictures’ presentation, reveals Farrell as a man who receives an unusual question from his GPS: “Would you like to go on a big bold, beautiful journey?” After accepting, he’s directed to reconnect with a woman he previously met at a wedding, played by Robbie. Their encounter leads them through a mysterious door in a forest, transporting them into his high school memories and setting them on an emotional voyage through their most cherished and painful life moments. At 48, Farrell’s career has experienced a remarkable renaissance in recent years. His versatility has allowed him to seamlessly transition between character-driven roles and mainstream projects, establishing him as one of Hollywood’s most respected actors. Kogonada, who previously directed the acclaimed sci-fi drama AFTER YANG and the series PACHINKO, praised Farrell and Robbie as “two extraordinary stars at the peak of their craft who light up the screen together.” The film’s release has recently been rescheduled from May to September 19, 2025, with Sony executives believing this timing will allow the female-centered event film to stand out in a schedule dominated by horror and male-focused titles. The stellar supporting cast includes Lily Rabe, Jodie Turner-Smith, Phoebe Waller-Bridge, and Hamish Linklater, with a score by Joe Hisashi, the celebrated composer known for his work with Hayao Miyazaki. For Robbie, this marks her return to the big screen following her cultural phenomenon BARBIE, while for Farrell, it represents another fascinating choice in a career that continues to defy expectations and showcase his remarkable range as a performer. The film, which Sony motion picture group chairman Tom Rothman called “a project from heaven,” seems poised to be both a critical and commercial success when it hits theaters next year. [...]
April 2Jessie Buckley has electrified the film world once again as she stepped into the role of the titular character in Maggie Gyllenhaal’s sophomore directorial feature, THE BRIDE. During Warner Bros.’ presentation at the Colosseum inside Caesars Palace, Buckley joined Gyllenhaal on stage to unveil the first look at this groundbreaking reimagining of Mary Shelley’s classic tale. The Irish actress, whose career has been on a meteoric rise since her breakthrough performances in I’M THINKING OF ENDING THINGS and THE LOST DAUGHTER, described her visceral reaction to Gyllenhaal’s script, saying it felt like “being plugged into an electrical current” – an apt metaphor for her reanimated character. Set in 1930s Chicago, THE BRIDE follows Frankenstein’s monster who enlists Dr. Euphronios to create a companion, reviving a murdered woman in the process. Buckley’s portrayal alongside Christian Bale promises what she calls “the punkest love that’s ever existed,” drawing comparisons to the wild energy of BONNIE AND CLYDE and WILD AT HEART, but with a distinctly more combustible edge – “our one has some petrol in its skin and we’re holding a match.” The footage revealed at CinemaCon showcased Buckley’s character being revived and embarking on an epic journey through vivid landscapes with Frankenstein’s monster, punctuated by a provocative tagline: “Here Comes the Mother Fucking Bride.” In one haunting scene, Buckley’s bride, her head eerily displayed in a glass vase, simply utters, “Monstrous.” Gyllenhaal emphasized the film’s unique vision, noting that viewers “haven’t really seen anything like it before,” while also highlighting her cinematic approach to the material. Despite the monsters performing “monstrous things,” they remain the heroes of this unconventional love story. Buckley, whose renowned versatility has been showcased in productions ranging from CHERNOBYL to WOMEN TALKING, continues to demonstrate her fearless approach to complex roles. Her commitment to Gyllenhaal’s vision was absolute – “She could’ve asked me to be a sheep, and I would’ve said yes.” Warner Bros. recently pushed THE BRIDE’s release date from September 2025 to March 6, 2026, positioning it as a follow-up to Guillermo del Toro’s FRANKENSTEIN adaptation starring Oscar Isaac and Jacob Elordi. Buckley shares the screen with an impressive ensemble cast including Penélope Cruz, Peter Sarsgaard, Annette Bening, John Magaro, Julianne Hough, and Jake Gyllenhaal, further cementing her status among Hollywood’s most compelling and in-demand performers. [...]
April 1In a bold cinematic venture unlike any other, Sam Mendes has assembled an all-star cast of today’s most captivating young actors to bring the legendary story of THE BEATLES to life. This unprecedented project, officially titled THE BEATLES – A FOUR-FILM CINEMATIC EVENT, will feature Paul Mescal as Paul McCartney, Harris Dickinson as John Lennon, Barry Keoghan as Ringo Starr, and Joseph Quinn as George Harrison. The announcement, made at CinemaCon 2025 in Las Vegas on Monday, confirms what many fans had been eagerly anticipating. The audience at Caesar’s Palace was treated to heartfelt video messages from the four stars, with Mendes himself presenting the ambitious project. “THE BEATLES changed my understanding of music,” the 59-year-old filmmaker revealed. “I’ve been trying to make a movie about them for years.” What makes this project revolutionary is its unique structure – four intersecting films, each told from the perspective of one band member, creating what Mendes describes as the “first bingable theatrical experience.” This marks a historic moment as Apple Corps Ltd. and the band have granted the rights to their life stories and music for the big screen for the first time. The films are scheduled for release in April 2028, with production expected to span an entire year. The casting has generated particular excitement as it brings together some of the most celebrated young talents in film today. Mescal, known for his work in NORMAL PEOPLE and GLADIATOR II, will embody McCartney, while Dickinson of BABYGIRL and TRIANGLE OF SADNESS fame takes on the role of Lennon. Keoghan, who captivated audiences in SALTBURN, will play Starr, and Quinn, soon to appear in THE FANTASTIC FOUR, completes the quartet as Harrison. “I’m honored to be telling the story of the greatest rock band of all time, and excited to challenge the notion of what constitutes a trip to the movies,” Mendes stated when first announcing the project in February 2024. This innovative approach to biographical storytelling promises to redefine cinematic experiences, offering audiences a comprehensive and immersive journey through the lives and music of the iconic British rock band that transformed popular culture forever. [...]
March 31Darren Thornton, a filmmaker from Drogheda, is returning to the big screen this April with FOUR MOTHERS, a new Irish comedy opening in cinemas on April 4. Co-written with his brother Colin, the film has already garnered awards at major international film festivals and will screen locally at Omniplex Drogheda and other cinemas nationwide. The film follows Thornton’s critically acclaimed A DATE FOR MAD MARY, which won Best Film at the IFTA Awards. FOUR MOTHERS tells the story of Edward, a novelist on the brink of fame in the literary world who simultaneously finds himself living at home full time with his elderly mother as she recovers from a stroke that has left her wheelchair bound and unable to speak. Edward is surrounded by a group of gay friends in similar circumstances, whose closest social outlet is commiserating about their unfulfilled lives with each other in the back pew of the church where they routinely take their mothers to mass. Edward’s cohort of friends, played by Gearóid Farrelly, Gordon Hickey, and Rory O’Neill (aka Panti Bliss, Ireland’s premiere drag superstar and one of the faces of the country’s successful 2015 marriage equality campaign), upend his weekend by leaving their mothers on his doorstep so they can attend Maspalomas Pride, knowing he will feel obligated to help. The middle-aged writer is left to care for both his mother (played by LOST alum Fionnula Flanagan) and his friends’ mothers, a group of thoroughly uncompromising matriarchs. The film was directed by Darren Thornton, who also co-wrote it with his brother Colin, who is gay himself. Speaking about the unique relationship between mothers and their gay sons, Colin noted that the experience of coming out and the healing that follows often creates a bond that differs from the relationship between mothers and their straight sons. FOUR MOTHERS will be in cinemas across the UK and Ireland starting April 4. [...]
March 27Michael Fassbender’s cinematic journey is a testament to artistic resilience and transformative performances. While his recent filmography includes both critical disappointments like the video game adaptation ASSASSIN’S CREED and the thriller THE SNOWMAN, Fassbender continues to captivate audiences with his nuanced approach to acting. His latest film, BLACK BAG, directed by Steven Soderbergh, represents a triumphant return to form, garnering a remarkable 97% on Rotten Tomatoes and earning praise from critics like ScreenRant’s Mae Abdulbaki, who awarded the film an impressive 8 out of 10 stars. Yet the roots of Fassbender’s remarkable career can be traced back to a pivotal moment in 2008 with HUNGER, a film that fundamentally altered his trajectory. Directed by Steve McQueen, the movie saw Fassbender portraying Bobby Sands, an Irish republican leading a prison hunger strike. This role was more than just a performance; it was a transformative experience that Fassbender himself describes as a career-defining turning point. In his own words, it was “probably my favorite film that I’ve done,” a sentiment that speaks to the profound impact of the project. Working closely with McQueen and co-star Liam Cunningham, Fassbender immersed himself in the role with an intensity that would become his trademark. The actors lived together, meticulously rehearsing scenes, consuming porridge, and diving deep into the emotional landscape of their characters. This dedication paid off, with HUNGER not only launching Fassbender’s career but also earning McQueen a BAFTA for Most Promising Newcomer. Before HUNGER, Fassbender was largely confined to supporting roles, a promising talent waiting for his breakthrough. The film changed everything, proving his capacity for dramatic depth and positioning him as a serious actor capable of carrying complex, challenging narratives. From this point forward, Fassbender’s career trajectory shifted dramatically, transforming him from a promising character actor to a genuine A-list performer who could command both critical acclaim and audience attention. His recent work, including the well-received BLACK BAG, demonstrates that the promise shown in HUNGER was no mere coincidence. Fassbender continues to choose roles that challenge, provoke, and showcase his remarkable range, solidifying his reputation as one of the most versatile actors of his generation. [...]
