November 6Roadside Attractions has released the first trailer for H IS FOR HAWK, and it arrives like a quiet storm—raw, aching, and deeply human. Directed by Philippa Lowthorpe, whose work on CALL THE MIDWIFE and THE CROWN has demonstrated her gift for intimate storytelling, the film adapts Helen Macdonald’s acclaimed 2014 memoir into something that feels both devastatingly personal and universally resonant. Lowthorpe co-wrote the screenplay with Emma Donoghue, the novelist behind ROOM, bringing together two voices attuned to the ways loss can unmoor us and how we might find our way back to solid ground. The trailer introduces us to Helen, played with remarkable vulnerability by Claire Foy, in the immediate aftermath of her father’s sudden death. Brendan Gleeson appears as the father whose absence becomes the film’s gravitational center, a presence felt most acutely through his lack. What follows is not a conventional grief narrative but something wilder and more unpredictable. Helen turns to falconry, beginning the arduous process of training a young goshawk she names Mabel. The relationship between woman and bird becomes a mirror for Helen’s internal struggle—both fierce, both untamed, both seeking something that looks like freedom but might actually be survival. Foy, who has built a career on performances that reveal the complexity beneath surface composure in projects like THE CROWN and WOMEN TALKING, brings that same intensity to Helen’s journey. The supporting cast includes Denise Gough, Sam Spruell, and Lindsay Duncan, each contributing to the ecosystem of Helen’s grief. Produced by Dede Gardner and Jeremy Kleiner, the film premiered at the Telluride Film Festival where it earned praise particularly for its authentic portrayal of falconry—the kind of specific, tactile detail that transforms metaphor into lived experience. After an awards-qualifying run in December, H IS FOR HAWK will open nationwide on January 23, 2026, offering audiences a meditation on how we rebuild ourselves when the center doesn’t hold, one wingbeat at a time. Instagram Youtube [...]
November 5In the ever-shifting Oscar landscape, HAMNET has pulled off the biggest move in a month: overtaking what had seemed to be the prohibitive favorite, Paul Thomas Anderson’s ONE BATTLE AFTER ANOTHER, in the Gold Derby odds for predicted Best Picture nominees. The Shakespeare-inspired drama now leads the pack by a narrow margin, with a 96.8 percent chance to be nominated, compared to 95.8 percent for ONE BATTLE AFTER ANOTHER. Directed by Oscar winner Chloé Zhao, HAMNET is a deeply emotional dramatization of the real-world circumstances that may have inspired William Shakespeare’s Hamlet, and the Focus Features film, starring Paul Mescal and Jessie Buckley, has been on a remarkable trajectory since its festival debut. The film occupied the top slot in September after its warm reception at the Telluride Film Festival, followed by winning the People’s Choice Award at the Toronto International Film Festival, but in early October, Anderson’s film surged to number one following a strong opening weekend and had held the spot until this past weekend. The two films are both considered locks for nominations and expected to be competing for top prizes throughout awards season, though the race is playing out differently across various categories. For the predicted Best Director field, Anderson still has the lead over Zhao, while in the acting categories, Buckley leads the predicted Best Actress nominees and Leonardo DiCaprio continues to dominate Best Actor predictions for ONE BATTLE AFTER ANOTHER. Despite HAMNET’s strong showing in Best Picture predictions, both Zhao and Mescal were overlooked in recent predictions for director and supporting acting categories, suggesting the film’s path to Oscar glory may be more complicated than its current frontrunner status suggests. HAMNET could see another boost when it opens nationwide on November 27, potentially widening its lead in what is shaping up to be a very close race just two months before the January 22 Oscar nominations, when voters will finally reveal whether this Shakespeare-inspired drama can maintain its momentum or if Anderson’s latest work will reclaim its crown. Instagram Youtube [...]
November 3Pierce Brosnan has carved out a compelling new chapter in his career, moving far beyond his Bond legacy to embrace complex dramatic roles that showcase his range as a character actor. In CURTAIN CALL, arriving on digital platforms November 10, 2025, Brosnan joins Jessica Lange in a devastating exploration of artistic decline and the cruel erosion of memory. Lange stars as Lillian Hall, a Broadway icon who has never once missed a performance across her illustrious decades-long career, a woman whose entire identity is built on the bedrock of consistency and mastery. But during rehearsals for a new production, everything she has taken for granted begins to slip through her fingers like water. This isn’t just another aging actress story—it’s a meditation on what happens when the very thing that defines you becomes the thing you can no longer access. The film follows Hall as she prepares for what may be her final role, rehearsing Chekhov’s THE CHERRY ORCHARD while dementia begins its insidious work, stealing lines from her memory and moments from her awareness. What makes CURTAIN CALL particularly resonant is how it layers its central tragedy with a sharp commentary on Hollywood’s disposability of women past a certain age. There’s a producer circling the production like a vulture, pushing the director to replace this legendary actress with her younger understudy, revealing how quickly the industry discards those who can no longer deliver on command. The film doesn’t shy away from showing Hall forgetting her lines mid-rehearsal, losing track of staging she’s executed flawlessly a hundred times before, watching her confidence—that essential armor every performer needs—crack and crumble. For Brosnan, this represents the kind of mature, emotionally demanding work he’s increasingly drawn to in recent years. After four films as James Bond that cemented his place in popular culture, he’s deliberately sought out projects that ask more of him than charm and physical prowess, roles that explore vulnerability, loss, and the complexities of relationships under strain. His presence in CURTAIN CALL alongside an actress of Lange’s caliber signals his commitment to serious dramatic work, the kind that doesn’t rely on spectacle but on the small devastations that accumulate in quiet moments. The trajectory of his recent career suggests an actor no longer interested in being the hero who saves the day but in portraying men who struggle, who fail, who face impossible situations without easy answers. Previously released as THE GREAT LILLIAN HALL on HBO, the film joins a growing collection of works examining dementia not as a distant medical condition but as an intimate catastrophe that reshapes identities and relationships. What distinguishes CURTAIN CALL from other entries in this emerging subgenre is its theatrical setting, where memory isn’t just personal but professional, where forgetting doesn’t just affect private life but public performance. For someone like Lillian Hall, who has built an entire life on never missing a performance, never failing an audience, the loss of cognitive function isn’t just tragic—it’s existential. The stage demands perfection in real time, offers no second takes, no editing room to hide mistakes. When your mind betrays you in that arena, there’s nowhere to hide. The film raises questions it doesn’t pretend to answer neatly. Can Lillian continue with the production as her symptoms progress, or will the industry that once celebrated her now cast her aside? How do you hold onto dignity when your most fundamental abilities are disappearing? What does it mean to be a performer when you can no longer trust your own performance? Brosnan and Lange navigate these murky waters together, two actors at the peaks of their powers exploring what happens when power itself becomes an illusion. For audiences, CURTAIN CALL offers not just a story about dementia but a meditation on art, aging, and the brutal economics of an industry that values youth and reliability above legacy and loyalty. Instagram Youtube [...]
November 2A new film arrived on streaming this week, and it’s sparking conversation across social media as viewers weigh in on what turns out to be a visually stunning but narratively divisive experience. Directed by Edward Berger, the adaptation of Lawrence Osborne’s 2014 novel—itself hailed as a “masterpiece”—features a script by Rowan Joffé, known for his work on films like 28 WEEKS LATER and THE AMERICAN. At its center is Colin Farrell, delivering what many are calling an intensely captivating performance as a professional gambler known as Lord Doyle, a man spiraling through his days in Macao’s neon-lit gambling paradise, drowning in alcohol and debt until a mysterious kindred spirit appears, offering what might be his only chance at redemption. Berger brings his signature visual artistry to the project, collaborating once again with cinematographer James Friend to create what’s undeniably a feast for the eyes—vibrant colors and neon-drenched frames that capture the intoxicating atmosphere of Macao’s streets and decadent casinos. The German director has built a reputation for transforming literary works into powerful cinema, with the Oscar-winning ALL QUIET ON THE WESTERN FRONT and CONCLAVE among his recent triumphs. Farrell, an Oscar-nominated actor celebrated for his work in IN BRUGES and THE PENGUIN, proves magnetic in the role, inhabiting Lord Doyle with an intensity that many viewers cite as the film’s primary draw. Social media reactions have been enthusiastic about certain elements, with viewers praising what they see as brilliant storytelling and performances. One viewer posted that the film delivered “brilliant story, brilliant acting and great music. A must watch!” while another noted that “the main draw for this one will be the amazingly intense performance of Colin Farrell. The story did hold my interest and the Macau backdrop was beautiful. Very well made film overall.” Yet the critical reception tells a more complicated story, reflected in its 50 percent Rotten Tomatoes score. Critics have found themselves caught between admiration for the film’s stunning visual craft and Farrell’s compelling work, and frustration with what they perceive as narrative shortcomings. THE GUARDIAN awarded it three stars, while THE NEW YORK TIMES suggested it “contains a great story, but it’s bogged down by its trappings.” Perhaps most damning, THE IRISH INDEPENDENT described how the story “builds and builds before fizzling out in dreary, underwhelming fashion,” pointing to a fundamental disconnect between the film’s atmospheric promise and its ultimate delivery. What emerges is a film that dazzles the eye and showcases a powerhouse performance, yet struggles to fully realize the dramatic potential of its source material, leaving audiences divided over whether its artistry compensates for its storytelling stumbles. Instagram Youtube [...]
October 27Daniel Day-Lewis emerges from retirement with ANEMONE, an Irish drama directed by his son Ronan that stands as one of the most quietly devastating films of the year. After walking away from acting in 2017, Day-Lewis returns with a performance so searingly intimate that it has immediately thrust him back into awards consideration, reminding audiences why his absence left such a void in cinema. This is not a comeback built on spectacle or noise, but on the kind of raw, unadorned humanity that only an actor of his caliber can summon. ANEMONE unfolds as a meditation on isolation and the human cost of self-imposed exile. The film centers on Ray, a man who has spent years living alone on the fringes of society, and the small constellation of people whose lives orbit his absence. There’s Jem, whose curiosity about this reclusive figure drives much of the film’s gentle forward momentum, and Nessa, Ray’s former partner, who carries her heartbreak with a somber acceptance that never quite extinguishes hope. Then there’s Brian, their son, a young man consumed by rage at a father who chose to disappear, yet who still finds himself throwing punches to defend Ray’s name. The film lives in these contradictions, in the space between abandonment and loyalty, between judgment and grace. What makes ANEMONE so achingly effective is how it understands that human connection isn’t just meaningful but necessary for survival itself. Brian’s fury masks a desperate need for the father who left him, and his volatile grief finds its only softening in the presence of Hattie, a friend whose quiet empathy breaks through his armor in one of the film’s most genuinely moving moments. Nessa, despite her pain, surrounds herself with others when catastrophe strikes in the form of a devastating hailstorm, finding strength in community even as she mourns what was lost. Jem approaches Ray with a faith that remains unshaken by the older man’s profanity and bitterness, refusing to surrender hope for someone most would have written off entirely. At the film’s emotional core is Ray’s painful journey back to recognizing his own humanity. He committed an act so terrible that it drove him to the margins, an act the film reveals with devastating precision as it builds toward its climax. But ANEMONE understands that guilt itself is proof of humanity, that the very fact Ray is haunted by memory means he hasn’t abandoned his soul, only tried desperately to outrun it. This realization, when it finally arrives, is what propels him toward the meeting with Brian that the entire film has been moving toward. The ending is neither loud nor melodramatic, but it carries the weight of years of silence finally breaking. Day-Lewis plays these moments with such delicate restraint that you can feel the accumulated grief and longing in every glance, every hesitation. ANEMONE builds its power through imagery and theme rather than explanation, trusting its audience to feel what its characters cannot always articulate, and in doing so, it creates something genuinely heartwrenching. Instagram Youtube [...]
October 25Barry Keoghan has firmly established himself as one of the most compelling actors of his generation, and his latest role in CRIME 101 places him squarely alongside Hollywood’s elite. The Irish actor stars in this crime action thriller opposite Chris Hemsworth and Mark Ruffalo, trading the gritty streets of Dublin for a high-stakes world of heists and hardboiled detectives. Keoghan plays Orman, a rival thief whose methods skew toward the disturbing, setting him on a collision course with Hemsworth’s Davis during a planned heist. On the opposite side of the law, Ruffalo’s Detective Lou Lubesnick is determined to bring both criminals down, creating a tense cat-and-mouse game that promises to keep audiences on the edge of their seats. The trailer dropped on Thursday and immediately generated buzz, with fans expressing genuine excitement about the star-studded cast. One viewer noted that the combination of A-list actors who clearly enjoy working together was reason enough to buy a ticket, while another simply stated this was a movie they were actually interested in seeing. Directed by Bart Layton and adapted from Don Winslow’s novella of the same name, CRIME 101 showcases Keoghan’s range as he continues to choose projects that challenge him and expand his profile. For the role, he debuted a dramatic blonde look that coincided with his split from Sabrina Carpenter, a change that sparked plenty of conversation even if not everyone was convinced by the new style. But CRIME 101 is just the beginning of what promises to be a remarkable year for the Dubliner. Keoghan will next appear in the highly anticipated Beatles biopics, starring alongside fellow Irishman Paul Mescal, BABYGIRL’s Harris Dickinson, and STRANGER THINGS actor Joseph Quinn. The project will see the four actors bringing the legendary band to life across separate films, each focusing on a different Beatle. It’s a role that will demand both musical and dramatic chops, and if Keoghan’s recent work is any indication, he’s more than ready for the challenge. From rubbing shoulders with Marvel superheroes to embodying one of music’s most iconic figures, Keoghan’s trajectory shows no signs of slowing down, and audiences are here for every moment of it. Instagram Youtube [...]
October 24Colin Farrell sits across from his BALLAD OF A SMALL PLAYER co-star Fala Chen, and when the conversation turns to career-defining gambles, he tells a story that still seems impossible. There was a moment, right at the beginning, when he had to choose between security and the dream, between a guaranteed paycheck on a hit television show and a one-in-a-million shot at making it in Hollywood. Everyone around him thought he’d lost his mind. His friends told him he was crazy. His family couldn’t understand it. Here was steady work, good money, the kind of opportunity most actors would kill for, and he was going to walk away from it to chase something with no guarantees whatsoever. But Farrell did it anyway. He turned down the money, left the show, and took the leap. It’s the kind of decision that either launches a career or ends it before it really begins, and for years afterward, that choice has defined everything that came after. Looking at where he is now, fresh off his transformation in THE BATMAN and his revelatory work in THE BANSHEES OF INISHERIN that earned him an Oscar nomination, it’s easy to forget how easily it all could have gone the other way. One different choice, one moment of hesitation, and Colin Farrell as we know him might not exist at all. In BALLAD OF A SMALL PLAYER, which hit select UK and Ireland cinemas on October 17th before arriving on Netflix on October 29th, Farrell plays a man who’s betting everything on games of chance in Macau’s glittering casinos, a character who understands something about risk that most people never grasp. During the interview, he and Chen discuss the film’s striking costumes, their personal good luck charms, and the greatest plot twists in cinema history, but it all circles back to that original gamble, the one he made decades ago when he was nobody and had everything to lose. That decision reverberates through his entire career, through every bold choice and unexpected turn he’s taken since, from PHONE BOOTH to IN BRUGES to his recent renaissance playing Penguin in Matt Reeves’ Gotham and a grieving man on a remote Irish island in Martin McDonagh’s dark masterpiece. Sometimes the craziest decisions are the only ones worth making, and sometimes betting on yourself when everyone else thinks you’ve lost the plot is exactly what separates the ones who make it from the ones who always wonder what might have been. Instagram Youtube [...]
