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ADIFF Reviews: Anomalisa // Green Room // My King (Mon Roi)

ADIFF logo audi dublin international film festival logo 2016

More ADIFF 2016 reviews from Mick McGovern.




dir. Charlie Kaufman, Duke Johnson – ★★★★½

‘Anomalisa’ tells the story of Michael Stone, a successful author and guru in the field of customer service who arrives into Cincinnati to deliver a speech. We quickly see that Stone feels disconnected from the world and bored with everything and everyone around him (directors Johnson and Kaufman do this in a very clever way) that is, until he meets Lisa.

I had been really looking forward to ‘Anomalisa’ ever since it was announced and it thankfully didn’t disappoint, that such a human film can be made using dolls and stop motion animation is really something to behold and while the film is ultimately about loneliness and alienation, it somehow manages to be really charming and have plenty of laughs.

Out in Irish Cinemas March 11th
green room

Green Room

dir. Jeremy Saulnier – ★★★½

The team behind ‘Blue Ruin’ one of my favourite films from the 2014 festival, returned with the story of a punk band who end up in a fight for survival when they witness a horrible event while playing a gig in a venue run by white supremacists.

The film manages to hold an amazing tension throughout and is even more violent then I remember ‘Blue Ruin’ being. While the characters are never really fully developed or fleshed out, the taut direction and the fact that the great cast all inhabit their roles as best they can means you can get wrapped up in what’s going on easily and the trajectory of the story fully, which might not have happened if left in lesser hands.

Out in Irish Cinemas May 13th

My King (Mon Roi)

dir. Maïwenn – ★★½

A French film, nominated for the Palme d’Or, about Marie-Antoinette aka Tony (Emmanuelle Bercot) who while undergoing rehab for a terrible knee injury suffered while skiing reflects on her turbulent relationship with the love of her life, Georgio (Vincent Cassel).

The film works a lot better in the first half when the relationship is developing and everything is light and upbeat, even though you do question why the character of Tony chooses to ignore early warning signs about why the relationship might not work, rather than later on when the film focuses on the wheels coming off. In saying that, Cassel and Bercot both do their best to help ground the melodrama unfolding but the film really could have benefited from being a lot more rigid in the editing suite, as the two-hour running time just leaves you drained and happy to see the end credits roll.

No current release date for Irish Cinemas

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Amawaster writes our monthly "I Streamed a Stream" Netflix column and blogs at Don't be creeped out by by how freakishly similar his film tastes are to the two founders...