March 25Horror fans, prepare for a spine-chilling resurrection! Director Lee Cronin, fresh off the success of EVIL DEAD RISE, is set to breathe new life into the mummy genre with an unexpected reimagining of THE MUMMY. Jack Reynor, known for his memorable performances in THE PERFECT COUPLE and MIDSOMMAR, will lead the cast in this soon-to-be-unleashed supernatural thriller. Cronin promises something truly unique, declaring that this iteration will be “unlike any Mummy movie you ever laid eyeballs on before.” The film represents a collaboration between horror powerhouses Atomic Monster and Blumhouse Productions, with New Line Cinema backing the project. Set to begin production in Ireland and Spain, the movie is scheduled to crawl into theaters on April 17, 2026. While plot details remain carefully guarded, initial information suggests Reynor will portray a husband and father confronting supernaturally sinister forces. The project distinctly separates itself from Universal’s classic horror properties, offering a fresh and potentially more grounded approach to the ancient undead narrative. The creative team behind the film is equally exciting. James Wan will produce alongside Jason Blum and John Keville, with Cronin’s own Doppelgängers production banner joining the effort. This collaboration signals a potentially innovative take on a genre that has seen numerous iterations over the decades. Interestingly, this project arrives amid a broader trend of reimagining classic horror properties. Blumhouse has already successfully reinvented THE INVISIBLE MAN, and Atomic Monster is developing a modernized CREATURE FROM THE BLACK LAGOON. Cronin’s THE MUMMY appears poised to continue this tradition of breathing contemporary terror into timeless mythological concepts. As anticipation builds, horror enthusiasts can mark their calendars for what promises to be a groundbreaking addition to the mummy genre. With Cronin’s track record and the combined creative forces of Atomic Monster and Blumhouse, this THE MUMMY looks set to offer something both familiar and startlingly original. [...]
March 24In a stunning career pivot that showcases her versatility, 2025 IFTA nominee Nicola Coughlan has transitioned from Regency romance to childhood fantasy with her latest role in the eagerly anticipated adaptation of Enid Blyton’s beloved classic. The Irish actress, who captivated audiences as Penelope Featherington/Lady Whistledown in BRIDGERTON and charmed viewers as Clare Devlin in DERRY GIRLS, now steps into the whimsical role of Silky the fairy in THE MAGIC FARAWAY TREE. Coughlan recently treated fans to an exclusive first look at the film on her Instagram, posting a teasing image of herself hiding behind tree branches, igniting excitement among her growing fanbase. Director Ben Gregor has been effusive in his praise, revealing that while Nonso Anozie’s Moonface believes himself to be the leader of the tree’s inhabitants, “it’s really Silky who runs it.” Gregor didn’t hold back his admiration, describing Coughlan as “absolutely amazing” and “an unbelievably perfect Silky,” noting her passion for the project. The film boasts an impressive ensemble including Andrew Garfield (WE LIVE IN TIME) and Claire Foy (THE CROWN) as Tim and Polly Thompson, parents forced to relocate their children to the remote English countryside where they discover a magical tree with extraordinary occupants. The stellar cast is rounded out by Jessica Gunning (BABY REINDEER), Rebecca Ferguson (DUNE) as Dame Snap, Dustin Demri-Burns as the Saucepan Man, and Jessica Gunning as Dame Washalot, with newcomers Delilah Bennett-Cardy, Phoenix Laroche, and Billie Gadsdon playing the Thompson children. Adapted by BAFTA Award-winner Simon Farnaby, known for his work on WONKA and PADDINGTON 2, and directed by Gregor, the film has completed shooting across locations in Southern England and at Shinfield Studios in Reading. Gregor positions the adaptation as a film for both adults and children, emphasizing his approach: “What you gotta do is just treat young people as sensible adults.” From All3Media’s Neal Street Productions, Elysian Film Group, and Ashland Hill Media Finance, THE MAGIC FARAWAY TREE follows the Thompson children as they discover a magical world far removed from their 21st-century screens. While a release date remains unannounced, Coughlan’s involvement signals another significant step in her rapidly ascending career, cementing her status as one of the industry’s most captivating and versatile performers. [...]
March 23The John Wick universe continues to expand as Lionsgate releases a captivating new trailer and four striking images from BALLERINA, offering fans first glimpses of Norman Reedus, Anjelica Huston, and Ian McShane alongside a fresh still of lead actress Ana de Armas. Golden Globe winner and two-time Emmy nominee Gabriel Byrne steps into this shadowy world of assassins, bringing his legendary enigmatic presence to the franchise. Byrne’s recent career has been defined by his ability to convey mysterious depth and ambiguity—qualities that producer Basil Iwanyk notes make him perfect for the Wick universe: “For decades, Gabriel’s mysterious and enigmatic presence has enriched dozens of films – you can never quite be sure what he’s thinking, or if what he’s telling you is on the level.” In 2021, Byrne starred in the psychological horror film DEATH OF A LADIES’ MAN playing a womanizing college professor who begins experiencing surreal hallucinations. That same year, he appeared in the Irish drama MURDER AT THE COTTAGE a five-part documentary series where he served as narrator. 2022 saw Byrne in INLAND an indie thriller, and he took on a leading role in WAR OF THE WORLDS season 3, continuing his character’s arc from previous seasons of the sci-fi series. In 2023, he appeared in the dramatic film DANCE FIRST a Samuel Beckett biopic where he played the older version of the famed writer. He also starred in the Irish crime drama “Cottage by the Sea.” Set during the events of JOHN WICK: CHAPTER 3 – PARABELLUM, the film follows Eve Macarro (de Armas) at the beginning of her training in the assassin traditions of the Ruska Roma. Franchise stalwarts Huston and McShane return to their beloved roles, while Reedus joins as a newcomer alongside Byrne, Lance Reddick, Catalina Sandino Moreno, and a special appearance by Keanu Reeves himself. Currently in production under the guidance of producers Iwanyk, Erica Lee, and Chad Stahelski, with Brady Fujikawa and Chelsea Kujawa overseeing for Lionsgate, BALLERINA is poised to continue the franchise’s signature blend of stylized action and intricate world-building when it arrives in theaters on June 6, 2025. https://youtu.be/iFZ9gT1DQpg?si=UsBhvRe5uf7OtgPd [...]
March 21In the shadowy landscape of contemporary horror cinema, Aislinn Clarke has emerged as a distinctive voice, crafting narratives that intertwine cultural heritage with psychological terror. Following her acclaimed 8mm found footage debut THE DEVIL’S DOORWAY, Clarke returns with FRÉWAKA, a groundbreaking Irish-language folk horror film that delves into generational trauma through the lens of ancient mythology. Set in a remote Irish village, FRÉWAKA follows Shoo, a home care worker played by Clare Monnelly, who arrives to tend to an agoraphobic elderly woman portrayed by Bríd Ní Neachtain. Already haunted by personal tragedy, Shoo encounters a patient gripped by paranoia—not just of her neighbors, but of the Na Sídhe, sinister supernatural entities she believes abducted her decades earlier. As their relationship deepens, the boundaries between superstition and reality blur, forcing Shoo to confront both her patient’s haunting beliefs and the unresolved horrors of her own past. What distinguishes FRÉWAKA in Clarke’s growing filmography is its cultural significance. As one of the first horror films ever made in the endangered Irish language, it represents Clarke’s commitment to weaving her heritage into the fabric of modern horror storytelling. This cultural authenticity caught the attention of horror streaming platform Shudder, which will debut the film exclusively on April 25, 2025, as a centerpiece of their “Halfway to Halloween” celebration. “We’re honored to give FRÉWAKA, the first-ever Irish language horror film, an international platform on Shudder,” said Emily Gotto, Senior Vice President of Acquisitions and Production. “With this twist on a traditional haunted house, Aislinn skillfully delivers a bold, provocative, deeply emotional and menacing film that weaves folk horror within an impactful investigation of generational trauma.” The film is produced by Diarmuid Lavery for DoubleBand Films and Patrick O’Neill for Wildcard, with executive producers including Máire Ní Chonláin, Deirbhile Ní Churraighín, Greg Martin, and Michael Hewitt. With FRÉWAKA, Clarke not only continues to establish herself as a compelling voice in horror cinema but also champions cultural preservation through her art, transforming endangered language into a vehicle for universal fear that transcends linguistic boundaries. [...]