October 23Andrew Scott has become one of the most fascinating actors working today, moving seamlessly from his breakout turn as the “Hot Priest” in FLEABAG to his mesmerizing lead performance in ALL OF US STRANGERS, and now he’s bringing his particular brand of wounded intensity to BLUE MOON as composer Richard Rodgers. The film, arriving in theaters Friday, reunites Scott with Ethan Hawke and Bobby Cannavale in a story about legendary songwriter Lorenz Hart, and the three actors discuss aging into different types of roles and the importance of selfless collaboration in their craft. Scott’s recent trajectory has been remarkable—he’s carved out a space for himself playing men grappling with complicated emotions and buried pain, and his Rodgers fits perfectly into that continuum, a creative partner watching his longtime collaborator navigate success and struggle while moving forward with new creative partnerships. BLUE MOON opens on March 31, 1945, as Hart (Hawke) watches the opening night performance of OKLAHOMA!, co-written by his former partner Rodgers and new collaborator Oscar Hammerstein (Simon Delaney). At a bar after the show, Hart eagerly awaits the arrival of a young woman named Elizabeth (Margaret Qualley) as Rodgers arrives, setting up a compressed narrative that unfolds over a single evening. The choice to pack everything into one dramatized night creates an intimate chamber piece reminiscent of ONE NIGHT IN MIAMI, focusing on a pivotal moment rather than sprawling across decades. Hawke captures Hart’s wit and lyricism beautifully, while the production design uses oversized suits and carefully scaled sets to recreate the physical presence of the five-foot-tall songwriter, with the five-foot-ten-inch Hawke transforming into the diminutive Hart through meticulous visual choices. For Scott, who also discussed upcoming projects including the new MAN ON FIRE series, BLUE MOON represents another opportunity to explore the complicated dynamics between creative partners, the jealousies and dependencies that fuel great art. His performance captures Rodgers at a crossroads, torn between loyalty to an old friend and the pull of new creative possibilities. The film joins a growing body of work that showcases Scott’s ability to embody complex men at turning points in their lives, and his chemistry with Hawke creates a portrait of artistic partnership that feels both specific to the Rodgers and Hart story and universal in its emotional truth. Instagram Youtube [...]
October 20When Vertigo Releasing and Wildcard unveiled the official poster and full trailer for SAIPAN, they weren’t just promoting another sports movie—they were reigniting one of football’s most explosive controversies. This isn’t a film about triumph on the pitch or underdog victories; it’s a raw examination of ego, standards, and the devastating collision between two men whose mutual contempt became bigger than the beautiful game itself. At the heart of SAIPAN lies the infamous 2002 FIFA World Cup confrontation that shook Irish football to its core. Roy Keane, the Republic of Ireland’s legendary captain portrayed by BAFTA-nominated Éanna Hardwicke, and national team manager Mick McCarthy, brought to life by two-time Academy Award nominee Steve Coogan, found themselves locked in a battle that transcended tactical disagreements and crossed into deeply personal territory. What began as preparation for Ireland’s World Cup campaign in Japan and South Korea spiraled into what the film bills as one of the most fractious falling-outs in sporting history, a moment that gripped not just a nation but the entire sporting world. Award-winning filmmakers Lisa Barros D’Sa and Glenn Leyburn, known for their work on GOOD VIBRATIONS and ORDINARY LOVE, have taken on the challenge of bringing this incendiary story to the screen. Working from an original script by Paul Fraser, whose credits include HEARTLANDS and A ROOM FOR ROMEO BRASS, they’ve crafted what promises to be the definitive account of a feud that was ostensibly about professional standards but revealed itself to be something far more visceral. This was two strong personalities whose rivalry became so consuming that it ultimately surpassed their shared love of football, leaving careers damaged and a nation divided in its loyalties. The supporting cast amplifies the drama with Alice Lowe from SIGHTSEERS, Jamie Beamish of DERRY GIRLS fame, Alex Murphy known for THE YOUNG OFFENDERS, Harriet Cains from BRIDGERTON, and Peter McDonald who appeared in THE BATMAN. Their presence suggests a film that understands this wasn’t just about two men in a room—it was about the ripple effects of conflict, the teammates caught in the crossfire, and the wider Irish community watching their World Cup dreams threatened by internal combustion. SAIPAN promises to be thrilling not because of what happened on the football field, but because of the human drama that nearly derailed everything before a single match was played. Instagram Youtube [...]
October 16Row K’s acquisition of U.S. distribution rights for the CLIFFHANGER reboot might have made headlines just last month, but now there’s something concrete for audiences to mark on their calendars: August 28, 2026. That’s when Pierce Brosnan and Lily James will take moviegoers back to the treacherous peaks that made the original such a white-knuckle experience, though this time the story ventures into entirely new territory while honoring the spirit that made Sylvester Stallone’s 1993 thriller so memorable. Brosnan’s casting as Ray Cooper represents a fascinating evolution for an actor who’s spent decades proving he’s far more than just James Bond. Here he plays a seasoned mountaineer who’s traded the adrenaline of professional climbing for running a luxury chalet in the Dolomites alongside his daughter Naomi, a role that allows him to tap into the weathered gravitas and physical capability he’s demonstrated in recent years while adding layers of paternal protection and hard-won survival instincts. What begins as a routine weekend excursion with a billionaire’s son quickly descends into violence when kidnappers set their sights on the group, and it’s Brosnan’s Cooper who must draw on every ounce of his mountain expertise to protect those under his care. But the real story belongs to Naomi, who finds herself fleeing into the unforgiving mountains, forced to confront not only the armed pursuers hunting her down but also the psychological demons left behind by a tragic climbing accident that still haunts her. It’s a setup that transforms the franchise from a straightforward action spectacle into something more intimate and psychologically complex, with survival becoming as much an internal battle as an external one, and it positions Brosnan not as the invincible hero but as a father watching his daughter face impossible odds. The choice to center this reboot around Brosnan rather than casting a younger action star signals a deliberate shift in tone and approach. At this stage of his career, Brosnan brings a complexity and world-weariness that a conventional action lead couldn’t match, suggesting that Cooper’s mountain expertise comes with its own history of losses and near-misses. Director Jaume Collet-Serra brings his proven thriller instincts to a script crafted by Ana Lily Amirpour, Sasha Penn, Mark Bianculli, and Melanie Toast, and early reactions from the production suggest they’ve struck that delicate balance between honoring the original and forging their own path. James herself has expressed genuine enthusiasm about what they’ve created, noting during the editing process that while the reimagining takes unexpected turns, it preserves all the gripping glory that made audiences clutch their armrests the first time around. That confidence from someone inside the production is reassuring, especially for a franchise that carries significant nostalgic weight for action fans who remember the original’s impact, and it suggests that Brosnan’s presence elevates the material beyond simple spectacle. And that impact was considerable. The original CLIFFHANGER arrived at a crucial moment for Stallone, who desperately needed a win after the consecutive disappointments of OSCAR and STOP! OR MY MOM WILL SHOOT had left his box office credibility in question. The high-altitude action thriller delivered exactly what he needed, proving he could still command the screen in a physically demanding role while working with spectacular locations and death-defying stunts. The success was significant enough that a sequel immediately went into development, with plans for Stallone’s Gabe Walker to face off against terrorists who’d seized control of the Hoover Dam. But that follow-up languished in development hell for years, the concept never quite coming together, until the decision was finally made to reboot the entire franchise rather than continue the original storyline. Now, over three decades later, that reboot is finally ready to test whether modern audiences still crave the particular brand of vertigo-inducing terror that made the franchise a phenomenon in the first place, and whether Brosnan can bring the same kind of desperate intensity to the mountains that Stallone once did, albeit filtered through a very different kind of character and a very different moment in cinema history. Instagram Youtube [...]
October 15Brendan Gleeson brings warmth and depth to the role of Alisdair Macdonald in the 2025 biographical drama H IS FOR HAWK, a film that marks another significant chapter in the Irish actor’s recent career resurgence. Based on Helen Macdonald’s acclaimed 2014 memoir, the film stars Claire Foy as Helen and explores the profound bond between daughter and father through the lens of grief and memory. When Helen loses her beloved father suddenly, she turns to an unlikely source of solace: training a goshawk named Mabel. Through this unusual act of mourning, the film weaves together present-day scenes of Helen’s struggle with loss and tender flashbacks of Alisdair sharing his passion for nature and birding with his daughter, moments that Gleeson imbues with genuine tenderness. What makes Gleeson’s performance particularly resonant is the personal connection he brought to the material. During the film’s promotional tour, he opened up about how the role allowed him to portray something he felt had become increasingly rare in contemporary cinema: a father who is emotionally present, loving, and nurturing. Gleeson didn’t hold back in expressing his frustration with the current landscape of on-screen fatherhood, admitting he had grown tired of seeing fathers consistently depicted as toxic or emotionally stunted. His comments struck a chord with many viewers who recognized the same pattern, and he advocated passionately for more celebratory representations of fatherhood in film. For Gleeson, playing Alisdair wasn’t just another role but an opportunity to honor the kind of father he believes deserves to be seen more often on screen. This performance comes at a time when Gleeson has been carefully selecting projects that showcase his range beyond the intense, often darker characters that defined much of his earlier work. H IS FOR HAWK allows him to demonstrate the subtlety and emotional intelligence that have always been hallmarks of his craft, proving once again why he remains one of the most respected actors of his generation. The film itself has resonated with audiences precisely because of performances like Gleeson’s, which ground the story’s more fantastical elements in genuine human emotion. His Alisdair becomes not just a memory but a presence that lingers throughout the film, shaping Helen’s journey and reminding viewers of the lasting impact of paternal love. Instagram Youtube [...]
October 10Netflix has just dropped the trailer for BALLAD OF A SMALL PLAYER, and it promises to be a tense exploration of desperation and moral decay set against the neon-lit backdrop of Macau. Colin Farrell stars as Brendan Reilly, an Irish fugitive who has fled to what the film calls “the gambling capital of the universe,” where he’s reinvented himself under the alias Lord Doyle. The footage reveals a man living on borrowed time and borrowed identities, his past rapidly catching up with him in the form of Tilda Swinton’s steely investigator. She confronts him with accusations that cut straight to the bone: he’s stolen a substantial amount of money from her client, described pointedly as “a helpless old woman.” Swinton delivers what might be the film’s thesis statement when she tells Doyle, “What I see is a man way beyond any redemption,” a judgment that seems both brutal and accurate given what unfolds. Rather than face the consequences, Doyle plunges deeper into the very vice that likely contributed to his downfall, embarking on a frantic gambling spree in a desperate attempt to win enough to settle his mounting debts and those of his love interest, a casino employee played by Fala Chen. It’s a classic spiral, the kind where each attempt to escape only tightens the noose, and Netflix seems to be banking on Farrell’s ability to make us watch a man destroy himself in real time with the kind of intensity that makes you unable to look away. Instagram Youtube [...]
October 9Saoirse Ronan, fresh off her powerful performance in THE OUTRUN and her striking turn in Steve McQueen’s BLITZ, is reportedly set to take on one of the most intriguing supporting roles in what promises to be cinema’s most ambitious musical undertaking in years. Multiple sources have confirmed to Deadline that the four-time Oscar nominee will portray Linda McCartney in Sam Mendes’ audacious THE BEATLES – A FOUR-FILM CINEMATIC EVENT, reuniting her with Paul Mescal, her co-star from the sci-fi drama FOE, who will play Paul McCartney himself. Though Sony has remained tight-lipped about official confirmations, the casting represents a fascinating continuation of Ronan’s recent trajectory through increasingly complex, layered women who defy simple categorization. The timing couldn’t be more intriguing for Ronan, who has been on a remarkable creative tear following her career-defining work in LITTLE WOMEN and LADY BIRD. She recently led the dark comedy BAD APPLES, which premiered at the Toronto Film Festival to strong notices, and has already lined up another major project with Austin Butler in DEEP CUTS, a music drama adapted from Holly Brickley’s debut novel. Taking on Linda McCartney allows Ronan to inhabit yet another woman who existed at the intersection of art, activism, and intense public scrutiny, a photographer turned musician turned animal rights crusader who met Paul in 1967 and remained his partner until her death from cancer in 1998. Linda’s evolution from behind-the-camera artist to member of Wings to vegetarian cookbook author and successful food entrepreneur offers Ronan the kind of multidimensional character she’s consistently gravitated toward throughout her career. Mendes has been obsessed with cracking the Beatles story for years, finally landing on the revolutionary concept of four separate films, each following a different band member’s perspective on the same seismic cultural moment. Barry Keoghan will embody Ringo Starr, Joseph Quinn takes on George Harrison, and Harris Dickinson, riding high from acclaim for his directorial debut URCHIN, has called the prospect of playing John Lennon “frightening” in interviews. Ringo Starr himself has been involved in the process, meeting with Mendes to request script changes and recently stating he’s now “much more satisfied with how he’s depicted,” suggesting the project has the blessing of the surviving Beatles. The scripts are being crafted by a powerhouse trio of writers: Jez Butterworth, Peter Straughan, and Jack Thorne, each bringing their own distinctive sensibility to what Mendes has described as an epic story that still has “plenty left to explore” for a new generation. For Ronan, stepping into Linda’s world means portraying not just a musician’s wife but a creative force in her own right, someone who shaped Paul’s post-Beatles life as profoundly as the band shaped music itself. Instagram Youtube [...]
October 8Cillian Murphy is riding a remarkable wave of momentum that shows no signs of slowing down. With his latest film STEVE arriving on Netflix on October 3, Murphy has been making the rounds to promote the project, but it’s what he revealed about his next venture that has fans of a certain Birmingham gangster absolutely buzzing with anticipation. During a recent appearance on The Graham Norton Show, Murphy confirmed that THE IMMORTAL MAN, the highly anticipated Peaky Blinders spin-off film, has wrapped production and will hit screens in 2026. When Norton pressed him about exactly when the movie would be “in the world,” Murphy kept it simple but definitive: next year. The news marks a triumphant return for Murphy to the role that defined a generation of television, Tommy Shelby, the razor-blade-capped crime boss whose signature undercut haircut became a cultural phenomenon. Murphy didn’t hold back his feelings about that particular style choice, calling it “so disgusting, really,” and explaining that the harsh shave was historically rooted in practicality rather than fashion—specifically, it was done to prevent lice infestations among working-class men of the era. Despite Murphy’s distaste, the look became one of the most copied hairstyles of the 2010s, cementing the show’s influence beyond the screen. THE IMMORTAL MAN reunites Murphy with Peaky Blinders creator Steven Knight, who penned the screenplay, and assembles an impressive ensemble cast including Barry Keoghan, Stephen Graham, and Sophie Rundle. This film represents a crucial chapter in Murphy’s recent career trajectory, coming on the heels of his Oscar-winning performance in OPPENHEIMER and positioning him as one of the most compelling actors working today. The transition from prestige streaming drama to feature film demonstrates not only the enduring power of the Peaky Blinders franchise but also Murphy’s ability to command both intimate character studies and sprawling ensemble pieces with equal magnetism. Instagram Youtube [...]
