Padaí Ó Maolchalann

Padaí Ó Maolchalann

Favorite films

  • Spirited Away
  • Cries and Whispers
  • Ran
  • Princess Yang Kwei Fei

Recent activity

All
  • Black Bag

    ★★★★

  • The Shrouds

    ★★★★½

  • Mickey 17

    ★★

  • Repo Man

    ★★★★

Recent reviews

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  • Black Bag

    Black Bag

    ★★★★

    A cute, curt little reminder that no-one makes entertainment like Soderbergh - utterly wasteless, full of verve, as generous in style and substance as it is stingy in length, though that's central to its appeal. Run time is rarely of much relevance to my appreciation for a movie, but Soderbergh's peerless understanding of pace and tone makes (most of) his movies feel like they should be exactly the length they are. There's next-to-no action nor violence, no flashbacks, only the briefest glimpses of foreign locales, yet this is a spy thriller that seems to lack nothing. A little delight!

  • The Shrouds

    The Shrouds

    ★★★★½

    Fixed in a time long passed, the stasis slowly atrophying the mind, like bed sores for the brain. Cronenberg's most passive movie - the virus is no longer infecting our protagonist, it's infecting someone else. And that someone else has been dead four years. And that virus might be a hoax. But the obsession is as potent as ever, and the disconnect - impossible to reconcile, crucially - between the obsessed and the object of their obsession warps it in…

Popular reviews

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  • Funny Boy

    Funny Boy

    ★★

    Tries to tell two stories in the space it needs to tell one; both come up short. I get the significance of wider political/societal events on a specific personal life, but there are ways of doing that that aren't so reductive. A bit alarmed at how the Sri Lankan political situation - one of the knottiest, dirtiest, most unresolvable crises of the past 100 years - is almost entirely depoliticized, turned into a simple slanging match with the odd vague…

  • Another Round

    Another Round

    ★½

    Earnestly, unquestioningly establishes an absurd premise inhabited by absurd people behaving absurdly, and does so with the neat, digestible quasi-realism characteristic of modern European arthouse, projecting believability with such insistence that it’s a certainty it’ll be swallowed down to the last drop by its middlebrow audience. It’s a film about people who’ve had it much too good (made, presumably, by people who’ve had it much too good) and embark on a laughable midlife crisis that the film treats as though…