March 12As the beloved time-traveling nurse Claire Fraser in OUTLANDER, Caitriona Balfe has captivated audiences across seven seasons of the hit Starz series. Now, with the second half of OUTLANDER’s seventh season approaching and only one final season remaining, fans are eagerly following Balfe’s career beyond the Scottish highlands. The Irish actress is making a significant pivot from 18th-century period drama to contemporary action in the upcoming high-stakes thriller THE AMATEUR, as revealed in a newly released trailer. Set for release next April, the film will showcase Balfe in what appears to be a substantial supporting role, judging by her prominent position in the cast list just behind lead actors Rami Malek, Laurence Fishburne, and Rachel Brosnahan. While the trailer only offers a fleeting glimpse of Balfe engaged in an intense car chase, her character’s identity and exact role in the plot remain intriguingly under wraps. What’s certain is that this role will present a marked departure from the compassionate healer Claire Fraser, as Balfe steps into a grittier, action-oriented character within the world of espionage. THE AMATEUR follows Charlie Heller (Malek), a brilliant but introverted CIA decoder whose life is shattered when his wife (Brosnahan) is killed in a London terrorist attack. When the agency refuses to pursue her killers due to conflicting priorities, Heller takes matters into his own hands, blackmailing the CIA into training him and allowing him to seek vengeance personally. The film is directed by James Hawes, known for his work on the acclaimed series SLOW HORSES, suggesting a sophisticated approach to the spy thriller genre. This project marks another impressive addition to Balfe’s growing filmography, which recently included her BAFTA-nominated performance in the Oscar-winning BELFAST. For OUTLANDER devotees who have followed Balfe’s journey since the series began, this new role represents an exciting evolution in her career as she continues to demonstrate her versatility beyond the character that made her famous. [...]
March 11The curtain has fallen on filming for the highly anticipated PEAKY BLINDERS movie, with creator Steven Knight confirming production wrapped on December 13th. “We’ve got Barry Keoghan, Tim Roth, Rebecca Ferguson, and obviously Cillian Murphy and Stephen Graham,” Knight revealed on The Playlist’s Bingeworthy podcast, adding with palpable excitement, “And I have to say, it is mind-blowingly good.” The gritty drama that captured audiences with its unflinching portrayal of Birmingham’s criminal underworld in the aftermath of World War I has always had Irish blood running through its veins. At its core stands Cillian Murphy’s Tommy Shelby, the calculating gang leader whose Irish roots inform both his outsider status and his resilience. Murphy, born in Cork, brought an authentic Irish intensity to the role that helped propel him to international stardom during the show’s nearly decade-long run from 2013 to 2022. Now the Irish connection strengthens with the addition of Dublin-born Barry Keoghan to the cast. The SALTBURN star represents a new generation of Irish talent making waves in Hollywood, following a path blazed by actors like Michael Fassbender and Pierce Brosnan. Both Fassbender and Brosnan share fascinating Irish backgrounds – Fassbender born in Germany but raised in Killarney from age two, while Brosnan hails from Drogheda before finding fame across the Atlantic. Like Murphy, they carried their Irish sensibilities into roles that demanded both ferocity and vulnerability. While Netflix has only released a single tantalizing image of Keoghan driving a truck toward a brick building, his addition alongside Murphy creates a powerful Irish presence in the film. This Irish thread weaves throughout the PEAKY BLINDERS universe, reflecting Ireland’s complex relationship with Britain and the immigrant experience that shaped Birmingham’s industrial landscape. The fierce loyalty, quick wit, and simmering tension that characterized the original series all carry echoes of Irish storytelling traditions. More Cillian Murphy Cillian Murphy: Oscar 2025 presenter 28 YEARS LATER begins filming Murphy in BLOOD RUNS COAL Murphy on SMALL THINGS LIKE THESE [...]
March 10From the rolling hills of Ireland to international spy thrillers, Michael Fassbender follows in the footsteps of his Irish predecessor Pierce Brosnan, bringing a distinctive Celtic intensity to the world of cinematic espionage. Fassbender’s latest venture, BLACK BAG, echoes Brosnan’s legendary tenure as 007, though with a decidedly more intimate and psychologically complex approach. In Steven Soderbergh’s BLACK BAG, Fassbender embodies George Woodhouse, an intelligence operative facing the ultimate loyalty test when his wife Kathryn (played by Cate Blanchett) becomes a suspected double agent. This exploration of matrimonial trust against national security draws fascinating parallels to Brosnan’s Irish-infused interpretation of Bond, which always carried undertones of personal conflict beneath the suave exterior. Both Irish actors bring a certain melancholic depth to their spy roles, perhaps drawing from their cultural heritage where storytelling often weaves together personal tragedy and duty. Fassbender, born in Germany but raised in Killarney, County Kerry from age two, carries that quintessential Irish ability to convey complex emotions beneath a controlled surface—a quality Brosnan mastered throughout his four-film run as Britain’s most famous fictional spy. The connective tissue between these two Irish actors extends beyond their shared homeland. Both navigated Hollywood as outsiders, bringing European sensibilities to distinctly American film paradigms. Where Brosnan’s Bond often wrestled with personal demons while maintaining the requisite charm, Fassbender’s George Woodhouse in BLACK BAG dives deeper into the psychological toll of espionage work, particularly when the lines between personal and professional lives blur beyond recognition. BLACK BAG represents the culmination of Soderbergh’s recent creative surge, marking his third collaboration with screenwriter David Koepp in just two years, following KIMI and PRESENCE. This tightly constructed 93-minute thriller showcases Fassbender’s remarkable ability to convey internal conflict through minimal external expression—a talent Brosnan similarly wielded throughout his career, especially in his post-Bond work. Beyond BLACK BAG, Fassbender’s upcoming film HOPE will see him starring alongside his real-life wife Alicia Vikander, adding another layer to his exploration of relationships under pressure. This art-imitating-life approach creates an intriguing contrast with his espionage role, where marriage becomes the ultimate battlefield of trust. Fassbender’s off-screen passion for motorsports—having participated in a grueling 24-hour race—further connects him to Brosnan’s Bond, who similarly found release in high-stakes adrenaline pursuits. This shared appreciation for precision, timing, and controlled risk seems perfectly aligned with their on-screen personas as calculated intelligence operatives. As Fassbender carries forward the Irish tradition of bringing psychological depth to action-oriented roles, BLACK BAG stands as a testament to how far the espionage genre has evolved since Brosnan reinvigorated Bond for the post-Cold War era. Both actors, separated by a generation but united by heritage, demonstrate how the Irish storytelling tradition continues to enrich Hollywood’s portrayal of complicated heroes navigating murky moral waters in service to their countries. Visit the official BLACK BAG website here. [...]
March 7In Steven Soderbergh’s latest espionage drama BLACK BAG, two Irish actors create an enthralling dynamic that elevates this understated spy narrative beyond conventional genre trappings. Michael Fassbender and Pierce Brosnan—both Irish-born talents who’ve carved distinct paths through Hollywood—bring their considerable skills to a film that deliberately subverts expectations. Soderbergh’s downbeat, tongue-in-cheek spy comedy positions Fassbender as George, a methodical intelligence operative married to Kathryn (Cate Blanchett), both employed by the Secret Intelligence Service. Their professional and personal lives intertwine in subtle ways—George mysteriously slips his ID into his wife’s bag over breakfast, forcing himself to wear a temporary badge throughout the day. Meanwhile, Brosnan portrays Arthur Stieglitz, their imperious superior who, in one telling moment, remotely frosts a glass pane when spotting George outside an important meeting. The Irish connection between these actors transcends mere casting coincidence. Both men have walked similar paths from their Irish roots to international stardom, though generations apart. Brosnan, who once embodied James Bond, now plays against type as the gruff agency director with “no trace of his cinematic history as you-know-who.” The former 007 delivers a performance of superb restraint, deliberately distancing himself from the franchise that made him famous. Fassbender complements this approach perfectly, “rarely showing his cards as a spy who hasn’t yet come in from the cold.” His characterization of George—a man torn between professional duty and profound love for his wife—creates the emotional core of Soderbergh’s deliberately restrained narrative. The Kerry-born actor’s ability to convey complex inner conflict without explicit exposition makes him “perfectly cast” for this role. Soderbergh, serving as his own cinematographer and editor under his usual pseudonyms (Peter Andrews and Mary Ann Bernard), frames their performances with characteristic precision. His digital filmmaking approach brings a limber energy to what might otherwise be a static, dialogue-heavy production. Indeed, the director makes BLACK BAG “remarkably cinematic despite the large amount of talking that makes you think this all could work beautifully on stage too.” The supporting cast shines equally bright. Blanchett is “vivacious and smart” as Kathryn, while Regé-Jean Page sheds his BRIDGERTON persona completely as “an enigma with an ego.” Zawe Ashton impresses as the reluctant Clarissa, and Naomi Harris—another 007 alum who played Moneypenny—delivers fine work that further connects the film to spy cinema tradition. Ultimately, BLACK BAG offers none of the blockbuster escapism associated with franchises like MISSION: IMPOSSIBLE or James Bond pictures. Instead, it presents something more intimate and psychologically complex through its Irish-born stars. When Soderbergh works “with this level of confidence and control,” the results prove just as lethal as any action spectacle—especially when channeled through performers like Fassbender and Brosnan, whose shared heritage informs their nuanced portrayals of men navigating the murky waters of modern espionage. Visit the official BLACK BAG website here. [...]