October 6Cillian Murphy has never been one to chase the spotlight, but lately, the spotlight refuses to let him go. Fresh off his Academy Award win for OPPENHEIMER, the Irish actor is already deep into his next transformation, this time as a struggling teacher in Netflix’s reform school drama STEVE. It’s a deliberately unglamorous role, the kind Murphy gravitates toward when everyone else expects him to capitalize on his newfound Hollywood heat with something flashier, more commercial, more obvious. Murphy’s approach to his craft has always been about stripping away rather than adding on. Even after the cultural earthquake that was OPPENHEIMER, a film that dominated conversations from red carpets to college campuses and turned a three-hour historical drama about theoretical physics into an unlikely box office juggernaut, he remains fundamentally unchanged. That Christopher Nolan collaboration, their sixth together spanning over two decades, didn’t just earn Murphy his first Oscar; it cemented a creative partnership that has become one of modern cinema’s most fascinating ongoing experiments in trust and transformation. The director-actor relationship between Nolan and Murphy is built on something rare in an industry obsessed with brands and franchises: genuine artistic curiosity. From Murphy’s early days playing Scarecrow in BATMAN BEGINS to the haunted soldier in DUNKIRK, Nolan has consistently seen past the piercing blue eyes and sharp cheekbones to find something darker, more complex, more interesting. OPPENHEIMER was simply the fullest expression of that vision, giving Murphy the space to inhabit J. Robert Oppenheimer’s brilliance and moral anguish in ways that felt both intimate and epic. Now, with STEVE, Murphy returns to smaller-scale storytelling, playing an educator navigating the chaos and heartbreak of a last-chance British reform school. It’s the kind of role that asks him to be human-sized again, to find drama in classrooms and corridors rather than in the fate of nations. For an actor who started his journey in Cork, Ireland, dreaming of music careers before stumbling into theater, this oscillation between the monumental and the modest feels entirely natural. Murphy has never forgotten that acting, at its core, is about connection, about finding the universal in the specific, whether you’re playing the father of the atomic bomb or a teacher trying to reach troubled kids. The OPPENHEIMER phenomenon was something else entirely, though, a reminder that sometimes the right film arrives at exactly the right moment. It became more than a movie; it was a cultural event that sparked debates about science, morality, and responsibility, that had people reading biographies and revisiting history, that proved audiences still hunger for ambitious, intelligent cinema. Murphy rode that wave with characteristic grace, accepting his Oscar with quiet gratitude, never letting the noise distort who he is or what he values. What makes Murphy’s recent trajectory so compelling is his refusal to be defined by any single success. The Oscar sits on a shelf somewhere, sure, but he’s already moved on, already searching for the next character who will demand something different from him. STEVE represents that search, a deliberate pivot away from prestige and toward the messy, unglamorous work of portraying ordinary lives under extraordinary pressure. It’s Murphy reminding everyone that the work matters more than the recognition, that transformation is the point, not the podium. In an era when most actors leverage an Academy Award into franchises and paydays, Murphy is doing something quietly radical: he’s staying curious, staying hungry, staying true to the instincts that brought him from Cork music venues to Hollywood’s biggest stages. The partnership with Nolan will likely continue; their creative chemistry is too rare to abandon. But Murphy isn’t waiting around for the next prestige project to validate him. He’s already in the classroom with STEVE, already finding new ways to disappear into someone else’s skin, already proving that the best response to extraordinary success is simply to keep working, keep searching, keep becoming. Instagram Youtube [...]
September 26The Gothic revival is upon us, and Maggie Gyllenhaal is leading the charge with her most ambitious directorial effort yet. Five years after her acclaimed debut THE LOST DAUGHTER established her as a filmmaker to watch, Gyllenhaal returns with THE BRIDE!, a creature feature that promises to breathe new life into Mary Shelley’s immortal creation while exploring entirely uncharted territory in the Frankenstein mythology. Where countless adaptations have focused on the mad scientist or his monstrous creation, Gyllenhaal’s vision shifts the spotlight to perhaps the most intriguing character of all: the Bride herself. Drawing loose inspiration from James Whale’s 1935 masterpiece BRIDE OF FRANKENSTEIN, this bold reimagining transplants the story to 1930s Chicago, where Frankenstein’s monster seeks out Dr. Euphronious with a desperate request for companionship. The choice of setting is no accident—the Great Depression era provides the perfect backdrop for exploring themes of identity, transformation, and what it means to be human in a world that constantly reshapes itself. The journey to bring THE BRIDE! to life has been as tumultuous as the story itself. Originally slated for autumn 2025, the film weathered the storm of 2023’s industry-wide strikes, Netflix’s budget concerns, and a studio shuffle that ultimately landed the project at Warner Bros. Yet these delays may have been a blessing in disguise, allowing Gyllenhaal to realize her vision of shooting in New York City and craft what promises to be a more personal, intimate take on the classic tale. The film’s recently released trailer hints at a story that transcends typical monster movie tropes, suggesting a deeper examination of identity and belonging that resonates with contemporary anxieties. As the Bride awakens to consciousness, her journey of self-discovery mirrors the broader social upheaval of the 1930s, creating a compelling parallel between personal and societal transformation. With a March 6, 2026 release date now locked in, THE BRIDE! represents more than just another Gothic horror adaptation. It’s Gyllenhaal’s statement that classical literature still has profound things to say about modern life, filtered through the lens of a filmmaker unafraid to challenge both genre conventions and audience expectations. In an era saturated with franchise filmmaking and familiar formulas, THE BRIDE! promises to be that rare creature: something genuinely unexpected. Instagram Youtube [...]
September 22Cillian Murphy is on an unstoppable roll. The Irish actor has delivered three consecutive powerhouse performances that showcase not just his exceptional range, but his evolution into one of cinema’s most compelling character actors. From his Oscar-winning portrayal in OPPENHEIMER to the quietly devastating SMALL THINGS LIKE THESE, and now with his latest offering STEVE, Murphy has carved out a remarkable niche playing men wrestling with internal pressure and moral complexity. STEVE represents perhaps Murphy’s most intimate project yet, both as an actor and as a producer through his company Big Things Films. Adapted from Max Porter’s novella Shy, the film follows a head teacher at a last-chance school for young offenders, a man consumed by his mission to help troubled youth while battling his own deteriorating mental state. It’s a role that allows Murphy to explore themes of masculinity, mental health, and the weight of responsibility with his characteristic subtlety and emotional intelligence. What makes Murphy’s recent career trajectory so fascinating is how he’s surrounded himself with trusted collaborators, creating a creative ecosystem that consistently produces meaningful work. His partnership with author Max Porter began with the stage adaptation of Grief is the Thing with Feathers and has blossomed into multiple film projects. Director Tim Mielants, who helmed both SMALL THINGS LIKE THESE and STEVE, has become another key creative ally, while actors like Emily Watson have appeared across multiple Murphy productions. The decision to make Steve Irish rather than English, as written in Porter’s original novella, speaks to Murphy’s instinct for authentic storytelling. By removing what he calls “one other kind of veil,” Murphy creates space for a more naturalistic performance while highlighting the reality of Irish educators working throughout the UK. This choice reflects his growing confidence as both performer and producer in shaping narratives that resonate with personal truth. Murphy’s transition into producing has revealed another dimension of his artistic identity. Through Big Things Films, partnered with experienced producer Alan Moloney, he’s discovering a passion for the technical aspects of filmmaking that actors rarely experience. From grading to scoring to sound mixing, Murphy describes the post-production process as “magic dust,” finding particular satisfaction in bringing together talented collaborators and watching creative sparks fly. The personal resonance of STEVE runs deep for Murphy, whose family background in education only became apparent to him during the production process. As he reflects on his childhood surrounded by teachers and his own children’s school experiences, the project became a meditation on the profound impact educators have on young lives. This isn’t just professional growth for Murphy; it’s artistic maturation, where life experience informs creative choices in increasingly sophisticated ways. With THE IMMORTAL MAN, the upcoming Peaky Blinders film, on the horizon, Murphy shows no signs of slowing down. His recent work demonstrates an actor at the peak of his powers, choosing projects that challenge both himself and audiences while building a sustainable creative community around meaningful storytelling. In an industry often driven by spectacle and franchise thinking, Murphy’s approach feels refreshingly human-scaled and emotionally honest. STEVE arrives at a moment when Murphy has fully embraced his role as both interpreter and creator of complex narratives about modern masculinity and moral responsibility. It’s a film that earns its emotional impact through careful character work rather than dramatic flourishes, perfectly suited to an actor who has mastered the art of saying everything while appearing to say very little. This is Murphy at his finest, continuing a remarkable creative streak that positions him among the most essential actors of his generation. Instagram Youtube [...]
September 18The stage is set for another Irish triumph at the Academy Awards as HAMNET, starring powerhouse performers Jessie Buckley and Paul Mescal, claimed the coveted People’s Choice Award at the Toronto International Film Festival this week. This prestigious honor has historically served as a reliable predictor of Oscar success, with previous winners like CHARIOTS OF FIRE, THE PRINCESS BRIDE, and SLUMDOG MILLIONAIRE all going on to capture Academy Award nominations. Director Chloé Zhao has crafted something extraordinary in her adaptation of Maggie O’Farrell’s acclaimed 2020 novel, transporting audiences to 16th century England to witness one of literature’s most devastating personal tragedies. The film centers on the death of William Shakespeare’s 11-year-old son Hamnet, but this isn’t merely another biographical portrait of the Bard. Instead, Zhao has made the bold choice to focus the narrative through the eyes of Agnes, Shakespeare’s wife, brilliantly portrayed by Kerry native Jessie Buckley, who infuses the film with remarkable warmth and emotional depth. Paul Mescal, the Kildare-born actor who has rapidly become one of Ireland’s most compelling screen presences, takes on the formidable challenge of embodying Shakespeare himself. Yet as festival organizers noted, this Shakespeare isn’t presented as an untouchable literary genius but as a real man whose creative brilliance was fundamentally shaped by domestic tragedy and personal loss. The film boldly rejects the historical tendency to dismiss child mortality in the 16th century as commonplace, instead examining how such profound grief would have impacted both the playwright’s work and his marriage. What emerges is a deeply human story that challenges our understanding of one of history’s greatest writers while showcasing the extraordinary talents of two Irish actors at the height of their powers. Buckley, whose career has been marked by fearless performances across stage and screen, finds new depths in Agnes, a woman whose story has too often been overshadowed by her husband’s literary legacy. Meanwhile, Mescal continues his remarkable ascent following his breakthrough in NORMAL PEOPLE, proving his ability to inhabit complex historical figures with the same emotional authenticity that made him a household name. The Toronto victory positions HAMNET as a serious contender for the upcoming awards season, with both lead performances likely to generate significant buzz among Academy voters. As the film prepares for its November 27 theatrical release, it represents not just another potential Irish success story at the Oscars, but a thoughtful exploration of how personal tragedy can transform artistic genius, told through the lens of a marriage tested by unimaginable loss. Instagram Youtube [...]
September 17Paul Mescal strolls through London’s Highbury Fields with the easy confidence of someone who has found his rhythm in an industry notorious for grinding down its brightest stars. Sunglasses perched casually on his face, his signature mullet catching the afternoon light, he moves with an unhurried spring in his step that speaks to a man genuinely at peace with his meteoric rise. The 28-year-old Irish actor, fresh from his starring role in HAMNET, has just wrapped a candid conversation with Rolling Stone that reveals as much about his grounded perspective as it does about his soaring career trajectory. The meeting spot he chose—a pub called the Famous Cock—elicits a characteristic laugh from Mescal. “Ha! It’s pretty identifiable, isn’t it?” The choice feels emblematic of an actor who refuses to take himself too seriously despite now being considered one of Hollywood’s most promising talents. As he navigates the park paths, nodding respectfully to elderly gentlemen and playfully weaving around strollers, there’s something remarkably unaffected about his presence. This is a movie star who still finds joy in the simple act of walking through a neighborhood he’s grown to love. Since breaking through with his raw, emotionally devastating performance in NORMAL PEOPLE, Mescal has built a career defined by both artistic integrity and surprising versatility. His recent turn in HAMNET showcased his ability to inhabit complex historical narratives, while earlier roles in films like AFTERSUN proved his capacity for intimate, contemporary storytelling. Each project seems carefully chosen, reflecting an actor more interested in depth than breadth, substance over spectacle. But it’s his upcoming challenge that truly captures the scope of his ambition. Mescal is currently deep in rehearsals to portray Paul McCartney in Sam Mendes’ ambitious quartet of Beatles biopics, slated for release in 2028. The role represents not just a career pinnacle but a chance to embody one of his genuine heroes. “I’ve met him a couple of times. I adore him. I think he changed the world,” Mescal says of McCartney with an enthusiasm that transcends professional obligation. The preparation for such an iconic role has given Mescal something he didn’t expect to appreciate: structure. “It’s a version of a weird 9-to-5, and I thought I would hate that and I actually am loving that. I do like structure a lot. I like a plan. I like rehearsals.” For an actor who admits that “everybody—everybody?—wants to be in a musical,” the McCartney project represents the perfect convergence of his passions for music, performance, and storytelling. Mescal’s love affair with music runs deep, extending far beyond professional requirements. He speaks with genuine reverence about “music with a context,” Irish folk traditions, and the Beatles’ transformative impact on popular culture. This isn’t the casual name-dropping of a celebrity trying to appear cultured—it’s the sincere appreciation of someone who understands music as both art form and cultural force. Instagram Youtube [...]
September 16There’s something almost mystical about watching two actors discover their chemistry in real time. When Margot Robbie and Colin Farrell sat down to promote Kogonada’s latest romantic fantasy A BIG BOLD BEAUTIFUL JOURNEY at the Four Seasons in Beverly Hills last Thursday, the spark between them was undeniable—the kind of connection that transcends mere professionalism and enters the realm of pure creative magic. “I suspected we would have chemistry, but you never know until you’re actually acting,” Robbie confessed, her eyes lighting up as she recalled their first scenes together. “But I had a suspicion it would work.” That suspicion proved prophetic. The fire between these two performers burns bright throughout the film, creating an emotional landscape that feels both intimate and expansive. In A BIG BOLD BEAUTIFUL JOURNEY, Robbie and Farrell embody Sarah and David, two strangers whose lives intersect through the most unlikely of circumstances—a mysterious rental car agency that seems to operate outside the normal rules of reality. What begins as a simple transaction evolves into something far more profound when their talking GPS guides them through doorways that serve as portals to their past selves, forcing them to confront the pivotal moments that shaped who they’ve become. The premise might sound fantastical, but in Kogonada’s hands, it becomes a meditation on connection, memory, and the invisible threads that bind us to our histories and to each other. As Sarah and David journey backward through time to revisit their childhoods, they’re not just observers of their past—they’re active participants in understanding how those formative experiences created the adults they are today. Robbie and Farrell’s performances anchor this time-bending narrative with remarkable authenticity. Their chemistry isn’t just romantic—it’s deeply human, built on the shared vulnerability of two people brave enough to examine their deepest truths together. In a world where so many films rely on manufactured emotions and forced connections, A BIG BOLD BEAUTIFUL JOURNEY offers something increasingly rare: genuine intimacy born from two actors completely committed to the emotional journey their characters must take. Instagram Youtube [...]
September 13When Paul Mescal and Josh O’Connor sat down for Entertainment Weekly’s LIE vs LIE segment, what started as promotional fun for their new film THE HISTORY OF SOUND quickly spiraled into something far more revealing and uncomfortable than either actor likely anticipated. The premise was simple enough: two co-stars, a handful of prompts, and the challenge of weaving truth and fiction so seamlessly that even they couldn’t tell where reality ended and fabrication began. But when Mescal was asked to share a fan encounter that stuck with him, the Irish actor launched into a story that had O’Connor—and viewers—questioning not just its veracity, but its appropriateness for a lighthearted promotional game. Mescal painted the scene with uncomfortable precision: London’s stage door after a performance of A STREETCAR NAMED DESIRE, where he found himself posing for photos with fans, as actors do. Enter a woman in her fifties with her daughter, both enthusiastic about his work in NORMAL PEOPLE and his theatrical performance that evening. What happened next, according to Mescal’s account, crossed boundaries in a way that left him unsettled enough to remember it months later. The telling detail wasn’t just in Mescal’s words, but in his need to physically demonstrate the encounter, asking O’Connor’s permission before placing hands on him to recreate whatever inappropriate gesture this alleged fan had made. The moment crystallized the strange intimacy that actors develop while promoting films together—the way they become comfortable enough to use each other’s bodies as props for storytelling, yet still maintain enough respect to ask permission first. This blend of professional intimacy and personal boundaries runs through THE HISTORY OF SOUND itself, the romantic drama that brought these two actors together in the first place. Opening Friday, the film follows Lionel and David, two men whose connection deepens from their shared studies at the Boston Conservatory to an expedition collecting folk songs in rural Maine after World War I. It’s a story about artistic passion, emotional discovery, and the kind of profound male friendship that existed in an era when such relationships operated in spaces between spoken and unspoken understanding. The film premiered at Cannes in May to inevitable comparisons with BROKEBACK MOUNTAIN, a parallel that clearly frustrates Mescal. His dismissal of the comparison as “lazy” reveals an actor protective of his work’s unique identity, refusing to let it be reduced to surface similarities. As he pointed out in press conference footage, while both films feature men in outdoor settings, THE HISTORY OF SOUND moves in the opposite direction from BROKEBACK MOUNTAIN’s exploration of repression, instead celebrating openness and artistic expression. Perhaps that’s what makes Mescal’s fan encounter story so compelling within the context of promoting this particular film. Whether true or fabricated for the game, it speaks to the way public figures navigate inappropriate attention while trying to remain accessible to genuine admirers. The story becomes a small mirror of the film’s larger themes about connection, boundaries, and the courage required to be authentic in a world that doesn’t always know how to respond appropriately. O’Connor, for his part, had to sit there and determine whether his co-star was telling the truth or spinning an elaborate fiction, just as audiences will have to decide what they believe about the characters these actors bring to life in THE HISTORY OF SOUND. The real game wasn’t lie versus lie, but the more complex challenge of distinguishing between different kinds of truth—the literal and the emotional, the factual and the essential. In the end, whether Mescal’s fan story actually happened matters less than what it reveals about the strange territory actors occupy, somewhere between public and private, accessible yet vulnerable, always performing even when they’re supposedly just being themselves. Instagram Youtube [...]