March 6Ross Whitaker’s BEAT THE LOTTO has scooped the BEST FILM Awards at this year’s Dublin International Film Festival. In a nation where parents once joked about robbing banks to afford their children’s desires, the 1980s introduction of Ireland’s National Lottery transformed wishful thinking into a new colloquialism: “Maybe if we win the Lotto.” For Cork mathematician Stefan Klincewicz, however, this wasn’t merely hopeful phrasing—it was a mathematical certainty waiting to be proven. When the Irish Lotto debuted in 1988, promising to turn a £1 ticket into a potential £1 million windfall, Klincewicz saw beyond the nearly two million combinations to envision something revolutionary: a system that could guarantee victory. The audacious tale of Klincewicz’s lottery conquest takes center stage in Ross Whitaker’s utterly riveting new documentary BEAT THE LOTTO. The film masterfully chronicles how a dorky mathematician, initially laughed off during an appearance on Pat Kenny Live while promoting his book “Systems to Help You Win the Lotto,” would eventually orchestrate one of Ireland’s most ingenious financial maneuvers. Kenny’s present-day recollections of the encounter—claiming journalistic determination and engineering knowledge helped him expose a charismatic con man—stand in stark contrast to archival footage showing an irritable presenter sneering at Klincewicz, a man who would soon prove his skeptics spectacularly wrong. BEAT THE LOTTO transcends its surface-level entertainment value by exploring the fascinating public relations battle that ensued. As Klincewicz’s syndicate implemented their plan, the National Lottery—which had emerged as one of Ireland’s few trusted institutions during economically depressed times—attempted to thwart their efforts, framing the mathematicians as cheats undermining a system that funded good causes. Meanwhile, the syndicate publicly positioned themselves as exposing flaws in the Lottery’s operations while being unfairly prevented from participating. This “Catch Me If You Can” scenario played out in newspapers across Ireland, dividing public opinion—some viewed the syndicate as clever rogues deserving admiration, while others considered them chancers exploiting a beloved institution. While the documentary maintains a light, engaging tone through its upbeat music and stylish editing, thoughtful viewers might contemplate deeper implications about wealth, privilege, and systemic inequalities. As syndicate members recount stories of everyday punters cheering them on and letting them skip queues, as Paddy Power co-founder Stewart Kenny reflects that the thrill outweighed the financial gain, we’re left wondering: are these money men really playing the same game as ordinary lottery hopefuls? The film provides a vicarious thrill of outsmarting a system, but it stops short of questioning whether beating one system truly challenges the larger socioeconomic order. BEAT THE LOTTO premiered at Dublin International Film Festival on February 26th, 2025, offering audiences an entertaining caper that simultaneously serves as an insightful examination of Irish cultural attitudes toward luck, chance, and institutional authority. Whether viewed as a mathematical triumph, a daring financial coup, or a reflection of Celtic Tiger-era attitudes, Whitaker’s documentary delivers a compelling narrative that remains utterly captivating from the first lottery ticket to the final ball drop. https://youtu.be/L98ghZBL4XA?si=IAh-EX82qTb0E2JW [...]
March 4In the ever-evolving landscape of cinema, a new adaptation promises to capture the heart of early 2000s music culture. DEEP CUTS, based on Holly Brickley’s debut novel, is set to bring a poignant love story to life with two of Hollywood’s most captivating stars, Saoirse Ronan and Austin Butler. The film, which will be helmed by Sean Durkin of THE IRON CLAW and THE NEST fame, transports viewers to the year 2000 – a time of boy bands, pop princesses, and the magical world of CD players and music discovery. Set against the backdrop of UC Berkeley, the story follows Percy Marks and Joe Morrow, two twentysomethings whose connection blossoms through their shared passion for music. Ronan, who will not only star in but also produce the film, continues to demonstrate her remarkable versatility. Fresh from her recent award-winning performances in BLITZ and THE OUTRUN, she brings her exceptional talent to this nostalgic narrative. Butler, known for his transformative roles, joins her in what promises to be an intimate exploration of love, ambition, and musical obsession. Brickley’s novel captures a specific moment in cultural history – a time when music felt more intentional and personal. As she reflects, technology then seemed to connect rather than distract, with the iPod representing a perfect balance of musical access and personal space. The story pays homage to legendary Canadian artists like Leonard Cohen, Neil Young, and especially Joni Mitchell, whom Brickley describes as a “once-in-a-generation absolute genius.” The adaptation aims to stay true to the original narrative, exploring the delicate dance between personal passion and romantic connection. Set in a Friday night campus bar with Hall and Oates playing in the background, the story promises to be both a love letter to music and a nuanced portrait of early adulthood. A24, known for their groundbreaking independent films, joins the project, further cementing the film’s potential for artistic excellence. With Durkin’s direction, Ronan and Butler’s chemistry, and a story steeped in musical nostalgia, DEEP CUTS is poised to be a remarkable cinematic experience that will resonate with millennials and music lovers alike. More Saoirse Ronan Ronan shines in ELLE magazine feature Ronan wins big at London Critics’ Circle Film Awards THE OUTRUN now on Prime Saoirse Ronan stars in the new film BLITZ [...]
March 1As the crimson carpet unfurled Wednesday at the Dolby Theater in Hollywood for the 97th Academy Awards, the entertainment world entered the final whirlwind of pre-Oscar festivities leading up to Sunday’s grand ceremony. Against this backdrop of anticipation, the 18th ESSENCE Black Women in Hollywood Awards delivered a powerful celebration of Black women’s excellence in television and film on Thursday at the Fairmont Century Plaza Hotel. The star-studded gathering honored this year’s remarkable recipients: Cynthia Erivo, Teyana Taylor, Marla Gibbs, and Raamla Mohamed, drawing an impressive assembly of industry luminaries including our very own trailblazer, Ruth Negga. True to its theme “Scene and Unseen,” the event illuminated stories, performances, and contributions that often remain overlooked despite their profound impact on entertainment. Since its inception, these awards have recognized not only celebrated figures but also the unsung pioneers breaking barriers in Hollywood. Among the distinguished attendees was Ruth Negga, whose journey exemplifies the diversity of paths to artistic excellence. Born in Addis Ababa in 1982 to an Irish mother and Ethiopian father, Negga’s early life was marked by tragedy when her father died in a car accident when she was just seven. After living in Ethiopia until age four, she relocated to Ireland, where her education eventually led her to Trinity College, Dublin, where she earned a BA in drama before immediately immersing herself in theater work. Though nominated as “Most Promising Newcomer” at the 2003 Olivier Awards—an honor she playfully recalled missing by telling The Observer, “I stole the cutlery when I didn’t win”—Negga’s persistence led to roles in television series like LOVE IS THE DRUG and DOCTORS, followed by CAPITAL LETTERS in 2004. Her breakthrough came during an audition for Neil Jordan’s BREAKFAST ON PLUTO, so impressing the director that he altered the script to accommodate her talent. “I didn’t know much about her when she came to the casting,” Jordan remarked, “but the moment I saw her act, I decided to change the script so that she could appear in the movie.” Today, Negga shares her London home with actor Dominic Cooper, known for MAMMA MIA!, whom she met while performing in the National Theatre’s PHEDRE in 2009. Her critically acclaimed performance in LOVING, portraying Mildred Loving alongside Joel Edgerton’s Richard, brought to life the courageous story of an interracial couple who married in 1958 despite Virginia’s anti-miscegenation laws, resulting in their arrest and expulsion from the state—a powerful narrative that resonates with the ESSENCE Awards’ commitment to making the unseen seen. As the fashion-forward attendees of the ESSENCE ceremony prepare to grace the upcoming Oscar celebration, their stunning ensembles offer a tantalizing preview of Sunday’s style spectacle, promising that the culmination of awards season will be as visually magnificent as it is culturally significant. The convergence of these events underscores Hollywood’s evolving recognition of diverse voices and stories, creating moments of celebration that ripple far beyond the red carpet. [...]
February 28Football’s favorite underdog is heading to the big screen as FRAN THE MAN prepares for its world premiere at the Dublin International Film Festival this Saturday, March 1st, before hitting Irish cinemas nationwide on April 11th. This feature-length spin-off of the cult mockumentary series FRAN which originally captivated audiences on Setanta Sports and TV3 from 2009 to 2011, promises to deliver laughter, heart, and a uniquely Irish take on the beautiful game. In FRAN THE MAN, an Irish football club’s first-ever FAI Cup appearance turns chaotic when they become entangled in an international match-fixing scandal, thrusting their hapless assistant manager Fran Costello (reprised by Darragh Humphreys) into unexpected detective work. Out of his depth but determined, Fran sets out to identify the culprits on his beloved St. Peter’s Celtic team, with everyone becoming a suspect in this hilarious whodunnit. Complicating matters further is Fran’s blossoming romance with Jackie Charlton, the mother of one of his players—forcing a man who has long used football to avoid life’s complexities to face them head-on. The film boasts an impressive ensemble of Irish comedic talent including Ardal O’Hanlon, Amy Huberman, Risteárd Cooper, Toni O’Rourke, and Deirdre O’Kane. Written by Richie Conroy (CRÁ, MALORY TOWERS) and directed by Stephen Bradley (LAST ONE LAUGHING, NOBLE), FRAN THE MAN represents Conroy’s debut original feature. “It’s such a privilege that my debut original feature will soon be available to an Irish cinema audience,” Conroy remarked. “FRAN THE MAN is a rare thing—a four-quadrant movie—that is the perfect tonic for anyone who is looking for a laugh, an engaging scéal, and a bit of feel-good escapism.” [...]
February 27Golden sunlight cascades over the rugged Irish coastline in a story of destiny and cosmic intervention that unfolds like poetry in motion. Pierce Brosnan leads a stellar ensemble cast in FOUR LETTERS OF LOVE, a heartfelt adaptation of Niall Williams’ globally cherished novel that’s set to captivate audiences when Vertigo releases it theatrically across the UK and Ireland this June. The film presents a sweeping narrative where divine signs and cosmic connections guide characters through an emotional journey that cynics may scoff at, but romantics will embrace wholeheartedly. In this sun-dappled romance filmed across the breathtaking landscapes of Donegal and Antrim, Brosnan portrays William, a staid civil servant who abandons his career and teenage son after experiencing what he believes is a divine calling to become a painter. The seasoned actor brings gravitas to a character seeking meaning in life’s later chapters, a theme that resonates with Brosnan’s own recent career choices. While the former 007 has maintained a steady presence in Hollywood with roles in films like THE FOREIGNER and BLACK ADAM, his turn in FOUR LETTERS OF LOVE represents his growing interest in intimate, character-driven narratives that explore life’s deeper questions. Director Polly Steele, fresh from her work on 2024’s THE MOUNTAIN WITH ME, crafts a tale that intertwines two seemingly separate stories destined to converge. As William follows his artistic calling to Ireland’s picturesque west coast, elsewhere Issy (Ann Skelly) reluctantly leaves her island home for convent school, her departure deeply felt by her parents, played with nuanced affection by Helena Bonham Carter and Gabriel Byrne. Cinematographer Damien Elliott transforms the Irish landscape into an almost fairytale realm where the seas shimmer endlessly blue and beaches gleam golden under perpetual sunshine. The film follows the parallel journeys of spirited Issy and the more reserved Nicholas (Fionn O’Shea), William’s son, as they navigate life’s unexpected twists. Skelly brings a combination of Maureen O’Hara’s fire and Saoirse Ronan’s vulnerability to Issy, while O’Shea embodies stoic resilience through personal losses. Their performances ground a narrative filled with omens, divine interventions, and miracle cures in authentic emotion, even as the story veers into the realm of cosmic coincidence. This tale of star-crossed lovers evokes the spirit of Edna O’Brien’s early works while being presented through a lens reminiscent of Nicholas Sparks adaptations. Production design creates a world of cozy blue-walled cottages, inviting pubs with roaring fires, and suffocating workplaces that visually underscore the characters’ emotional journeys. For Brosnan, the role represents a thoughtful addition to a recent filmography that has seen him increasingly drawn to projects with emotional depth and cultural resonance, particularly those connecting to his Irish heritage. FOUR LETTERS OF LOVE stands as testament to Brosnan’s evolution as an actor who, like the character he portrays, continues to find new purpose and meaning in his artistic endeavors. [...]
February 21A quiet revolution is happening on Netflix this March as Nora Fingscheidt’s stunning adaptation of Amy Liptrot’s 2016 novel THE OUTRUN makes its streaming debut. This critically acclaimed indie film, Certified Fresh on RottenTomatoes, will arrive on Netflix in both the UK and US through different pay-1 streaming deals, marking its first appearance on any streaming platform following its theatrical run. Saoirse Ronan delivers what many critics call a career-defining performance as Rona, a 29-year-old returning to her childhood home in the Orkney Islands after a decade in London. The film’s emotional resonance is heightened by excellent supporting turns from Saskia Reeves, Stephen Dillane, Lauren Lyle, and Paapa Essiedu. As MovieWeb’s Julian Roman noted, “Saoirse Ronan stuns as a shattered alcoholic trying to rebuild her life on a remote Scottish island. THE OUTRUN chronicles a disturbing descent to rock bottom and the heartbreaking climb to sobriety.” The film’s journey to Netflix showcases the complex landscape of modern film distribution. In the US, where Sony Pictures Classics holds distribution rights, the film will stream for 18 months beginning March 18th, 2025, part of Netflix’s ongoing first-window deal with Sony. More Saoirse Ronan Ronan shines in ELLE magazine feature Ronan wins big at London Critics’ Circle Film Awards THE OUTRUN now on Prime Saoirse Ronan stars in the new film BLITZ [...]
February 20In a groundbreaking acquisition, streaming platform Mubi has secured rights to THE HISTORY OF SOUND, the highly anticipated gay First World War romance starring Paul Mescal and Josh O’Connor, with theatrical release plans confirmed for late 2025. The film, which wrapped production earlier this year, chronicles the journey of two young men, Lionel (Mescal) and David (O’Connor), who embark on a mission to record the voices and music of Americans against the backdrop of WWI, ultimately falling in love along the way. Director Oliver Hermanus describes THE HISTORY OF SOUND as a “true passion project” that has occupied five years of his life alongside the film’s stars. “I could not be more thrilled to have found partners in MUBI in North America and Focus and UPI internationally,” Hermanus told Variety, adding that “they champion the cinema I love.” The director previously revealed to Gay Times that Mescal and O’Connor were “on fire” during filming, noting their friendship and genuine investment in the project: “They love and care about THE HISTORY OF SOUND.” Both actors will reportedly showcase their singing talents in the film. THE HISTORY OF SOUND represents a significant career milestone for Mescal, marking his first executive producer credit and his first project following his starring role in GLADIATOR II. The screenplay, adapted by Ben Shattuck from his award-winning short story, explores themes of grief, companionship, and the transformative power of music during one of history’s most turbulent periods. Despite the excitement surrounding the project, O’Connor has expressed “mixed feelings” about portraying a gay character as a straight man, though he was deeply moved by the script’s emotional core. The film arrives during an era when LGBTQ+ cinema has gained significant mainstream recognition, collecting major awards and critical acclaim. With production companies End Cue, Fat City, Film4, Closer Media, Tango Entertainment, and Storm City Films all contributing to the project, THE HISTORY OF SOUND represents a collaborative effort years in the making. As audiences await the announcement of its world premiere in the coming months, the film stands poised to continue the tradition of powerful queer narratives finding their place in contemporary cinema. More Paul Mescal Mescal: IFTA Best Supporting Actor Paul Mescal in GLADIATOR 2 ALL OF US STRANGERS now streaming Mescal and Scott take The Co-Star Test [...]
February 19Andrew Scott graced the world premiere of BLUE MOON at the Berlin International Film Festival alongside Ethan Hawke, Margaret Qualley, and director Richard Linklater on Tuesday. The film, shot in Ireland last summer, represents yet another collaboration between Linklater and Hawke, this time creating a one-scene musical drama set in 1943. While Scott portrays composer Richard Rodgers in BLUE MOON, his casting highlights a career marked by thoughtful role selection and artistic versatility. The Dublin-born actor has built an impressive filmography that spans stage, television, and cinema, with BLUE MOON adding another notable credit alongside his fellow Irish actor Simon Delaney. Scott’s involvement in this production follows his acclaimed performances in films like PRIDE, SPECTRE, and 1917, as well as his unforgettable television work in SHERLOCK and FLEABAG. Linklater’s musical drama unfolds within a hotel and bar setting on the opening night of OKLAHOMA! with Hawke embodying the troubled Broadway lyricist Lorenz Hart, whose credits include “The Lady Is a Tramp” and the titular song. The director aimed to echo the craftsmanship of 1930s and 40s musical theatre, creating a film that, like a Rodgers and Hart composition, balances beauty, sadness, and humor. Scott’s portrayal of Richard Rodgers places him in a narrative exploring the creative partnership behind some of America’s most beloved standards, further demonstrating his range following recent leading roles in ALL OF US STRANGERS and RIPLEY. Produced in association with Dublin-based Wild Atlantic Pictures, BLUE MOON competes in the main section of the Berlinale eleven years after Linklater won the Silver Bear for BOYHOOD, another Hawke collaboration. The festival’s new director, Tricia Tuttle, has expressed hope that the event’s films would take center stage despite current political discourse, with awards to be presented by a jury led by US director Todd Haynes on Saturday evening. More Andrew Scott IFTV-Blog-16-180×180 Scott earns Golden Globes nomination Andrew Scott in PEOPLE WATCHING RIPLEY now on Netflix [...]