September 11The moment Cillian Murphy’s name echoed through the Dolby Theatre at the 2024 Academy Awards, it marked the culmination of a remarkable career transformation that few could have predicted. The Irish actor, who had spent decades crafting nuanced performances in both independent films and mainstream blockbusters, finally received Hollywood’s highest honor for his devastating portrayal of J. Robert Oppenheimer in Christopher Nolan’s biographical masterpiece OPPENHEIMER. In this week’s conversation with Stephen Colbert, Murphy reflected on that surreal Oscar night experience, describing the disorienting sensation of hearing his name called after years of being considered one of the industry’s most underrated talents. The win wasn’t just personal vindication—it represented a seismic shift in how Hollywood recognizes complex, cerebral performances over traditional leading man heroics. Murphy’s journey to Oscar gold began long before OPPENHEIMER, but his recent career trajectory has been nothing short of extraordinary. His six-season run as Tommy Shelby in PEAKY BLINDERS established him as a magnetic screen presence capable of carrying a series through sheer intensity and charisma. The show’s global success on Netflix introduced Murphy to audiences who had previously known him primarily through his collaborations with Nolan in THE DARK KNIGHT trilogy, INCEPTION, and DUNKIRK. What makes Murphy’s recent ascendance so compelling is how he’s leveraged his newfound mainstream recognition while maintaining his commitment to challenging material. OPPENHEIMER demanded an actor capable of embodying both scientific brilliance and moral complexity, someone who could make the father of the atomic bomb simultaneously sympathetic and terrifying. Murphy’s gaunt frame and piercing blue eyes became the perfect vessel for Oppenheimer’s tortured genius. The timing of Murphy’s Oscar triumph coincides perfectly with his next project, STEVE, which arrives in select theaters on September 19th before streaming on Netflix October 3rd. This strategic release pattern reflects how the industry now recognizes Murphy as both a critical darling and a commercial draw, someone whose name alone can anchor a prestige project across multiple platforms. Murphy’s recent career renaissance proves that sometimes the most profound success comes to those who refuse to compromise their artistic integrity for easy wins. His Academy Award wasn’t just recognition for a single performance—it was Hollywood finally catching up to what discerning viewers have known for years: that Cillian Murphy represents the very best of contemporary screen acting. Instagram Youtube [...]
September 9Paul Mescal has become cinema’s most compelling young actor by choosing projects that blur the line between fiction and profound emotional truth. Fresh from his Oscar-nominated performance in AFTERSUN, Mescal is now stepping into the world of William Shakespeare with HAMNET, a film that he describes as feeling “almost like a documentary” despite being entirely fictional. Standing on the red carpet at the Toronto International Film Festival, Mescal spoke with the conviction of an actor who has found his artistic north star. HAMNET, based on Maggie O’Farrell’s bestselling novel and adapted by O’Farrell alongside director Chloé Zhao, tells the story of Shakespeare’s marriage to Agnes and the devastating death of their son Hamnet—the tragedy that would inspire the playwright to create HAMLET. It’s a narrative built on historical fragments and imaginative reconstruction, yet Mescal believes it captures something essential about the creation of one of literature’s greatest works. “This book and this script and this film is the closest thing to me that makes sense out of how we got the play HAMLET,” Mescal explained. “It’s fiction, but to me it feels like almost a documentary in terms of how do we make sense out where this piece of art came from.” This perspective reveals something crucial about Mescal’s approach to his craft—his ability to find documentary-like truth in fictional narratives, the same quality that made his portrayal of a grieving father in AFTERSUN so devastatingly authentic. The project came to life through Mescal’s own advocacy. After reading O’Farrell’s novel, originally published in Canada as “Hamnet and Judith,” he convinced Zhao to take on the adaptation. This kind of creative initiative marks Mescal as more than just a performer; he’s becoming a curator of meaningful cinema, someone who recognizes stories worth telling and has the clout to see them realized. HAMNET had its world premiere at the Telluride Film Festival before arriving at TIFF, where it’s already generating Oscar buzz. Much of that attention focuses on Jessie Buckley’s portrayal of Agnes, Shakespeare’s wife—a woman who has remained largely invisible in historical accounts despite being central to the playwright’s emotional life. Buckley, who has performed in multiple Shakespeare plays including THE TEMPEST, THE WINTER’S TALE, and ROMEO AND JULIET, brings a unique understanding to the role. “He’s such a potent spectre in a lot of our lives and never really has been explored to see who the woman might be behind his language and the world that he creates,” Buckley reflected. Her performance promises to illuminate the mysterious figure who lived alongside literature’s most celebrated writer, and she believes the role will influence any future Shakespearean work she undertakes: “Having touched the edges of what that might be, I think if I was ever to play another great female Shakespearean character, she’d definitely be in the bloodstream somewhere there.” For Mescal, HAMNET represents another bold choice in a career defined by emotional intelligence and artistic risk-taking. From the intimate grief of AFTERSUN to the epic scale of GLADIATOR II, and now to the intimate historical drama of HAMNET, he continues to seek projects that explore the deepest human experiences. His belief that HAMNET feels like a documentary speaks to his commitment to finding truth in storytelling, even when—perhaps especially when—the historical record remains silent. As scholars know, Shakespeare did have a son named Hamnet who died before HAMLET was written, but there’s no definitive record of how one influenced the other. That gap in history becomes fertile ground for imagination, and in Mescal’s hands, that imagination becomes a vehicle for exploring how art emerges from the most profound personal losses. It’s exactly the kind of project that suits an actor who has made his reputation by finding the universal in the deeply personal, turning every performance into an exploration of what it means to be human. Instagram Youtube [...]
September 6The strobing lights have dimmed, the bass has faded, but the journey for INTO THE SILENCE has only just begun. What started as a vision of Ireland’s transformative acid house movement has evolved into a powerful 10-minute and 59-second exploration of trauma, healing, and the redemptive power of music that’s now captivating audiences across the festival landscape. The film’s premiere at Windmill Studio on July 17th felt like the perfect crescendo to months of passionate work. With over 200 cast, crew members, and supporters filling the venue, the energy in the room was electric—reminiscent of the very rave culture the film celebrates. Seeing Daniel Soluns, Louis Martin, Conor Hackett, and Ruth Hayes watch their performances unfold on the big screen alongside the creative team was a moment that crystallized why we tell these stories in the first place. From there, INTO THE SILENCE found its way to the outdoor setting of the Mallow Arts Festival in July, where the film’s themes of music as sanctuary resonated under the open sky. There’s something poetic about screening a film that explores the healing power of creativity in a festival environment where art becomes communal experience, where strangers gather to share in something larger than themselves. Now, as we await responses from IndieCork, Waterford, Kerry, and other festivals, we’ve received confirmation that INTO THE SILENCE has been officially selected for the 16th Underground International Film Festival, running September 6th through 9th at the Royal Marine Hotel. The film will be featured in Shorts Program 5, placing it among a carefully curated selection of independent voices that dare to explore the complexities of human experience. At its core, INTO THE SILENCE follows Bastien, a young DJ navigating Ireland’s 1990s acid house scene, as he confronts the echoes of a life-altering event that threatens to silence his passion forever. But this isn’t just a story about music or rave culture—it’s about the intricate dance between trauma and healing, between the creative force that drives us and the darkness that sometimes seeks to extinguish it. The film deliberately explores how music becomes more than entertainment for Bastien; it transforms into a coping mechanism, a sanctuary, an ode to friendship lost and a bridge back to life itself. Through his journey, we witness the duality that defines so much of human experience—the passion of creation existing alongside the very real dangers of the world that inspires it, the healing power of art balanced against the chaos from which it emerges. What makes INTO THE SILENCE resonate isn’t just its authentic portrayal of Ireland’s underground music scene, but its universal exploration of how we rebuild ourselves after loss. Bastien’s story speaks to anyone who has ever used creativity as a lifeline, who has found in art the words they couldn’t speak, the emotions they couldn’t otherwise express. The film reveals how the act of creation—whether mixing tracks in a dimly lit club or crafting a story for the screen—can become a form of resurrection. As INTO THE SILENCE continues its festival journey, each screening becomes its own kind of performance, its own moment of connection between the story we’ve told and the audiences who receive it. The underground cinema scene, much like the rave culture the film explores, thrives on these intimate gatherings where art meets audience in spaces designed for discovery and transformation. The festival circuit represents more than just opportunities for recognition—it’s where independent films find their tribe, where stories that might otherwise remain unheard discover the communities that need them most. For INTO THE SILENCE, each festival becomes another venue where Bastien’s journey can resonate, where the themes of resilience, recovery, and the healing power of creativity can find new audiences ready to listen. Instagram Youtube [...]
September 5In a year when cinema often feels disconnected from reality’s urgent rhythms, Irish documentary filmmaker Gar O’Rourke has delivered something extraordinary with SANATORIUM, a Ukrainian-language film that has just been selected to represent Ireland at the 98th Academy Awards in the International Feature Film category. This isn’t just another festival darling or awards season contender—it’s a masterpiece of observational cinema that transforms what could have been tragedy tourism into something far more profound and necessary. What emerges over 90 riveting minutes is a film that defies every expectation about wartime documentaries. O’Rourke opens with a manager on the roof shouting into his phone, “Igor, where the f*** are you?!” and immediately establishes that SANATORIUM will be many things, but a downer isn’t one of them. Instead, it’s strange, funny, heart-warming, and cathartic in its moments of lived poignancy—above all, it’s a tribute to human resilience that feels both specifically Ukrainian and universally recognizable. The director’s instinct for character proves impeccable. There’s the perpetually hassled boss with his sharp wit, a young woman seeking fertility treatments who has found unexpected community, and a mother-son duo whose dynamic rivals any comedy partnership you know from home. These aren’t victims or symbols—they’re fully realized people navigating an impossible summer with dignity, humor, and an almost stubborn commitment to normalcy. O’Rourke has described his vision of Kuyalnik as capturing “an intangible aura and magic within this building,” and he’s bottled exactly that. The film’s most powerful image—people taking outdoor mud baths while smoke from distant bombs rises on the horizon—encapsulates both the absurdity and the profound logic of their situation. It’s a shot that will haunt you not because of its despair but because of its defiant insistence that life, indeed, goes on. This represents a significant moment for O’Rourke’s career, showcasing his ability to find the human story within geopolitical chaos without exploitation or sentimentality. Supported by Creative Europe MEDIA’s development funding, SANATORIUM demonstrates how Irish cinema can engage with global stories while maintaining its distinctive voice and perspective. The film’s Oscar selection marks more than just international recognition—it signals Irish cinema’s growing confidence in tackling complex, urgent subjects with the sophistication they deserve. O’Rourke has created something genuinely beguiling, a documentary that makes the case for cinema’s unique power to find hope in the most unlikely places. In a world that often feels like it’s falling apart, SANATORIUM reminds us that sometimes the most radical act is simply the decision to keep going, mud baths and all. Instagram Youtube [...]
August 31Paul Mescal’s meteoric rise from the sun-drenched shores of NORMAL PEOPLE to the brutal arenas of GLADIATOR II has positioned him as one of cinema’s most compelling young talents, and his latest venture promises to showcase yet another facet of his remarkable range. In HAMNET, Chloé Zhao’s highly anticipated adaptation of Maggie O’Farrell’s acclaimed novel, Mescal takes on perhaps his most challenging role yet: William Shakespeare himself. The film, set against the backdrop of plague-ravaged 1580s England, explores the untold love story that would eventually inspire HAMLET, with Mescal embodying the legendary playwright alongside Jessie Buckley’s Agnes Shakespeare. This casting represents a bold artistic choice that builds on Mescal’s proven ability to inhabit complex historical and literary figures, following his captivating performances in AFTERSUN and his upcoming turn as Lucius in Ridley Scott’s GLADIATOR II. The recently released teaser trailer offers tantalizing glimpses of Mescal’s interpretation of the Bard, capturing intimate moments between the couple that feel both deeply personal and mythically significant. When Shakespeare asks Agnes what she saw when she touched him, her response—”I saw a landscape… spaces, caves, tunnels and oceans, undiscovered countries, deep dark black void”—suggests the film will explore the mystical, almost supernatural connection between the couple that supposedly fueled Shakespeare’s greatest works. Zhao, fresh from her Oscar-winning triumph with NOMADLAND and the divisive Marvel spectacle ETERNALS, has chosen to ground this period piece in the kind of intimate, naturalistic storytelling that made her a critical darling. Co-writing the screenplay with O’Farrell herself, Zhao appears to be returning to the contemplative, character-driven approach that defined her earlier work, while Mescal’s casting signals her confidence in his ability to carry a prestige historical drama. For Mescal, HAMNET represents another strategic step in building a filmography that balances commercial appeal with artistic credibility. His journey from Irish theater stages to international stardom has been marked by careful role selection, and his willingness to tackle Shakespeare—even a reimagined version—demonstrates his commitment to challenging material. The film deliberately blends historical fact with creative interpretation, reimagining Shakespeare’s wife Anne Hathaway as Agnes and exploring how the tragic loss of their son Hamnet might have influenced the creation of HAMLET. With powerhouse producers Sam Mendes and Steven Spielberg backing the project, and Emily Watson and Joe Alwyn rounding out the cast, HAMNET carries significant awards season weight. The film’s premiere at the Toronto International Film Festival will likely serve as Mescal’s introduction to Oscar voters, potentially positioning him as a serious contender in a year when his GLADIATOR II performance will also be generating buzz. Focus Features’ strategic release plan—select theaters November 27 followed by wide release December 12—suggests confidence in the film’s commercial and critical potential. For Mescal, who has masterfully navigated the transition from television breakthrough to film stardom, HAMNET offers the opportunity to prove he can anchor a literary adaptation with the same magnetic presence he brought to contemporary stories like AFTERSUN. As O’Farrell noted in her Instagram post sharing the first images, the film is “a beauty, from start to finish”—words that could easily describe Mescal’s career trajectory as he continues to establish himself as one of his generation’s most essential actors. Instagram Youtube [...]
August 26Colin Farrell has been quietly building one of the most compelling careers in contemporary cinema, and his upcoming collaboration with visionary director Kogonada in A BIG BOLD BEAUTIFUL JOURNEY promises to be another fascinating chapter in his artistic evolution. Set for release on September 19th, this romance fantasy finds Farrell reuniting with the director who helped showcase his dramatic range in AFTER YANG, this time opposite Margot Robbie in what could be Sony Pictures’ most emotionally ambitious film of the year. Farrell’s recent trajectory has been nothing short of remarkable. His powerhouse performance in THE BANSHEES OF INISHERIN earned him an Academy Award nomination for Best Actor, cementing his place among cinema’s elite dramatic talents. The film’s eight Oscar nominations, including Best Picture, represented a career peak for an actor who has consistently chosen substance over spectacle. But Farrell hasn’t stopped there. His recent television work has been equally impressive, bringing depth and nuance to both the neo-noir series Sugar and the gritty Gotham underworld of THE PENGUIN, proving his range extends seamlessly across mediums. A BIG BOLD BEAUTIFUL JOURNEY, penned by THE MENU writer Seth Reiss, represents Kogonada’s highest-profile project yet, and it arrives at a fascinating moment for both its leads. For Robbie, it’s her first major role since the cultural phenomenon that was BARBIE, offering her a chance to showcase her dramatic chops in a more intimate setting. For Farrell, it continues his streak of choosing projects that challenge both him and audiences, working with directors who understand that the best fantasy films are ultimately about very human truths. The film’s stellar supporting cast—including Kevin Kline, Lily Rabe, Phoebe Waller-Bridge, and Billy Magnussen—suggests a project with serious dramatic ambitions wrapped in fantastical packaging. The concept of revisiting and potentially altering our past mistakes speaks to universal human desires and regrets, the kind of emotional territory that Farrell has become masterful at navigating. What makes Farrell’s current phase so compelling is his willingness to embrace vulnerability without sacrificing his natural charisma. Whether he’s delivering heartbreaking monologues in THE BANSHEES OF INISHERIN, exploring grief and memory in AFTER YANG, or diving into genre work with his television projects, he brings a rare combination of intensity and restraint that few actors can match. His collaboration with Kogonada in A BIG BOLD BEAUTIFUL JOURNEY promises to be another opportunity for this remarkable actor to surprise us, one doorway at a time. Instagram Youtube [...]
August 25Jessie Buckley has carved out one of the most compelling career trajectories in contemporary cinema, and her latest role in HAMNET promises to be her most emotionally demanding yet. Following her Oscar-nominated performance in THE LOST DAUGHTER and her haunting work in MEN, Buckley continues to seek out projects that push both herself and audiences into uncharted emotional territory. In Chloé Zhao’s adaptation of Maggie O’Farrell’s acclaimed novel, Buckley takes on Agnes Shakespeare, the grieving mother at the heart of this intimate portrait of loss and creation. The film explores the profound love story between William Shakespeare and his wife before and after the devastating death of their son Hamnet—the boy whose name would later echo in the playwright’s greatest tragedy. Zhao, fresh off her Oscar win for NOMADLAND, brings her signature fluid directorial approach to this deeply personal story, allowing the narrative to unfold organically through her actors’ discoveries and the natural rhythms of grief. The production culminated in an extraordinary sequence filmed within a painstakingly constructed replica of Shakespeare’s Globe theater, built to 70% scale and populated with hundreds of background actors. For Buckley, stepping into this recreation of theatrical history while carrying the weight of her character’s journey proved overwhelming. “For the first two days in the Globe, I was genuinely lost. I felt untethered,” she reveals. “You’re at the mecca of where Hamlet is born—everything that we’ve gone through was culminating to this point.” The moment captures something essential about Buckley’s approach to her craft: her willingness to be genuinely vulnerable, to risk losing herself in the service of authentic emotion. This vulnerability has become Buckley’s calling card throughout her recent career evolution. From her breakout in WILD ROSE through her mesmerizing turn opposite Olivia Colman in THE LOST DAUGHTER, she has consistently chosen roles that demand complete emotional exposure. Her collaboration with Alex Garland in MEN saw her navigate psychological horror with the same fearless commitment she brings to intimate drama, establishing her as an actor unafraid of challenging material. Working alongside Paul Mescal’s William Shakespeare and supported by a cast including Joe Alwyn, Emily Watson, and Jacobi Jupe as the ill-fated Hamnet, Buckley anchors HAMNET with what Zhao describes as the film’s emotional core. The director’s faith in her improvisational process, combined with Max Richter’s evocative score, ultimately helped Buckley find her way through the character’s darkest moments. It’s this combination of artistic trust and emotional courage that has made her one of the most sought-after actors of her generation. When HAMNET arrives in theaters this November via Focus Features, expanding wide in December, audiences will witness another chapter in Buckley’s remarkable ascent. Her ability to inhabit grief, love, and resilience with equal measure suggests an actor at the height of her powers, unafraid to explore the deepest wells of human experience. In an industry often focused on surface spectacle, Buckley continues to remind us why authentic emotional storytelling remains cinema’s greatest gift. Instagram Youtube [...]
August 23After eight years of silence from one of cinema’s most revered figures, Daniel Day-Lewis is stepping back into the spotlight with ANEMONE, a deeply personal project that marks both his return to acting and a remarkable creative collaboration with his son, Ronan. The first trailer has arrived, offering our first glimpse of what promises to be one of the most compelling comebacks in recent memory. What makes ANEMONE so extraordinary isn’t just Day-Lewis’s return, but the intimate nature of the project itself. The film represents the feature debut of his 27-year-old son Ronan, who has spent his career primarily as a painter with only two short films to his credit. Together, father and son have crafted a screenplay that distributors describe as exploring “the complex and profound ties that exist between brothers, fathers, and sons.” The meta-textual implications are impossible to ignore. Set against the stark landscape of Yorkshire in the late 1980s, ANEMONE tells the story of two brothers whose lives remain haunted by their service as British paramilitaries in Northern Ireland two decades prior. It’s a premise that feels tailor-made for Day-Lewis, whose career has been defined by his ability to inhabit characters wrestling with historical trauma and moral complexity. From his Oscar-winning turns in MY LEFT FOOT, LINCOLN, and THERE WILL BE BLOOD to his unforgettable performances in THE AGE OF INNOCENCE, MY BEAUTIFUL LAUNDRETTE, and THE LAST OF THE MOHICANS, Day-Lewis has consistently chosen projects that demand both physical and emotional transformation. There’s something particularly poetic about Day-Lewis returning to acting through a project that explores father-son relationships. His own artistic legacy includes THE BALLAD OF JACK AND ROSE, a 2005 film directed by his wife Rebecca Miller, Ronan’s mother. Now, the creative circle completes itself as the family that has long kept their private lives separate from Day-Lewis’s public persona comes together for what feels like their most vulnerable work yet. For audiences who have spent nearly a decade wondering if they’d ever see Day-Lewis on screen again, ANEMONE represents more than just another film. It’s a meditation on legacy, family, and the bonds that both bind and burden us. In choosing to return through a story about brothers haunted by their past, Day-Lewis seems to be grappling with his own relationship to a career that brought him unparalleled acclaim but also, apparently, profound emotional cost. Instagram Youtube [...]
August 21Edward Berger doesn’t make small movies. The Austrian filmmaker has carved out a reputation for creating visually stunning, emotionally complex films that demand attention from both audiences and awards voters. His last film, CONCLAVE, swept through award season like a papal decree, claiming the SAG ensemble award (essentially their best picture), the BAFTA for Best Film, and eight Oscar nominations including a win for Best Adapted Screenplay. Before that, his haunting war epic ALL QUIET ON THE WESTERN FRONT captured the Oscar for Best International Feature Film. The Academy knows Berger’s name, and when a filmmaker of his caliber releases new work, the industry takes notice. Enter BALLAD OF A SMALL PLAYER, Berger’s latest venture that trades Vatican corridors and WWI trenches for the neon-soaked gambling dens of Macau. The first trailer, released this week, reveals a filmmaker stretching his visual muscles in entirely new directions. From the battlefield to the Vatican and now to the casino floor, Berger demonstrates an almost chameleon-like ability to adapt his aesthetic to serve story. If you’ve witnessed the breathtaking umbrella scene in CONCLAVE or the mud-caked horror of ALL QUIET ON THE WESTERN FRONT, you understand that Berger doesn’t just make films—he crafts visual experiences that linger long after the credits roll. The casting feels equally deliberate and inspired. Colin Farrell leads as the titular small player, riding high on a career renaissance that shows no signs of slowing. Fresh off his Golden Globe and SAG wins for THE PENGUIN, and positioned as an Emmy frontrunner, Farrell appears to be in the midst of a creative hot streak that’s seen him take increasingly bold professional swings over the past five years. The trailer suggests he’s bringing that same fearless energy to Berger’s character study, diving deep into what promises to be another transformative performance. With Kogonada’s A BIG BOLD BEAUTIFUL JOURNEY also arriving this September, this fall could serve as Farrell’s personal talent showcase. Supporting him is Oscar winner Tilda Swinton, whose mere presence elevates any project, and Hong Kong legend Deanie Ip, who made history in 2011 as the first Hong Kong actor to win the Volpi Cup for Best Actress at Venice for A SIMPLE LIFE. It’s a cast that signals serious artistic ambition while honoring the cultural specificity of the story’s setting. That setting—Macau, often called the Vegas of the East—represents more than just exotic backdrop. Working alongside world-class cinematographer James Friend, Berger appears to have crafted what the trailer suggests is a sensory feast that captures both the glamour and the underlying desperation of high-stakes gambling culture. The visuals promise the kind of sensory overload that mirrors the addictive rush of the casino floor, where fortunes change with each roll of the dice and every hand dealt. There’s something particularly compelling about watching a Western filmmaker of Berger’s caliber interpret this distinctly Eastern gambling mecca through his lens. The film represents a fascinating cultural exchange, a character study that could offer fresh perspectives on themes of addiction, chance, and human nature against a backdrop rarely given such serious cinematic treatment by international auteurs. The film’s Canadian premiere at TIFF strongly suggests a Telluride debut, which traditionally serves as the launching pad for serious awards contenders. Given Berger’s track record, Farrell’s current momentum, and the film’s apparent visual ambition, BALLAD OF A SMALL PLAYER could emerge as this fall’s dark horse in the awards conversation. Sometimes the biggest gambles pay off the most handsomely, and Berger seems to understand that better than most. We’ll know very soon whether his latest bet hits the jackpot. Instagram Youtube [...]
August 19In the unforgiving landscape of Irish social realism, where stories often gravitate toward inevitable tragedy, CHRISTY emerges as something altogether more hopeful—a film that finds profound beauty in the struggle to belong. This is the story of seventeen-year-old Christy, cast adrift from his suburban foster home and thrust into the working-class reality of Cork’s north side, where his estranged older brother Shane reluctantly takes him in. Director Brendan Canty, expanding from his own 2019 short film, has crafted something remarkable here—a social-realist drama that pulses with genuine warmth rather than manufactured sentiment. Working alongside screenwriter Alan O’Gorman, Canty understands that authentic emotion emerges not from manipulation but from honest observation of human nature. The result is a film that earns every moment of tenderness through unflinching honesty about the complexities of family, community, and the magnetic pull of home. At the heart of CHRISTY lies a beautiful contradiction: this is a young man discovering he has talents beyond the fighting that has defined his troubled past. His unexpected gift for cutting hair becomes a neighborhood sensation, particularly after he transforms local kid Robot (played with natural charisma by real-life Cork rapper Jamie “the King” Forde). These moments of discovery and community acceptance provide the film’s emotional center, even as the threat of his dangerous cousins lurks perpetually in the background. Perhaps most impressively, CHRISTY manages to convey something extraordinarily difficult to achieve without descending into sentimentality: genuine love for one’s hometown. This isn’t blind nostalgia or romanticized poverty tourism, but an honest reckoning with the way place shapes identity, the way community can be both salvation and trap, the way home can be simultaneously the source of our deepest wounds and our greatest strength. The film builds to a cheeky hip-hop sequence over the closing credits that serves as both celebration and release—a moment of pure joy that feels completely earned after everything that’s come before. It’s the perfect capstone to a film that understands that even in the midst of struggle, there’s room for sweetness, for fun, for the kind of communal celebration that makes survival feel like victory. CHRISTY premiered at the Edinburgh Film Festival before its Irish and Northern Irish release on August 29th and wider UK release on September 5th. It stands as proof that social realism doesn’t have to sacrifice heart for authenticity, that stories about working-class life can be both unflinchingly honest and deeply moving. In a cinematic landscape often divided between gritty pessimism and manufactured optimism, CHRISTY charts a third path—one that finds genuine hope in the simple act of coming home. Instagram Youtube [...]
August 18Colin Farrell is riding an extraordinary wave of career-defining performances, and his latest venture promises to be another masterclass in psychological complexity. BALLAD OF A SMALL PLAYER, the upcoming Netflix thriller from Oscar-winning director Edward Berger, positions the Irish actor in yet another morally ambiguous role that seems tailor-made for this remarkable chapter of his artistic journey. Fresh off his tour-de-force performance as the grotesque yet surprisingly sympathetic Penguin in THE BATMAN franchise and his Oscar-nominated turn in THE BANSHEES OF INISHERIN, Farrell has transformed himself from the Hollywood heartthrob of the early 2000s into one of cinema’s most compelling character actors. His ability to disappear completely into roles—whether beneath layers of prosthetics as Gotham’s crime boss or as the wounded, desperate Pádraic on a remote Irish island—has redefined what audiences expect from him. In BALLAD OF A SMALL PLAYER, Farrell takes on Lord Doyle, an obsessive traveling gambler seeking refuge in the neon-soaked casinos of Macau, China, where his dark past threatens to destroy his carefully constructed exile. The first images from the film reveal Farrell in his element: haunted, desperate, and utterly consumed by the psychological weight of his character’s circumstances. It’s a role that feels like a natural evolution of the damaged men he’s been portraying with such devastating effectiveness. Edward Berger, whose ALL QUIET ON THE WESTERN FRONT earned him an Oscar and whose recent CONCLAVE garnered critical acclaim, brings his signature psychological intensity to Lawrence Osborne’s 2014 source novel. With Rowan Joffé adapting the screenplay -the same writer behind 28 WEEKS LATER and THE AMERICAN – the project assembles a creative team known for exploring the darker corners of human nature. Tilda Swinton rounds out the cast as the relentless detective pursuing Doyle, setting up what promises to be a cat-and-mouse thriller with serious dramatic weight. What makes this project particularly exciting is how it continues Farrell’s recent pattern of choosing roles that challenge both him and his audience. Gone are the days of conventional leading-man parts; instead, he’s gravitating toward characters who exist in moral gray areas, men struggling with addiction, obsession, and self-destruction. BALLAD OF A SMALL PLAYER appears to be another entry in this fascinating catalog of broken souls brought to vivid life by an actor at the peak of his powers. The film’s journey to audiences reflects the prestige surrounding the project. After its world premiere at the Toronto International Film Festival on September 9, 2025, BALLAD OF A SMALL PLAYER will receive a limited theatrical release in the United States on October 15 and the United Kingdom on October 17, before arriving on Netflix on October 29. Instagram Youtube [...]