February 16The 2025 Irish Film and Television Awards transformed Dublin into a constellation of stars on Friday evening, with SMALL THINGS LIKE THESE emerging as the night’s biggest winner. The intimate drama secured both Best Film and Best Actor for Cillian Murphy, who delivered a memorable acceptance speech apologizing to his fellow nominees from hip-hop group Kneecap: “Sorry Kneecap. You had me outnumbered.” The evening proved particularly triumphant for Saoirse Ronan, who demonstrated her versatility by claiming two major awards. She won Best Actress for her compelling performance in THE OUTRUN, where she portrayed a young woman grappling with alcoholism – a project she created alongside her husband Jack Lowden. “I got to make this film with the love of my life,” Ronan shared emotionally from the stage. She also secured Best Supporting Actress for her role in the World War II drama BLITZ, during which she graciously acknowledged the team from ATONEMENT, the film that launched her Oscar-nominated career. The ceremony highlighted the growing international appeal of Irish cinema, with Colin Farrell winning Best Lead Actor in a TV Drama for his transformation in THE PENGUIN. The gritty drama SAY NOTHING garnered multiple honors, including Lead Actress in a Drama Series for Lola Petticrew’s powerful portrayal of Dolours Price. The series also earned Anthony Boyle the Rising Star award for his depiction of Brendan Hughes, while Tom Vaughan-Lawlor and Hazel Doupe secured supporting actor awards. In a particularly poignant moment, director Rich Peppiatt accepted his Best Director award for KNEECAP with news that carried special weight: he had become an Irish citizen just hours before the ceremony. Holding up an Irish flag badge, he declared, “I became an Irish citizen earlier today, only about two hours ago, just in time.” The film itself, predominantly in Irish, represents a bold celebration of language and culture, with its creators insisting on authenticity in their storytelling. BAD SISTERS continued its successful run with Sharon Horgan taking home the award for Script Writing. Horgan tantalized fans with hints about a potential third season, expressing interest in casting Sebastian Stan or Andrew Scott as the show’s next antagonist. The series’ acclaim underscores the growing global appetite for Irish storytelling. Industry veteran Colm Meaney received the Lifetime Achievement Award, approaching the honor with characteristic humor: “It means a thing about yay size, very heavy. It’s a wonderful award, it’s very special, and to get it from my home town and from my peers too.” The evening served as a powerful reminder of Ireland’s flourishing film industry, with Andrew Scott capturing the sentiment perfectly: “We have incredible crews here, and the standard of our work is going from strength to strength. I just hope that we continue making films that are authentically Irish and what it means to be Irish. There is a real international audience for not just the actors who are doing well at the moment, but all types of filmmakers. It’s a really incredibly exciting time.” Indeed, as the credits rolled on another spectacular IFTA ceremony, it was clear that Irish cinema isn’t just finding its voice – it’s commanding the global stage with stories that resonate far beyond its shores. More Cillian Murphy Cillian Murphy: Oscar 2025 presenter 28 YEARS LATER begins filming Murphy in BLOOD RUNS COAL Murphy on SMALL THINGS LIKE THESE [...]
February 14The glittering heart of Ireland’s entertainment industry is set to pulse through Dublin this Valentine’s Day as a constellation of stars descends upon the Royal Convention Centre for the prestigious Irish Film and Television Academy (IFTA) Awards. Hosted by the charismatic Kevin McGahern, this year’s ceremony promises to be an extraordinary celebration of Irish creative talent, with veteran actor Colm Meaney taking center stage to receive the coveted IFTA Lifetime Achievement Award. The guest list reads like a who’s who of Irish entertainment, featuring Oscar nominee Cillian Murphy, fresh from his role in SMALL THINGS LIKE THESE, alongside fellow luminaries Saoirse Ronan of THE OUTRUN and BLITZ, Andrew Scott of RIPLEY, and Ruth Negga, starring in PRESUMED INNOCENT. The ceremony will also welcome BRIDGERTON star Nicola Coughlan, BAD SISTERS creator Sharon Horgan, and the dynamic trio from KNEECAP: J.J. Ó Dochartaigh, Liam Óg Ó hAnnaidh, and Naoise Ó Cairealláin. The star power continues with appearances from Liam Cunningham of 3 BODY PROBLEM, Eva Birthistle from KATHLEEN IS HERE, and rising star Alisha Weir of ABIGAIL. Adding to the glamour are HOUSE OF THE DRAGON’s Clinton Liberty, Chris O’Dowd showcasing his new series SMALL TOWN, BIG STORY, and OUTLANDER sensation Caitriona Balfe. SALTBURN and CONVERSATIONS WITH FRIENDS star Alison Oliver will join DEXTER: ORIGINAL SIN’s Patrick Gibson among the distinguished attendees. Meaney, the man of the hour, expressed genuine surprise at his selection for the Lifetime Achievement Award. “To say I was surprised when I got the news that IFTA wanted to give me this award would be an understatement,” he remarked with characteristic humility. “I was truly shocked. To be asked to join this long list of very illustrious previous recipients is a huge honour.” For those unable to attend, TikTok star Eric Roberts will be bringing the red carpet glamour directly to fans through IFTA’s Official TikTok Account, with coverage beginning at 5pm. The entire ceremony will be broadcast on RTE One at 10.55pm on Saturday, February 15, allowing viewers nationwide to share in this celebration of Irish creative excellence. The event, supported by Screen Ireland and Coimisiún na Meán, with key sponsors including RTE, Don Julio, IFTN, TikTok, Canon, and Sculpted by Aimee, stands as a testament to the flourishing Irish entertainment industry and its growing influence on the global stage. [...]
February 13  From tabloid whistleblower to provocative filmmaker, Rich Peppiatt’s journey to potential BAFTA glory is as unconventional as they come. His latest film KNEECAP, which has garnered six BAFTA nominations and 17 IFTA nods, marks an extraordinary transformation for the London-born journalist who once made headlines exposing questionable practices at the Daily Star. After his high-profile resignation in 2011 and multiple mentions in Lord Leveson’s phone-hacking inquiry, Peppiatt channeled his experiences into a stand-up show about tabloid culture. This caught the attention of Hugh Grant and Steve Coogan, both prominent figures in the Leveson inquiry, who encouraged him to adapt it into his first film. “If you are a person who doesn’t really know what the hell you are doing in life and Hugh Grant and Steve Coogan come up to you and ask you to make a film, you go: ‘Yeah, I’ll give it a go,'” Peppiatt recalls. This baptism by fire ignited his passion for filmmaking. The path to KNEECAP began after Peppiatt moved to Belfast with his wife, who hails from the republican suburb of Andersonstown. Two weeks into his new life, he encountered the Irish-language rap trio in a pub and was immediately captivated. The film tells their semi-autobiographical story, featuring the band members DJ Próvaí, Mo Chara, and Móglaí Bap, alongside Michael Fassbender as an IRA operative on the run. The film pushes boundaries with its provocative content, including a controversial line referencing the 1984 Brighton hotel bombing that funders wanted removed. Peppiatt stood his ground, believing that “comedy and art should be pushing up against a line of acceptability.” His dedication to authenticity led him to learn Irish and immerse himself in the culture, understanding the profound significance of the language to young people in Belfast. “You can draw a border on my land, but I will still dream in the language I want,” he reflects on the film’s underlying message. KNEECAP transcends mere entertainment, emerging as a movement that challenges stereotypes about working-class representation in media. The film showcases young people who can be both street-smart and politically engaged, wearing tracksuits while articulating complex political views. The real-life band has already made waves, with their debut single C.E.A.R.T.A banned by Irish state radio for its explicit content. Never one to rest on his laurels, Peppiatt is already developing his next project – a controversial satire about Caribbean tourism tackling racial politics. His creative philosophy remains unchanged: “Unless there is some element of ‘I might be absolutely cancelled’, or ‘it might be the last thing I ever do’, then I can’t really get out of bed for it.” It’s this fearless approach to filmmaking that has transformed him from tabloid whistleblower to one of cinema’s most daring new voices. More Kneecap KNEECAP on Prime Nov 15 KNEECAP leads BIFA nominations KNEECAP for The Oscars KNEECAP trailer [...]
February 12Production is currently underway on THE MONGOOSE in Victoria, Australia, with filming centered at Bacchus Marsh Aerodrome and extending to several other locations including Castlemaine, Bangholme, Melbourne CBD, North Melbourne, Kensington, and Moorabbin. The production is based at Melbourne Screen Hub in Footscray and is expected to make a significant economic impact, creating over 450 jobs for Victorian screen workers and injecting more than $19 million into the local economy. The project has received support from both VicScreen’s Victorian Screen Rebate and the Federal Government’s Location Offset. The film stars Neeson as Ryan ‘Fang’ Flanagan, a war hero who finds himself wrongly accused of a crime. The story follows him as he leads police on an epic televised cross-country car chase, assisted by members of his former Special Forces battalion, while capturing the public’s imagination. The impressive cast includes Academy Award winner Marisa Tomei, Ving Rhames, and Michael Chiklis, with veteran stunt professional Mark Vanselow directing from a script by Thompson Evans. Behind the scenes, Code Entertainment’s Al Corley, Bart Rosenblatt, and Eugene Musso are producing the film, with executive producers including Jonathan Dana, Rich Freeman, Steven Shapiro, and Liz and Ken Whitney of Jupiter Peak Productions. The Solution Entertainment Group’s Lisa Wilson and Craig Chapman are also serving as executive producers. This marks Neeson’s third film in Victoria in four years, following his work on ICE ROAD 2 (2023) and BLACKLIGHT (2022). While those previous productions generated over $55 million in economic value for the state and created more than 1,300 jobs, the release date for “The Mongoose” has not yet been announced. More Liam Neeson Liam Neeson in MONGOOSE Liam Neeson on THE LATE SHOW IN THE LAND OF SAINTS AND SINNERS trailer Liam Neeson in RETRIBUTION [...]