August 14Daniel Day-Lewis is back, and the world should take notice. Eight years after declaring his retirement from acting with the finality of a man who seemed to mean it this time, the three-time Oscar winner has emerged from his self-imposed exile with ANEMONE, a deeply personal project that marks not just his return to the screen, but a profound collaboration with his son, Ronan Day-Lewis, who makes his feature directorial debut. The announcement comes with all the gravitas we’ve come to expect from Day-Lewis—a single, haunting image that immediately reminds us what we’ve been missing. There’s an intensity in his gaze that speaks to the eight-year absence, a weight that only an actor of his caliber can carry. This isn’t just another comeback; this is Daniel Day-Lewis choosing to break his own artistic sabbatical for something that clearly demanded his return. ANEMONE, which will world premiere at the 63rd New York Film Festival before opening in limited release on October 3, represents something entirely new in Day-Lewis’s career. For the first time, he’s working with family in the most literal sense, co-writing the screenplay with his son and submitting to his direction. The project is described as “an absorbing family drama about lives undone by seemingly irreconcilable legacies of political and personal violence,” following a middle-aged man played by Sean Bean who ventures into the woods to reconnect with his estranged hermit brother—Day-Lewis’s character. It’s a setup that feels almost too perfectly suited to an actor who has spent his career disappearing into roles and, more recently, disappearing from the industry entirely. The timing of Day-Lewis’s return feels significant. When he announced his retirement following 2017’s PHANTOM THREAD, his statement carried a weight that his previous departures hadn’t. This wasn’t the same man who temporarily left acting after THE BOXER in 1996 to apprentice as a cobbler in Italy, only to return with renewed purpose. His 2017 retirement felt different, more final. In interviews, he spoke of losing faith in the value of his work, of needing to believe in what he was doing but finding that belief increasingly elusive. “I need to believe in the value of what I’m doing,” he told W magazine. “The work can seem vital. Irresistible, even. And if an audience believes it, that should be good enough for me. But, lately, it isn’t.” What changed? The answer seems to lie in the deeply personal nature of ANEMONE. This isn’t just another role for Day-Lewis; it’s a family project exploring “the complex and profound ties that exist between brothers, fathers, and sons.” Working alongside his son Ronan, who comes from a background as a painter and artist, Day-Lewis has found something worth returning for—a story that demanded to be told and a creative partnership that reignited his passion for the craft. The film’s supporting cast includes Samantha Morton and Samuel Bottomley, with Ben Fordesman, fresh off LOVE LIES BLEEDING, handling cinematography. The project has all the hallmarks of a serious awards contender, arriving in the thick of awards season with the kind of pedigree that demands attention. But more than its awards potential, ANEMONE represents a fascinating evolution for an actor who has spent decades perfecting the art of transformation. Instagram Youtube [...]
August 9Liam Neeson’s career transformation continues to defy expectations, and his latest venture proves the veteran actor isn’t slowing down anytime soon. Fresh from his triumphant return to comedy in THE NAKED GUN revival, where he successfully filled the impossibly large shoes of Leslie Nielsen as the bumbling detective Frank Drebin Jr., Neeson is already pivoting back to more familiar territory with his upcoming horror thriller COLD STORAGE. The timing couldn’t be more perfect for this genre mashup. After years of establishing himself as Hollywood’s go-to action patriarch through the TAKEN franchise and countless other revenge thrillers, Neeson has been strategically diversifying his portfolio. His recent comedic turn in THE NAKED GUN demonstrated remarkable range, showing audiences a lighter side of the Irish actor while maintaining the commanding presence that made him a household name. Now, with COLD STORAGE, he’s blending that hard-earned gravitas with sci-fi horror elements that promise to showcase yet another facet of his evolving screen persona. Based on David Koepp’s 2019 novel and adapted by the acclaimed screenwriter himself, COLD STORAGE positions Neeson as Roberto Diaz, a grizzled bioterror operative forced out of retirement when catastrophe strikes a seemingly ordinary self-storage facility. The premise alone reads like a fever dream: Joe Keery’s Teacake and Georgina Campbell’s Naomi are working the night shift at a storage facility built over a decommissioned military base when a long-sealed, highly contagious fungus breaks free from its underground containment. As temperatures rise, this rapidly mutating microorganism unleashes brain-controlling, body-bursting terrors on everything in its path. What makes this project particularly intriguing is how it represents Neeson’s continued willingness to take creative risks well into his seventies. Rather than coasting on the familiar rhythms of his action films, he’s embracing material that allows him to play mentor to a younger generation of performers while navigating genuinely unpredictable territory. Keery, riding high from his STRANGER THINGS success, brings a different energy to the dynamic, while Campbell’s recent breakout performance in BARBARIAN suggests she’s more than capable of handling the film’s horror elements. The creative pedigree behind COLD STORAGE adds considerable weight to its potential impact. Koepp’s involvement as both source novelist and screenwriter brings the project full circle, while his legendary work on JURASSIC PARK, the first MISSION: IMPOSSIBLE, and Sam Raimi’s SPIDER-MAN establishes his credentials in crafting tension-filled blockbuster entertainment. Director Jonny Campbell, known for his work on DRACULA, brings gothic sensibilities that should complement the underground claustrophobia of the story’s setting. Perhaps most importantly, COLD STORAGE arrives at a moment when audiences are hungry for the kind of practical, gross-out horror that dominated the late 2000s. Films like PLANET TERROR and SLITHER proved there’s substantial appetite for horror comedies that aren’t afraid to embrace their B-movie roots while delivering genuine scares and laughs in equal measure. With the ZOMBIELAND producers backing this project, there’s clear intent to recapture that lightning-in-a-bottle formula. For Neeson, this represents more than just another paycheck or franchise opportunity. At this stage of his career, he’s earned the luxury of choosing projects that genuinely excite him, and COLD STORAGE’s blend of action, horror, and dark comedy suggests an actor still eager to surprise his audience. The supporting cast, including Sosie Bacon, Vanessa Redgrave, and Lesley Manville, indicates this isn’t a throwaway project but rather a carefully assembled ensemble piece designed to maximize both thrills and character development. As COLD STORAGE prepares for its theatrical release through Samuel Goldwyn Films next year, it stands as a testament to Neeson’s remarkable career longevity and adaptability. From dramatic powerhouse to action legend to comedic revelation and now to horror survivor, he continues to find new ways to reinvent himself while maintaining the fundamental screen presence that first made him a star. In an industry obsessed with franchises and familiar formulas, Neeson’s willingness to dive headfirst into a fungal nightmare alongside rising stars and seasoned veterans alike proves that sometimes the best career moves are the ones nobody sees coming. Instagram Youtube [...]
August 7Caitriona Balfe’s journey from the Scottish Highlands to the boxing ring represents one of the most compelling career pivots in recent Hollywood memory. The Irish actress, who has captivated audiences worldwide as Claire Fraser in OUTLANDER, now ventures into uncharted territory with THE CUT, Sean Ellis’ visceral psychological sports drama that premiered at the 2024 Toronto International Film Festival. In THE CUT, Balfe transforms herself into Caitlin, the wife and trainer of Orlando Bloom’s enigmatic protagonist known simply as The Boxer. This isn’t merely another role for the actress—it’s a profound exploration of how we use physical discipline to mask emotional wounds. The film follows Bloom’s retired fighter as he becomes obsessed with returning to the ring after a devastating cut ended his career a decade earlier. When an unexpected death creates an opening for a title fight, The Boxer seizes the opportunity, despite needing to lose a dangerous amount of weight in just six days under the guidance of John Turturro’s morally flexible trainer, Boz. Balfe’s Caitlin serves as both enabler and witness to this psychological unraveling. Her character understands that boxing has kept her husband on “the straight and narrow,” but she also recognizes that this singular focus has merely pushed deeper problems into the shadows. The actress brings a nuanced understanding to this dynamic, drawing from her Irish heritage where boxing holds cultural significance, yet approaching the material with fresh eyes after her intensive training regimen. The timing of THE CUT in Balfe’s career feels particularly significant. Following her acclaimed performance in Kenneth Branagh’s BELFAST, which earned the 2021 TIFF People’s Choice Award, she continues to select projects that challenge both her range and her audience’s expectations. Where OUTLANDER showcased her ability to anchor a sweeping romantic drama across multiple timelines, THE CUT strips away all romantic notions to expose raw human desperation. Ellis directs with unflinching intensity, creating scenes that are simultaneously brutal and mesmerizing. The film refuses to glamorize the violence inherent in boxing, instead using it as a lens to examine how trauma manifests in physical form. Every punch thrown and every pound shed becomes part of a larger meditation on the ways we fail to heal from our deepest wounds. What emerges is a work that transcends typical sports movie conventions. This isn’t about triumph or redemption—it’s about the dangerous allure of pushing past human limitations when the alternative is confronting unbearable truths. Balfe’s performance grounds this exploration in genuine emotion, her Caitlin serving as both the voice of reason and a fellow traveler on the path to destruction. THE CUT represents another bold choice in Balfe’s evolving post-OUTLANDER career, demonstrating her commitment to complex, challenging material that refuses easy answers. In stepping into the ring, she’s found a role that matches the intensity she’s brought to every project, while opening new possibilities for where her remarkable talent might take her next. Instagram Youtube [...]
August 1After a decade-long silence that left cinema enthusiasts worldwide yearning for his return, acclaimed director Na Hong-jin is finally breaking his creative hiatus with HOPE, a mysterious thriller set to captivate audiences next summer. The announcement from distributor Plus M Entertainment marks the end of an agonizing wait that began after his 2016 masterpiece THE WAILING left viewers haunted and critics in unanimous praise. Set against the eerie backdrop of a port village nestled within the demilitarized zone, HOPE promises to deliver the psychological complexity and atmospheric dread that have become Na Hong-jin’s signature. The story unfolds when an unknown entity materializes in this isolated community, transforming the quiet coastal settlement into a stage for supernatural terror. This premise alone suggests a return to the director’s expertise in blending visceral horror with profound existential questions that made THE CHASER, THE YELLOW SEA, and THE WAILING essential viewing for serious film lovers. The casting choices reveal Na Hong-jin’s commitment to assembling a truly international ensemble that reflects the film’s ambitious scope. Hwang Jung-min returns to collaborate with the director once again, taking on the role of Beom-seok, the village’s branch office chief. Their previous partnership in THE WAILING demonstrated an almost telepathic understanding between actor and director, making this reunion one of the most anticipated aspects of the project. Jo In-sung brings his considerable screen presence to the role of Sung-ki, a young hunter who ventures into treacherous mountain terrain to track down the creature terrorizing the village, while Jung Ho-yeon, riding high on her global breakthrough, portrays Sung-ae, a principled police officer whose unwavering moral compass will likely be tested by the unfolding chaos. The international dimension of HOPE becomes even more intriguing with the inclusion of Hollywood powerhouses Michael Fassbender and Alicia Vikander, both taking on the enigmatic challenge of portraying an unknown life form. Fassbender, whose intense performances in the X-MEN series, 12 YEARS A SLAVE, and ALIEN: COVENANT have established him as one of cinema’s most compelling actors, joins forces with Vikander, whose versatility spans from her Oscar-winning turn in THE DANISH GIRL to action-packed roles in JASON BOURNE and TOMB RAIDER. Their casting as otherworldly entities suggests a film that will push the boundaries of conventional narrative structure and challenge audiences’ preconceptions about identity and humanity. The ensemble grows even more impressive with the addition of Taylor Russell, whose Venice International Film Festival recognition for BONES AND ALL demonstrates her ability to handle complex, emotionally demanding material, and Cameron Britton, whose chilling portrayal of a serial killer in Netflix’s MINDHUNTER proved his capacity for inhabiting deeply unsettling characters. This carefully curated cast represents not just star power but a collection of performers known for their fearless approach to challenging material. Na Hong-jin’s enthusiasm for his assembled cast is palpable in his statement that they have “expressed all the elements that the work aims to convey with the best talent and focus,” describing their combination as “tremendous.” This confidence from a director known for his meticulous attention to detail and uncompromising artistic vision suggests that HOPE will be worth every moment of the decade-long wait. The film promises to blend the director’s mastery of psychological horror with contemporary global tensions, creating a cinematic experience that could redefine the thriller genre for a new generation of viewers. Instagram Youtube [...]
July 31At 72, Liam Neeson stands at a fascinating crossroads in his career. The man who turned “I will find you, and I will kill you” into a cultural phenomenon is now wielding that same gravelly menace in service of something entirely different: comedy. THE NAKED GUN, hitting theaters this Friday, represents more than just another reboot—it’s a potential pivot point for one of cinema’s most unlikely action stars. Neeson’s journey from dramatic heavyweight to geriatric action hero has been one of Hollywood’s most surprising second acts. After establishing himself as a serious actor in films like SCHINDLER’S LIST, the Irish performer found unexpected late-career gold in TAKEN, transforming himself into an unlikely action star well past the age when most actors retire their leather jackets. But THE NAKED GUN suggests Neeson might be ready for his third act, following in the footsteps of Leslie Nielsen, who famously abandoned dramatic roles to become comedy royalty. Playing Detective Lieutenant Frank Drebin Jr., son of Nielsen’s iconic character, Neeson delivers what can only be described as his silliest performance yet—and that’s saying something for an actor who recently battled wolves on ice and taken on entire crime syndicates single-handedly. His voice, that rumbly instrument of threat that has launched a thousand memes, now serves punchlines instead of ultimatums. The transition is both jarring and oddly natural, as if all those years of deadpan intensity in increasingly ridiculous action scenarios were merely preparation for this moment. The film itself, directed by Akiva Schaffer and written by Dan Gregor and Doug Mand, exists in that peculiar space of being a spoof of a spoof, paying homage to the original while updating its targets for contemporary audiences. Where the original NAKED GUN films lampooned the crime dramas and action films of their era, this iteration takes aim at the slick, tech-obsessed thrillers that have dominated the past two decades. Neeson’s Drebin Jr. investigates a death involving a high-tech electric car and its Musk-like inventor, played with appropriate menace by Danny Huston. But it’s Neeson’s chemistry with Pamela Anderson, playing true-crime novelist Beth, that provides the film’s most surprising element. Their romance unfolds with the kind of absurdist logic that made the original films classics, complete with an extended winter-sports pop video sequence that feels like a fever dream collaboration between Wham! and the Zucker brothers. Anderson, making her own unexpected career pivot, proves a capable comedy partner, matching Neeson’s deadpan delivery with her own perfectly timed reactions. The most intriguing aspect of Neeson’s performance is how it plays with audience expectations. We’ve become so accustomed to his particular brand of middle-aged vengeance that hearing him deliver ridiculous one-liners while maintaining that same intensity creates an almost surreal viewing experience. It’s method acting applied to parody, and the results are both hilarious and slightly unnerving. Whether Neeson will follow Nielsen’s path and commit fully to comedy remains to be seen. He certainly has more dramatic credibility to potentially sacrifice than Nielsen did when he made his own transition from FORBIDDEN PLANET to AIRPLANE! But there’s something liberating about watching a performer of Neeson’s stature embrace the ridiculous so completely. In an industry increasingly obsessed with franchise building and cinematic universes, THE NAKED GUN offers something refreshingly simple: an excuse to watch a legendary actor have fun with his own image. The film may be, as one observer noted, “amiably ridiculous, refreshingly shallow, entirely pointless and guilelessly crass,” but in our current cultural moment, perhaps that’s exactly what we need. Sometimes the most radical thing an actor can do is stop taking themselves so seriously, and Neeson’s willingness to trade gravitas for gags suggests a performer still willing to surprise us, even five decades into his career. Instagram Youtube [...]
July 30Richard Linklater and Ethan Hawke’s three-decade creative partnership has produced some of cinema’s most intimate and conversational masterpieces, from the Before trilogy’s meandering philosophical exchanges to BOYHOOD’s revolutionary time-spanning narrative. Their latest collaboration, BLUE MOON, marks another triumph in their storied relationship, this time transporting audiences to the smoky confines of Sardi’s bar on the evening of March 31, 1943, for what may be their most theatrically confined yet emotionally expansive work to date. The film centers on legendary lyricist Lorenz Hart, played by Hawke in a bald cap that transforms him into the tortured wordsmith, as he grapples with professional betrayal and personal demons during the afterparty for OKLAHOMA!, the groundbreaking musical that marked his former collaborator Richard Rodgers’ first venture without him. “We write together for a quarter of a century and the first show he writes with someone else is gonna be the biggest hit he ever had,” Hart laments to Bobby Cannavale’s sympathetic barman. “Am I bitter? Yes!” This opening salvo, delivered against a sprightly, waltzing score, sets the tone for an evening of loaded conversations and painful revelations. Andrew Scott, fresh from his acclaimed turn in ALL OF US STRANGERS and his scene-stealing work in FLEABAG, brings his trademark intensity to Richard Rodgers, the composer navigating success tinged with guilt over abandoning his longtime creative partner. Scott’s recent career trajectory has been nothing short of remarkable, transforming from a respected Irish character actor into one of cinema’s most compelling leading men. His work in Lenny Abrahamson’s ROOM established him as a dramatic force, while his portrayal of Moriarty in SHERLOCK showcased his ability to be both charming and menacing. His recent starring role in ALL OF US STRANGERS, where he played a man reconnecting with his deceased parents, demonstrated his capacity for vulnerability and emotional complexity, qualities that serve him well in BLUE MOON’s intimate chamber piece setting. The film’s Irish production, shot last summer in Dublin through Wild Atlantic Pictures, benefits from Scott’s natural presence on home soil, while the international cast including Margaret Qualley as rising starlet Elizabeth Weiland, Simon Delaney as Oscar Hammerstein II, and Cillian Sullivan as a young Stephen Sondheim creates a rich ensemble perfect for Linklater’s dialogue-driven approach. The director’s signature style of rapid-fire, intellectually charged conversations finds perfect material in the world of Broadway’s golden age, where wit was currency and every exchange carried the weight of artistic legacy. Scott’s Berlin International Film Festival win for Best Supporting Actor validates what discerning audiences have long recognized about his abilities. His recent choices reflect an actor unafraid to tackle complex, emotionally demanding roles, whether playing the vulnerable gay man in ALL OF US STRANGERS or the morally ambiguous Hot Priest in FLEABAG. This trajectory culminates beautifully in BLUE MOON, where his Rodgers must balance professional ambition with personal loyalty, success with friendship. Already hailed as a triumph at Berlin, with Hawke’s performance being touted as one of his finest, BLUE MOON represents the perfect marriage of Linklater’s conversational genius and the kind of intimate, character-driven storytelling that has defined his partnership with Hawke. The film arrives in American theaters on October 24th, with Irish audiences getting their chance on November 14th, while UK viewers await further release details. For Scott, it marks another milestone in a career that continues to evolve from character actor to leading man, proving that sometimes the most powerful performances come not from action or spectacle, but from the simple act of two people talking in a room about everything that matters. Instagram Youtube [...]
July 27There’s something deeply unsettling about waking up to faces you don’t recognize, in a place you’ve never been, carrying a child you can’t remember conceiving. This is the nightmare that greets Anna in Alan Friel’s debut feature WOKEN, and for much of its runtime, the film mines this premise for genuine psychological terror. Friel, who cut his teeth directing commercials and shorts including CAKE with Maxine Peake, understands the power of atmosphere. His windswept Irish island, filmed across County Clare and County Limerick, becomes a character unto itself—all howling winds, dripping cottage roofs, and flickering candlelight that casts dancing shadows on walls that seem to hold secrets. This is a world stripped of modern conveniences, where paraffin lamps replace electricity and wood-burning stoves fight against an endless chill. The absence of phones, televisions, or any connection to the outside world feels deliberate, calculated even. Anna awakens to this pre-digital purgatory after what she’s told was a terrible fall, though we’ve witnessed something far more disturbing—her desperate flight toward a cliff edge, pursued by unseen forces. Screen Star of Tomorrow Erin Kellyman, known from SOLO: A STAR WARS STORY, brings a raw vulnerability to Anna that makes her confusion and growing paranoia palpable. She’s surrounded by people who claim to love her—her supposed husband James, played with careful ambiguity by Ivanno Jeremiah, and the nurturing Helen, embodied by Peake with just the right balance of maternal warmth and underlying menace. Friel demonstrates a keen eye for the sinister potential lurking within the mundane. The rhythmic hammering of crab shells during dinner becomes a percussion of dread. A collection of identical yellow baby jackets, hand-knitted with obsessive care, transforms from touching preparation into something deeply unsettling. Even the arrival of strangers on a absurdly incongruous swan-shaped pedalo manages to feel threatening rather than whimsical. The director skillfully plants seeds of doubt about everything Anna encounters. Are the photo albums and home movies genuine memories or elaborate fabrications? Is Helen’s cardigan-clad concern authentic or performance? The whispered conversations Anna overhears, the glimpses of hidden firearms, the growing certainty that escape from this island sanctuary might be impossible—all contribute to a mounting sense of paranoia that keeps both Anna and the audience off balance. Watch WOKEN now on Mubi. Instagram Youtube [...]
July 26Paul Mescal is having a moment, and THE HISTORY OF SOUND might just be his most daring performance yet. Fresh off his starring roles in GLADIATOR II and ALL OF US STRANGERS, the Irish actor continues to prove he’s far more than just the breakout star of NORMAL PEOPLE. With each project, Mescal demonstrates an uncanny ability to tap into raw human emotion, and his latest film promises to showcase this talent in its most vulnerable form. Set to hit theaters on September 19, 2025, THE HISTORY OF SOUND reunites Mescal with CHALLENGERS star Josh O’Connor. The story spans decades and continents, beginning in 1917 when Lionel, a gifted singer from rural Kentucky, arrives at the Boston Music Conservatory. There he meets David, a charming composer who becomes both his musical collaborator and the love of his life. When David is drafted into the final days of World War I, their connection is severed, only to be rekindled years later during a transformative winter collecting folk songs in the Maine wilderness. What follows is a meditation on memory, music, and the indelible marks that brief but profound connections leave on our lives. Mescal’s recent trajectory suggests an actor unafraid to explore complex masculinity and emotional vulnerability. Where AFTERSUN established him as a serious dramatic talent and GLADIATOR II proved his blockbuster credentials, THE HISTORY OF SOUND represents something more intimate and risky. One critic noted that Mescal delivers “AFTERSUN to the power of 10,” a performance so emotionally devastating it will “turn you into a puddle of mush.” The black and white promotional imagery captures this tenderness perfectly – Mescal cradling O’Connor’s face, eyes closed, noses touching in a moment that radiates quiet passion. For Mescal, THE HISTORY OF SOUND represents more than just another role; it’s a statement about the kind of actor he wants to be. Rather than chasing easy commercial success after GLADIATOR II’s box office dominance, he’s chosen a project that demands emotional honesty and artistic courage. The film refuses to treat its queer narrative as a tragedy of repression, instead positioning itself as “the story of a man’s life, expressed through the power of sound – as memory, as emotion.” It’s precisely this nuanced approach that has made Mescal one of the most compelling actors of his generation. Whether THE HISTORY OF SOUND becomes Mescal’s crowning achievement or a noble artistic experiment remains to be seen. What’s certain is that this haunting meditation on love, loss, and the songs that bind us together will require tissues and an open heart. In an era of franchise filmmaking and algorithm-driven content, Mescal continues to choose projects that prioritize human connection over commercial calculation. That alone makes THE HISTORY OF SOUND worth celebrating, regardless of critical consensus. Instagram Youtube [...]
July 25Pierce Brosnan is unrecognizable. The man who once epitomized suave sophistication as James Bond in GOLDENEYE has undergone a stunning physical transformation that signals something profound about his current career trajectory. In the newly released trailer for GIANT, Brosnan appears with thinning white hair swept into a modest comb-over, wire-rimmed glasses perched on his nose, and the humble tracksuit of a working-class boxing trainer—a far cry from the tailored tuxedos and Aston Martins that defined his most famous role. This dramatic metamorphosis isn’t just cosmetic; it represents Brosnan’s deliberate pivot toward character-driven storytelling in the later stages of his career. Written and directed by Rowan Athale, GIANT tells the remarkable true story of Prince Naseem “Naz” Hamed, the British-Yemeni boxing sensation who captivated the sports world throughout the 1990s. Amir El-Masry takes on the titular role of the flamboyant featherweight champion, while Brosnan embodies Brendan Ingle, the Irish trainer whose compassionate yet disciplined approach helped forge a boxing legend. The casting choice reveals Brosnan’s newfound willingness to disappear into roles that challenge his established screen persona. Where once he relied on his natural charisma and devastating good looks, he now embraces the art of complete character immersion. Tony Ingle, brother of the real Brendan, has praised Brosnan’s commitment to authenticity, noting how the actor’s Irish heritage and physical resemblance to his late brother create an almost uncanny portrayal. “He’s quite capable of capturing Brendan,” Tony observed, emphasizing how Brosnan’s retained Irish sensibility allows him to inhabit the role without affectation. This transformation extends beyond mere appearance to encompass the deeper emotional terrain that Brosnan has been exploring in recent years. His role in MRS. DOUBTFIRE showcased his ability to find humor and heart in unexpected places, while his work in various independent films has demonstrated a hunger for substantial dramatic material. In GIANT, he’s not playing a heroic figure or romantic lead, but rather a working-class mentor whose greatest victories happen not in the spotlight but in the quiet moments of guidance and support he provides to his fighters. The film promises to tackle complex social issues, particularly the racism and Islamophobia that Hamed faced as a British-Yemeni Muslim navigating the boxing world. Brosnan’s Brendan Ingle serves as both trainer and protective figure, someone who understood that his role extended far beyond teaching technique to encompassing genuine mentorship in a hostile environment. This kind of nuanced, socially conscious storytelling represents exactly the type of project that has attracted Brosnan in his post-Bond career. The involvement of Sylvester Stallone as executive producer adds another layer of heavyweight credibility to the production, suggesting that GIANT aims to join the pantheon of serious boxing films rather than serving as mere sports entertainment. For Brosnan, this collaboration with respected industry veterans signals his commitment to projects with both artistic merit and cultural significance. What makes Brosnan’s current career phase so compelling is his apparent comfort with stepping away from leading man expectations. Rather than clinging to the debonair charm that made him famous, he’s embracing character work that demands complete transformation. The man who once seemed destined to play variations of sophisticated gentleman is now seeking roles that require him to become entirely different people. This evolution reflects a mature actor’s understanding that longevity in Hollywood comes not from repeating past successes but from constantly challenging oneself with new kinds of stories. In GIANT, Brosnan isn’t trying to recapture the magic of his Bond years; instead, he’s demonstrating that his true talent lies in his ability to disappear completely into the lives of ordinary people doing extraordinary things. The result is a career renaissance that promises to be far more interesting than any return to familiar territory could ever be. Instagram Youtube [...]
July 10The ice may be thinner, but for Liam Neeson’s Mike McCann, the stakes have never been higher. ICE ROAD: VENGEANCE plunges us back into a world where survival is a daily battle, but this time, the fight is driven by something far more profound than just cargo. Liam Neeson, the man synonymous with grit and relentless determination, returns as Mike McCann, a character deeply etched by the unforgiving nature of the ice roads and profound personal loss. In VENGEANCE, his journey takes a starkly different turn as he travels to Nepal, not for another perilous delivery, but to honor the last wishes of his late brother, scattering his ashes on Mount Everest. It’s a mission of quiet grief and profound respect that is violently interrupted, forcing McCann back into the kind of high-stakes conflict only a man of his unique skills can navigate. This isn’t just another action movie; it’s a raw, emotional exploration of retribution and a man pushed to his absolute limits. As McCann finds himself caught in a web of ruthless mercenaries and a desperate fight to protect innocent lives, his motivations are deeply rooted in the past, demanding a reckoning that will test his resolve like never before. Neeson brings his signature intensity to the role, transforming what could be just another fight for survival into a visceral quest for justice. Prepare for an adrenaline-fueled experience as McCann utilizes his unique blend of cunning, resourcefulness, and sheer force of will to overcome impossible odds. The treacherous mountain roads of Nepal provide a stunning, yet equally dangerous, backdrop to the escalating tension, replacing the frozen lakes with dizzying heights and unforgiving terrain. ICE ROAD: VENGEANCE is more than just a sequel; it’s a testament to the enduring power of a man driven by a profound sense of purpose. If you’re ready to witness Liam Neeson deliver a performance that blends heart-stopping action with a deeply personal quest for redemption, then prepare yourself. The road to vengeance is open, and Mike McCann is driving. Instagram Youtube [...]
July 3The Kerry International Film Festival has made a choice that feels both inevitable and inspired, selecting Fiona Shaw as the 2025 recipient of the prestigious Maureen O’Hara Award. In an era where recognition of women’s contributions to film and television has become increasingly vital, Shaw’s selection represents more than just another accolade – it’s a celebration of artistic fearlessness that spans decades and mediums.Shaw’s recent trajectory reads like a masterclass in career reinvention. While many actors of her generation might have settled into comfortable patterns, she has instead embraced increasingly complex and challenging roles that have redefined her public persona. Her electrifying performance as Carolyn Martens in KILLING EVE transformed her from a respected character actress into a household name, earning her a BAFTA and multiple Emmy nominations. The role showcased Shaw’s ability to embody calculated menace while maintaining an almost magnetic watchability – a performance that felt both shocking and inevitable from an actor of her caliber. The momentum from KILLING EVE propelled Shaw into equally compelling territory. Her scene-stealing turn as the Hot Priest’s superior in FLEABAG demonstrated her gift for finding the human core within seemingly rigid characters, earning her another Emmy nomination and proving her comedic timing remains razor-sharp. More recently, her role in ANDOR brought her into the Star Wars universe, where she commanded the screen with the same intensity that has defined her career, garnering both BAFTA and Critics Choice Super Award nominations.This recent television success has coincided with an equally impressive film resurgence. Shaw’s performance in Kate Winslet’s AMMONITE in 2020 reminded audiences of her ability to convey complex emotional landscapes with minimal dialogue, while her upcoming roles in HOT MILK and PARK AVENUE suggest an artist still pushing boundaries well into her career. These projects represent Shaw’s continued commitment to challenging material that refuses to pigeonhole her into any single category.What makes Shaw’s recent work particularly compelling is how it builds upon rather than abandons her theatrical foundation. The same fearless approach that earned her two Laurence Olivier Awards for Best Actress and a Tony nomination for MEDEA now informs her screen work with a depth that few actors can match. Her ability to transition seamlessly between the intimacy required for television and the bold strokes necessary for film speaks to an artist who has never stopped evolving. Shaw’s own words about receiving the award reveal the thoughtfulness that has always characterized her approach to her craft. Her tribute to Maureen O’Hara – praising her defiance of studio limitations and one-dimensional roles – could easily serve as a description of Shaw’s own career philosophy. Like O’Hara, Shaw has consistently chosen complexity over comfort, challenge over convention.The timing of this recognition feels particularly significant. As the entertainment industry continues to grapple with questions of representation and opportunity, Shaw’s recent work serves as a powerful reminder that age and experience can be assets rather than limitations. Her performances in KILLING EVE and FLEABAG have introduced her to entirely new audiences while her continued film work demonstrates an artist still hungry for new challenges. When the Kerry International Film Festival celebrates Shaw at its 26th edition this October, they will be honoring not just a distinguished career but an ongoing artistic journey that shows no signs of slowing down. In a landscape where many actors peak early and struggle to maintain relevance, Shaw has instead found her most compelling work in recent years, proving that true artistic commitment knows no expiration date.The Maureen O’Hara Award, established in 2008 as one of the earliest accolades dedicated specifically to women in film and television, has found its perfect 2025 recipient. Shaw joins a lineage of honorees that includes inaugural winner Brenda Fricker, but her selection feels particularly resonant given how her recent work has redefined what it means to be a woman of a certain age in contemporary entertainment.As Shaw noted in her acceptance, “Film needs women just as the world needs women – all kinds.” Her recent career serves as living proof of this philosophy, demonstrating that when given the opportunity, experienced female performers can deliver work that is both commercially successful and artistically uncompromising. The Kerry International Film Festival’s choice to honor Shaw represents not just recognition of past achievements but celebration of an artist who continues to surprise, challenge, and inspire. Instagram Youtube [...]