February 11In a striking reversal from Ireland’s remarkable success at last year’s Academy Awards, the 97th Oscar ceremony will feature just one familiar Irish face: Cillian Murphy, who will return not as a nominee but as a presenter. The Cork native, fresh from his triumphant Best Actor win for his mesmerizing portrayal in Christopher Nolan’s OPPENHEIMER, will join fellow 2024 Oscar winners on stage to pass the torch to this year’s recipients. The cinematic landscape has shifted dramatically for Irish talent in 2025, with no nominations despite several promising contenders. Perhaps most notably, Irish rap sensation Kneecap saw their hopes dashed after being longlisted in the Best International Film category. However, Ireland’s presence in Hollywood continues through Tailored Films, whose production THE APPRENTICE has secured two significant nominations: Sebastian Stan for Leading Actor and Jeremy Strong for Supporting Actor in their Donald Trump biopic. Murphy’s presenting duties will place him alongside an illustrious group of fellow 2024 winners, including Emma Stone (a two-time Oscar winner who previously claimed victory for LA LA LAND), Da’Vine Joy Randolph (who captured hearts in THE HOLDOVERS), and Robert Downey Jr. (celebrated for his turn as Lewis Strauss in OPPENHEIMER). While their specific presenting duties remain under wraps, their presence promises to add star power to the ceremony, which will be hosted by Conan O’Brien at the iconic Dolby Theatre on March 2, 2025. This year’s Best Actor race presents an intriguing lineup, featuring Timothée Chalamet as Bob Dylan in A COMPLETE UNKNOWN, Adrien Brody in THE BRUTALIST, Colman Domingo in SINGSING, Ralph Fiennes in CONCLAVE, and Sebastian Stan in THE APPRENTICE. Though Murphy won’t be competing for another statue this year, his artistic momentum hasn’t slowed. His latest film, SMALL THINGS LIKE THESE, released in 2024, showcases his continuing commitment to powerful storytelling. Set in 1985, the film adapts Claire Keegan’s novel, with Murphy portraying Bill Furlong, a coal merchant who uncovers disturbing truths about Ireland’s Magdalene Institutions in the town of New Ross. The absence of Irish nominees this year stands in stark contrast to the recent golden era of Irish cinema, which saw remarkable success with films like OPPENHEIMER and THE BANSHEES OF INISHERIN. Yet, as Murphy’s continued presence at the ceremony suggests, Irish influence in global cinema remains resilient, even if this year’s nominations don’t reflect the wealth of talent emerging from the Emerald Isle. More Cillian Murphy Cillian Murphy for PEAKY BLINDERS movie 28 YEARS LATER begins filming Murphy in BLOOD RUNS COAL Murphy on SMALL THINGS LIKE THESE [...]
February 10In a surprising turn of events that’s stirring up both the sports and entertainment worlds, golf superstar Rory McIlroy is making his silver screen debut in one of the most anticipated sequels of the year, HAPPY GILMORE 2. The Netflix production marks a significant milestone for the 35-year-old professional golfer, who’s stepping out of his comfort zone on the fairways to join Adam Sandler in the follow-up to the beloved 1996 comedy HAPPY GILMORE. The star-studded cast brings together an eclectic mix of talent, with Sandler returning to his iconic role alongside original cast members Carl Weathers, Julie Bowen, and golf legend Lee Trevino. In an interesting blend of sports and entertainment, the film also features Kansas City Chiefs tight end Travis Kelce (known as much for his high-profile relationship with Taylor Swift as his football prowess), AEW wrestling star Maxwell Jacob Friedman, and music sensation Bad Bunny. The golf world is well-represented, with McIlroy joining fellow pros Scottie Scheffler, Brooks Koepka, Bryson DeChambeau, Justin Thomas, and Will Zalatoris in what promises to be a unique crossover event. McIlroy, who was recently spotted on set, expressed his amazement at being part of the production, describing it as a “completely different experience” from his usual routine on the golf course. As fans eagerly await the Netflix release later this year, it remains to be seen whether McIlroy’s natural charisma on the golf course will translate to the big screen in this highly anticipated sequel. [...]
February 7Steven Soderbergh’s relentless creative drive continues to defy his own premature retirement announcement from eleven years ago. The acclaimed director of OCEAN’S ELEVEN and CONTAGION is now preparing to captivate audiences once again with BLACK BAG, a sophisticated spy thriller set to premiere in theaters on March 14, 2025. This marks a notable return to theatrical release for Soderbergh, who has recently favored streaming platforms for projects like KIMI and LET THEM ALL TALK. At the heart of BLACK BAG lies an emotionally charged narrative following George and Kathryn Woodhouse, married intelligence agents whose professional and personal lives become dangerously entangled when Kathryn faces accusations of treason. The film promises to transcend typical espionage thriller conventions, weaving together elements of marital drama reminiscent of MARRIAGE STORY with classic spy genre tension. This unique blend should come as no surprise from Soderbergh, whose versatility has long been a hallmark of his filmmaking career. The project reunites Soderbergh with screenwriter David Koepp, known for his work on JURASSIC PARK and MISSION: IMPOSSIBLE, following their recent collaboration on KIMI. This partnership, combined with the powerhouse casting of Cate Blanchett and Michael Fassbender as the Woodhouses, suggests an exceptional cinematic experience in the making. Fassbender, fresh from his role in the television series THE AGENCY, returns to work with Soderbergh for the first time since their 2011 thriller HAYWIRE. With Soderbergh’s masterful direction, a compelling premise that challenges the boundaries between loyalty and duty, and two of cinema’s most accomplished actors at its center, BLACK BAG appears poised to emerge as one of 2025’s most compelling theatrical offerings. [...]
February 6Martin McDonagh continues to captivate audiences with his signature blend of dark humor and human drama, now setting his sights on yet another isolated locale for his latest venture. The Oscar-winning filmmaker’s upcoming project, WILD HORSE NINE, has found its home at Searchlight Pictures, assembling an impressive ensemble cast that speaks to McDonagh’s ability to attract top-tier talent. Sam Rockwell, a frequent collaborator who earned an Academy Award for his role in THREE BILLBOARDS OUTSIDE EBBING, MISSOURI, leads the cast alongside John Malkovich, Mark Ruffalo, and Parker Posey. The film is set to begin production in March on Rapa Nui (Easter Island), the world’s most remote inhabited island – a setting that follows McDonagh’s pattern of placing his characters in isolated environments where their stories can simmer and intensify. This fascination with isolation has been a consistent thread throughout McDonagh’s filmography. His directorial debut, IN BRUGES, placed Colin Farrell and Brendan Gleeson in the confines of a picturesque Belgian city, where their characters’ guilt and redemption played out against gothic architecture and tourist-filled squares. SEVEN PSYCHOPATHS, his sophomore feature, reunited him with Rockwell in a meta-theatrical tale of dog-napping gone wrong, while THREE BILLBOARDS examined small-town American justice with Frances McDormand’s towering performance at its center. Most recently, THE BANSHEES OF INISHERIN garnered widespread acclaim and numerous awards nominations, returning to the partnership of Farrell and Gleeson on a windswept Irish isle. The film’s success seems to have reinforced McDonagh’s instinct for using geographic isolation as a pressure cooker for his characters’ relationships and conflicts. Now, trading the harsh Irish weather for the mysterious landscapes of Rapa Nui, WILD HORSE NINE promises to continue this tradition while breaking new ground in the director’s already distinguished career. The addition of Parker Posey, fresh from her roles in THELMA and BEAU IS AFRAID, adds another layer of intrigue to this project. As McDonagh’s sixth feature film approaches production, it’s clear that his ability to craft compelling narratives in confined spaces, coupled with his talent for assembling remarkable casts, remains undiminished. From the cobblestone streets of Bruges to the ancient mysteries of Easter Island, McDonagh’s journey as a filmmaker continues to evolve while maintaining the darkly comic sensibilities that have made him one of contemporary cinema’s most distinctive voices.   [...]
February 5In a remarkable testament to her enduring talent, Saoirse Ronan has once again captured the spotlight at the 45th London Critics’ Circle Film Awards, securing the prestigious British/Irish Performer of The Year award for her compelling performances in BLITZ and THE OUTRUN. Her portrayal in BLITZ sees her embodying Rita, a working-class single mother navigating the harrowing challenges of World War II alongside her 9-year-old son George, played by newcomer Elliott Heffernan, as they become separated during the German bombing campaign against the UK. In THE OUTRUN, adapted from Amy Liptrot’s poignant memoir, Ronan not only stars as a woman reconstructing her life after a decade-long battle with addiction but also took on a producer role alongside Sarah Brocklehurst, Dominic Norris, and Jack Lowden, showcasing her expanding influence in the industry. The ceremony also celebrated emerging talent, with Rich Peppiatt earning the Breakthrough British/Irish Filmmaker award for his direction of KNEECAP. The film’s impact resonated throughout the awards, garnering nominations in several major categories including Film of The Year, Foreign-Language Film of The Year, and British/Irish Film of The Year. The momentum continues into the upcoming IFTA Awards, where both Ronan and Peppiatt have secured multiple nominations. Ronan’s dual nominations in the Lead Actress and Supporting Actress categories for THE OUTRUN and BLITZ respectively, along with Peppiatt’s nominations for Director and Script, underscore their significant contributions to cinema. KNEECAP leads the pack with an impressive 17 nominations, including Best Film, setting the stage for what promises to be an exciting ceremony at the Dublin Royal Convention Centre on February 14th, 2025. This latest recognition adds to Ronan’s illustrious career, which has previously seen her acclaimed for performances in BROOKLYN and LOST RIVER, consistently proving her versatility and mastery of her craft.   More Saoirse Ronan Ronan shines in ELLE magazine feature ACTORS ON ACTORS: Ronan and Gomez THE OUTRUN now on Prime Saoirse Ronan stars in the new film BLITZ [...]
January 31In the annals of Irish pop music history, few stories capture the essence of fame, friendship, and fate quite like the tale of Boyzone, as beautifully chronicled in Sky Documentaries’ NO MATTER WHAT. While their music may not have pushed artistic boundaries, the human drama behind Ireland’s most successful boyband proves far more compelling than their catalogue of hits ever could. The three-part documentary weaves a narrative worthy of Shakespeare, complete with ambition, rivalry, triumph, and tragedy. At its heart stands Louis Walsh, a puppet master whose calculated manipulation of the media included fabricating tabloid stories – even a fictional plane crash – to keep his Dublin protégés in the spotlight. His strategy worked brilliantly: from their awkward debut on THE LATE LATE SHOW, where five unpolished lads stumbled through a hastily assembled dance routine, to commanding an audience of 100,000 at Hyde Park just five years later, Boyzone’s ascent was meteoric. That Hyde Park concert marked a pivotal moment in the band’s history, as Stephen Gately, the group’s natural frontman and heartthrob, faced a personal crisis. Confronted with The Sun’s ultimatum to come out as gay or be outed, Gately chose to tell his truth. The crowd’s response? Pure love, amplifying rather than diminishing his star power. This poignant chapter is recounted through multiple perspectives – bandmates, Walsh, Gately’s sister Michelle, and even the Sun journalist responsible for breaking the story. Gately’s absence from the narrative, following his tragic death from a congenital heart condition in 2009, adds a bittersweet undertone to these memories. The documentary’s remarkable access reveals the band members in startling clarity. Ronan Keating emerges as simultaneously insecure and nakedly ambitious, while Shane Lynch’s intensity is tempered by thoughtful reflection. Keith Duffy’s charm masks an underlying vulnerability, but it’s Mikey Graham who proves the revelation. Now more resembling a contemplative family friend than a former pop idol, Graham’s struggle with being typecast as “the quiet one” clearly weighs heavily on him, contradicting Walsh’s dismissive assumption that he was content in that role. Through never-before-seen footage and raw, emotional interviews, NO MATTER WHAT transcends the typical pop documentary format. It tells a universal story about the price of fame, the burden of secrets, and the enduring bonds forged in the crucible of shared experience. Three decades after five Dublin boys were catapulted from obscurity to global stardom, their story resonates not because of the 25 million records they sold, but because of the very human drama that played out behind the perfectly choreographed performances and carefully crafted public image. Watch BOYZONE: NO MATTER WHAT from Feb 2 here. [...]
January 30The Irish film industry’s next generation of talent takes center stage as the Irish Film & Television Academy (IFTA) unveils its prestigious Rising Star nominees for 2025, spotlighting four remarkable talents who exemplify the nation’s thriving creative spirit. Among the nominees is Alisha Weir, who captured hearts worldwide in ROALD DAHL’S MATILDA THE MUSICAL and has since impressed audiences in ABIGAIL and WICKED LITTLE LETTERS. Joining Weir in this distinguished cohort is Anthony Boyle, whose versatility shines through performances in SAY NOTHING, MASTERS OF THE AIR, HOUSE OF GUINNESS, and MANHUNT. The nominations also recognize writer-director Aislinn Clarke, known for FREWAKA, THE DEVIL’S DOORWAY, and EYE EXAM, alongside actor Clinton Liberty, whose powerful performances in HOUSE OF THE DRAGON, HOLDING, RED ELECTION, and NORMAL PEOPLE have marked him as one to watch. This unique award, sponsored by Fís Éireann/Screen Ireland and selected by a special jury, has historically identified Ireland’s most promising creative talents, with past recipients including luminaries such as Saoirse Ronan, Michael Fassbender, Nicola Coughlan, Domhnall Gleeson, Siobhán Cullen, and Jamie Dornan, all of whom have gone on to achieve international acclaim. IFTA Chief Executive Áine Moriarty emphasizes the significance of these nominations, noting that these four artists represent the vanguard of Ireland’s homegrown industry making waves on the global stage. The winner will be revealed at the 2025 IFTA Awards Ceremony, set to take place at the Dublin Royal Convention Centre on February 14, marking another milestone in Ireland’s remarkable year of world-class film and television production. This prestigious recognition not only celebrates individual talent but also underscores Ireland’s continuing prominence in the global entertainment landscape, as these rising stars carry forward the torch of Irish storytelling excellence. As social media buzzes with excitement over this unexpected collaboration, fans have been expressing their enthusiasm for what promises to be a remarkable fusion of musical and theatrical talent. The partnership between Fender’s emotionally charged songwriting and Scott’s renowned ability to convey complex emotions suggests that the upcoming music video will be nothing short of extraordinary, offering viewers a unique artistic experience that bridges the worlds of music and cinema.   [...]
January 28In 1960, a young woman from rural Ireland shattered the nation’s cultural constraints with a single book. Edna O’Brien’s THE COUNTRY GIRLS emerged as a defiant cry against Ireland’s patriarchal society, launching a remarkable literary career that would span decades and continents. The sexually frank trilogy that followed not only earned her notoriety and condemnation in her homeland but catapulted her into international literary stardom. O’Brien’s path to becoming one of Ireland’s most celebrated and controversial writers began with an escape from the shadows of an abusive father, only to find herself trapped in marriage to Ernest Gebler, an oppressive older writer who attempted to diminish her talent. When Gebler berated her for using the phrase “blue road” in her writing, insisting no such thing existed, it became emblematic of the suffocating constraints she would spend her life breaking free from. After her acrimonious divorce, O’Brien carved out an extraordinary existence in London with her two sons, Carlo and Sasha. Her home became a magnetic hub for the era’s cultural elite, hosting luminaries like Marlon Brando, Judy Garland, and Paul McCartney. While her pen never stopped moving – producing pieces for The New Yorker and screenplays for British and American cinema – her personal life proved equally colorful, marked by numerous love affairs, including a passionate relationship with a married British politician. The documentary captures O’Brien’s final reflections at age 93, her sharp wit and candor undiminished by time. Through intimate diary excerpts read by actress Jessie Buckley and testimonials from acclaimed figures like Gabriel Byrne, Walter Mosely, and Anne Enright, we witness the full scope of her impact. Mosely’s account of how O’Brien changed his life as his teacher adds another layer to her legacy, while her sons offer glimpses into their unconventional upbringing with a mother who defied every social convention of her time. O’Brien’s journey was marked by both triumph and tribulation – she made fortunes and lost them, faced censorship from the Irish government and condemnation from the Catholic Church, yet remained steadfastly committed to her artistic truth. This documentary, completed shortly before her death in July 2023, serves as both celebration and eulogy, capturing the essence of a woman who dared to write about what others would not speak. Though the spotlight of celebrity may have dimmed in her later years, this intimate portrait reveals O’Brien’s enduring legacy as a literary pioneer who broke Ireland’s silence and changed the landscape of contemporary literature forever. Watch the BLUE ROAD in theatres. [...]
January 27Ridley Scott’s highly anticipated sequel to the legendary GLADIATOR has stormed both theaters and digital platforms, marking a new chapter in the epic saga of Ancient Rome. Released digitally on December 24, this cinematic powerhouse has already crossed the $400 million mark globally, proving itself as Scott’s most successful venture since THE MARTIAN in 2015. The film’s impressive performance isn’t just reflected in its box office numbers – it has earned the respect of both critics and audiences, garnering a 72% critics score and an 82% audience score on Rotten Tomatoes. Set in the richly detailed world of Ancient Rome fifteen years after the events of the original film, GLADIATOR II weaves a compelling narrative of power, vengeance, and honor. The story follows Lucius (Paul Mescal), whose life takes a dramatic turn when his homeland falls to Rome’s tyrannical emperors. Having witnessed the legendary Maximus’s death at his uncle’s hands years before, Lucius finds himself thrust into the blood-soaked arena of the Colosseum. His journey becomes a quest not just for personal revenge, but for the very soul of Rome itself. The sequel boasts an extraordinary ensemble cast that includes Denzel Washington, Pedro Pascal, Joseph Quinn, Fred Hechinger, Lior Raz, and Derek Jacobi, each bringing gravitas and intensity to their roles. While the film’s first half might echo familiar beats from its predecessor, it’s in the latter half where it truly finds its unique voice and begins to carve its own path in the annals of epic cinema. The story transforms into something entirely fresh, moving beyond mere homage to become a distinctive and compelling narrative in its own right. What makes GLADIATOR II particularly noteworthy is its accessibility to both newcomers and fans of the original. While knowledge of the first film enriches the experience, the sequel stands confidently on its own merits, telling a story that resonates with themes of revenge, redemption, and the eternal struggle between tyranny and justice. As Lucius navigates the treacherous waters of Roman politics and the brutal arena of gladiatorial combat, the film builds towards a climax that honors its predecessor while blazing new trails in epic storytelling. For those eager to experience this continuation of the GLADIATOR saga, the film remains available both in theaters and across various digital platforms, offering viewers the flexibility to choose their preferred viewing experience. Whether witnessed on the big screen or in the comfort of home, GLADIATOR II proves that even after two decades, the allure of Ancient Rome’s grandeur and brutality continues to captivate audiences worldwide. Here’s where to watch GLADAITOR II from home! More Paul Mescal Mescal: IFTA Best Supporting Actor Paul Mescal in GLADIATOR 2 ALL OF US STRANGERS now streaming Mescal and Scott take The Co-Star Test [...]
Instagram Youtube