June 30When Irish-language rap trio Kneecap took the stage at Coachella in April, they displayed their familiar message: “Israel is committing genocide against the Palestinian people” and “Fuck Israel. Free Palestine.” Mo Chara told the crowd: “The Palestinians have nowhere to go. It’s their fucking home and they’re bombing them from the skies. If you’re not calling it a genocide, what the fuck are you calling it?” Within a week, their US booking agent had dropped them, Fox News was comparing their statements to “Nazi Germany,” and old videos from 2023 and 2024 had resurfaced showing the band saying “The only good Tory is a dead Tory” and “Up Hezbollah, up Hamas.” The families of murdered MPs Jo Cox and David Amess criticized the “dead Tory” comment, prompting an apology from the band, though they described the video recirculation as a “smear campaign” with footage “deliberately taken out of all context.” British counter-terrorism police charged Mo Chara with terror offences for allegedly brandishing a Hezbollah flag after someone from the crowd handed it to him during a November 2024 London show. Artists including Massive Attack, Paul Weller, and Primal Scream signed a letter alleging Kneecap were victims of a “campaign of intimidation.” Preparing for Glastonbury despite criticism from Prime Minister Keir Starmer, the band remained defiant. “Maybe visas get revoked, you’re not allowed in America again, it’s not ideal but Jesus Christ, there’s people being bombed from the fucking skies,” says Mo Chara, also known as Liam Óg Ó hAnnaidh. He dismisses the terror charges: “It’s a joke. I’m a character. Shit is thrown on stage all the time. If I’m supposed to know every fucking thing that’s thrown on stage, I’d be in Mensa.” As for the “dead Tory” comments, he’s equally unapologetic: “Why should I regret it? It was a joke – we’re playing characters, it’s satirical. The point is, that video wasn’t an issue until we said ‘Free Palestine’ at Coachella. That stuff happened 18 months ago, and nobody batted an eyelid.” He argues their opponents “went and combed through eight years of a career” and “took those videos out of context.” The trio insist the controversy is a deliberate distraction. “We’re a distraction, to take away attention from what’s happening in Palestine,” says Naoise Ó Cairealláin (Móglaí Bap). “It’s all being livestreamed – you can never say you didn’t know what’s happening in Palestine, and that’s why they want to bog us down and go through old videos.” For KNEECAP, resistance runs deeper than current politics. The trio – Ó hAnnaidh and Ó Cairealláin from west Belfast, and JJ Ó Dochartaigh (DJ Próvai) from Derry – rap in Irish as a reclamation of identity that British rule attempted to erase. While they satirically self-identify as “Republican hoods” in their provocative music, their message transcends traditional republican politics, embracing anticolonial themes and advocating peace between unionists and republicans. Last year, then-UK business secretary Kemi Badenoch attempted to block Kneecap from receiving a government grant because they “oppose the United Kingdom.” The band won their discrimination lawsuit and donated the money to Protestant and Catholic youth organizations. This week, they released THE RECAP, a furious diss track aimed at Badenoch, describing the grant money as reparations. Kneecap refuses to separate their art from their politics or their local struggles from global injustices. Their 2024 has been defined by controversy and legal battles, but they’ve emerged with their message intact. For a band that sees resistance as their birthright, perhaps that’s exactly where they want to be. Instagram Youtube [...]
June 26Andrew Scott has never been one to take the easy path. This past spring, while most actors were content with single-character roles, Scott spent two months at New York’s intimate Lucille Lortel Theatre performing all eight characters in a one-man adaptation of Chekhov’s Uncle Vanya. Night after night, he transformed seamlessly between lovelorn romantics and debonair cynics, executing solo love scenes and emotional breakdowns with the kind of theatrical virtuosity that leaves audiences breathless. The production, directed by Sam Yates, had already conquered London with sold-out performances and critical acclaim before making its way to the barely 300-seat New York venue. “On the last day, the crew came to the theater dressed as me, and each played one of the characters,” Scott recalls with characteristic humor. “I thought, Jesus, there are loads of people in this play, no wonder I’m exhausted.” It’s a moment that perfectly captures both his humility and the sheer magnitude of what he accomplished on that stage. This theatrical tour de force represents just one facet of Scott’s remarkable recent trajectory. The Irish actor has spent the past decade crafting a career that defies easy categorization, moving fluidly between stage and screen with an intensity that few performers can match. Following his star-making turn as the maddeningly irresistible priest in FLEABAG, Scott has chosen projects that showcase his range while maintaining his commitment to emotionally complex storytelling. His 2023 performance opposite Paul Mescal in ALL OF US STRANGERS delivered one of the year’s most devastating portrayals of grief and connection. The film’s exploration of loss and desire allowed Scott to channel his trademark vulnerability into something profound and universal. He followed this with his chilling interpretation of Tom Ripley in 2024’s moody Patricia Highsmith adaptation RIPLEY, proving his ability to inhabit darkness with the same authenticity he brings to tenderness. Between these screen triumphs, Scott continued his stage work, earning a Laurence Olivier Award and cementing his reputation as one of the few actors equally commanding in both mediums. His friend Josh O’Connor, who first witnessed Scott’s magnetic stage presence at London’s Royal Court while still a theater student, has long admired this balance. “You’ve managed to balance film and theater, but I find it really hard,” O’Connor admits. “If you keep avoiding it, it becomes a monster in your mind.” Both actors share an affinity for independent films that probe the psychological complexities of human experience, the kind of intimate character studies that generate festival buzz and critical acclaim. However, their recent collaboration in WAKE UP DEAD MAN: A KNIVES OUT MYSTERY marks a departure from these smaller-scale projects into blockbuster territory. For Scott, the timing provided necessary comic relief during a particularly challenging period; he was simultaneously grieving his mother’s death while filming Richard Linklater’s BLUE MOON, set for release later this year. The friendship between Scott and O’Connor, built on mutual respect and relentless teasing, reflects a shared understanding of the craft’s demands. O’Connor had just completed work on his forthcoming drama THE HISTORY OF SOUND and was preparing for Kelly Reichardt’s THE MASTERMIND when they began the KNIVES OUT shoot. Early glimpses of the film reveal O’Connor channeling his own version of Scott’s most iconic creation: the hot priest. Rather than imitation, it feels like homage between artists who understand each other’s work intimately. Scott’s recent career choices reveal an actor unafraid of emotional extremes, whether channeling Chekhov’s melancholy on stage or exploring contemporary trauma on screen. His ability to move between mediums without losing his essential authenticity speaks to a rare kind of artistic integrity. In an industry often driven by commercial considerations, Scott continues to prioritize the depth of human experience, creating performances that resonate long after the curtain falls or the credits roll. His exhaustion after those eight-character performances wasn’t just physical; it was the inevitable result of an actor who refuses to hold anything back. Instagram Youtube [...]
June 25Cillian Murphy’s post-OPPENHEIMER career choices reveal an actor more interested in artistic integrity than commercial appeal. Rather than leveraging his Oscar win for blockbuster deals, Murphy has reunited with director Tim Mielants for STEVE, arriving in theaters this September before hitting Netflix on October 3rd. Based on Max Porter’s bestseller “Shy,” STEVE follows headteacher Murphy through a pivotal day at a last-chance reform school facing closure. As Steve battles to save his institution while grappling with his own mental health, he encounters Shy, a troubled teenager caught between self-destruction and redemption. The film reunites Murphy with SMALL THINGS LIKE THESE co-star Emily Watson, alongside Tracey Ullman and Jay Lycurgo. What makes Murphy’s trajectory fascinating is how it defies typical post-Oscar moves. While most actors chase lucrative franchises, Murphy continues selecting complex, psychologically demanding roles. From OPPENHEIMER’s tortured physicist to SMALL THINGS LIKE THESE’s conflicted father, and now STEVE’s dedicated educator, he gravitates toward characters wrestling with profound moral dilemmas. Murphy’s collaboration with emerging director Mielants and innovative writer Porter demonstrates his commitment to elevating distinctive voices rather than simply starring in established properties. This mature approach leverages his Oscar credibility to champion meaningful projects that might otherwise struggle for recognition. STEVE represents Murphy’s statement about his artistic priorities in this career phase, where commercial considerations yield to meaningful storytelling and authentic collaboration. His choices suggest an artist building a lasting legacy rather than capitalizing on Hollywood’s fleeting spotlight. Instagram Youtube [...]
June 23The summer of 2002 divided Ireland, and now it’s coming to the big screen. Vertigo Releasing and Wildcard have unveiled the first teaser trailer for SAIPAN, chronicling the explosive feud between Republic of Ireland captain Roy Keane and manager Mick McCarthy during the team’s chaotic 2002 FIFA World Cup preparations. At the center of this highly anticipated film stands Éanna Hardwicke, the BAFTA-nominated Cork native who has rapidly become one of Ireland’s most compelling young actors. Following his breakthrough performances in LAKELANDS and THE SIXTH COMMANDMENT, Hardwicke now tackles his most challenging role yet: embodying Roy Keane, the most famous and controversial Corkman in football history. The casting feels inspired. Hardwicke has built his career on complex, morally ambiguous characters, making him perfectly suited to capture Keane’s mercurial personality. His recent work demonstrates a remarkable ability to convey both vulnerability and explosive rage, essential qualities for portraying a player who was simultaneously revered and feared. In LAKELANDS, he proved he could carry a film through subtle expression and minimal dialogue. THE SIXTH COMMANDMENT showcased his range in handling real-life controversy with nuance and depth. The trailer offers compelling glimpses of Hardwicke’s transformation, delivering Keane’s words with chilling conviction: “You don’t ever tell me we’re done. I’m just getting started.” Despite immense expectations surrounding this iconic figure, Hardwicke appears ready for the challenge. Directed by Lisa Barros D’Sa and Glenn Leyburn, who helmed GOOD VIBRATIONS and ORDINARY LOVE, SAIPAN promises depth beyond typical sports films. These filmmakers consistently find human truth within cultural moments, understanding that the Keane-McCarthy confrontation transcended football facilities to become a clash of fundamentally different philosophies about leadership, standards, and national representation. Steve Coogan brings his understated intensity to Mick McCarthy, supported by Alice Lowe, Jamie Beamish, Alex Murphy, Harriet Cains, and Peter McDonald in what promises to be a richly textured ensemble piece. The film’s timing is particularly intriguing. More than two decades later, this wound remains fresh in Irish culture, with pub debates still raging over who was right. SAIPAN arrives precisely when Hardwicke’s career trajectory positions him for such weighty material. His recent performances reveal an actor unafraid of difficult subjects, capable of finding humanity in flawed characters without excusing their actions. For Hardwicke, SAIPAN represents a career-defining moment. Taking on Roy Keane means embodying not just a footballer, but a cultural lightning rod whose legacy remains fiercely contested. His Cork origins provide authenticity, but more crucially, his proven ability to navigate moral complexity suggests he can capture both Keane’s brilliance and destructive tendencies without descending into caricature. The original incident split the nation between Team Keane and Team McCarthy, exposing deeper questions about perfectionism, loyalty, and the price of uncompromising standards. Paul Fraser’s script, from the writer of HEARTLANDS and A ROOM FOR ROMEO BRASS, promises to explore these underlying currents rather than simply rehashing familiar arguments. Whether you supported Keane or McCarthy during that fractious summer, Hardwicke’s portrayal will likely reignite passionate debates while offering fresh insights into one of sport’s most infamous falling-outs. For an actor who consistently chooses challenging, thought-provoking projects, SAIPAN represents the natural evolution of what’s developing into a truly remarkable career. Instagram Youtube [...]
June 21Kerry Condon sits in her Los Angeles home, just days into promoting F1. Asked about working opposite Brad Pitt, she reveals the confidence of someone who has arrived at the right moment. “I was really glad that it was at this point in my career, because it was a very big role opposite him, and maybe if I had been younger, I would have been very nervous about it.” Two days after her 2023 Oscar nomination for THE BANSHEES OF INISHERIN, director Joseph Kosinski called with a career-changing offer for F1. “I do feel like it was a major bunch of flowers I got two days afterwards.” In the film, Condon plays Kate McKenna, the first female technical director in Formula One. “I’ve always wanted to do a blockbuster movie, and then they wanted me to be Irish. I don’t think I’ve seen that before, the Irish accent in a female lead, in a big massive movie.” She even got to wear her mother’s Claddagh ring. Despite career-defining opportunities, Condon maintains fierce privacy. While Pitt was photographed by paparazzi during filming, she preserves boundaries between public and private life. In Ireland, she can still take the train with friends unrecognized. “There’s a real joy in being able to walk down Grafton Street and go and do fun things with my friends, where we’re all just like it used to be years ago.” The 2023 awards season tested this approach, but the emotional weight became clearest at home. “Loads of people in my hometown sent my mum cards to give me; it actually kind of made me cry. All these sweet families for no reason buying a ‘well done’ card.” This journey began in Thurles, where young Kerry earned the nickname ‘Fledgy-poo’ for constantly talking about escaping. At 16, she wrote to Alan Parker about her acting dreams. That bold letter led to her first role in ANGELA’S ASHES. Now Condon finds herself at a career peak. The Oscar nomination opened doors to roles she had always envisioned. F1 represents the culmination: the girl from Thurles commanding the screen opposite Brad Pitt, still taking the bus with friends when home, still wearing her mother’s ring, still very much herself. Instagram Youtube [...]
June 19Paul Mescal continues his impressive ascent in Hollywood with a leading role in the highly anticipated historical gay romance, THE HISTORY OF SOUND, set to hit theaters on September 12. Fresh off its debut at the 2025 Cannes Film Festival, where it garnered a 65% fresh rating on Rotten Tomatoes, this Mubi acquisition sees Mescal star as Lionel opposite Josh O’Connor’s David. The film, a passion project for director Oliver Hermanus who first attached Mescal and O’Connor to the script in 2021, tells the poignant story of two young men who fall in love at the New England Conservatory during World War I, only to reunite years later for a profound journey across Northeastern America, collecting folk ballads. Critics are already singling out Mescal’s performance, with Deadline’s chief film critic Pete Hammond hailing it as potentially “Mescal’s best work in films yet.” This impactful role further solidifies Mescal’s diverse and critically acclaimed recent career, which includes his Academy Award-nominated turn in AFTERSUN (2022), the acclaimed ALL OF US STRANGERS (2023), and his upcoming blockbuster GLADIATOR II (2024), demonstrating his range from intimate dramas to grand epics. As [...]
June 18Kerry Condon’s star continues to rise at a moment when Irish actors are claiming their place at the forefront of international cinema. Her work in F1 THE MOVIE demonstrates that she can navigate big-budget Hollywood spectacle while maintaining the authenticity and emotional intelligence that made her an Oscar contender. As she accelerates into this new phase of her career, Condon proves that sometimes the most compelling journeys begin in the most unexpected places, from the quiet streets of Thurles to the thunderous roar of the world’s most prestigious racing circuits. In F1 THE MOVIE, hitting theaters this Friday, Condon (THE BANSHEES OF INISHERIN) fully embodies Kate McKenna, the technical director of the struggling APXGP racing team. It’s a role that required her to dive deep into the technical complexities of Formula 1 racing, leading her to collaborate with Northern Irish F1 analyst Bernie Collins to authentically portray the high-pressure world of motorsport engineering. The preparation paid off as Condon delivers a performance that anchors the film’s emotional core while navigating the testosterone-fueled environment of professional racing. What makes Condon’s performance particularly striking is her decision to maintain her natural Irish accent throughout the film. Initially, this choice might seem jarring in the international world of Formula 1, but it quickly becomes one of the film’s most refreshing elements. Her Thurles roots shine through as she commands respect in boardrooms and pit lanes alike, proving that technical expertise and leadership transcend regional origins. The accent that some feared would be a distraction instead becomes a badge of authenticity in a genre often criticized for its homogenized characters. F1 THE MOVIE may traffic in familiar Hollywood formulas, complete with Hans Zimmer’s soaring score and classic rock anthems, but Condon’s performance cuts through the clichés with genuine emotion and technical precision. As Kate McKenna, she becomes the strategic mind behind the team’s innovation, developing car modifications that give them crucial advantages in turns while manipulating F1’s complex safety regulations to create tactical opportunities. F1 THE MOVIE hits theaters Jun 27. Instagram Youtube [...]
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. [...]
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