“The Outcasts” ★★★★★ — a film by Robert Wynne-Simmons featuring Mary Ryan, Mick Lally, Don Foley, Cyril Cusack, Tom Jordan, Brenda Scallon, Bairbre Ní Chaoimh, Mairtín Ó’Flathearta. Screened at IFI, Dublin, running for 95 minutes. This 1982 Irish folklore horror has been given a second life, it previously influenced Paul Duane’s recent work “All You Need Is Death”. The story is set around a coerced wedding between Breda (Scallon) and a scheming local (Ó’Flathearta) amidst the performance by traditional actors. An unexpected turn unfolds as a far-off fiddle player interrupts the celebrations. The virtuoso is magical and facetious Scarf Michael (Lally), described as savage and ungodly. He encounters a companion and love interest in Maura (Ryan), Breda’s reticent little sister. IFI’s Digital Restoration project has given a stunning 2K makeover to the ‘The Outcasts’, once celebrated as the foremost Irish feature film in half a century. A comprehensive review is upcoming.
“Sting” ★★★☆☆ — a movie by Kiah Roache-Turner starring Ryan Corr, Alyla Browne, Penelope Mitchell, Noni Hazlehurst, Robyn Nevin, Jermaine Fowler, Danny Kim, Silvia Colloca. The movie runs for 92 minutes with a general release and a 16 certificate. The storyline unfolds as a young child meets a minuscule spider following otherworldly appearances. The pet spider surprisingly surges in size, and it isn’t long before the building tenants and ill-fated parakeets become the creature’s snacks. This Australian horror examines the family entertainment style films of Joe Dante and his recently deceased guide, Roger Corman. The film aligns well with the humorous chaos such as that seen in Gremlins and Small Soldiers. The story emphasizes both the domestic tension and the monster-induced devastation.
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“The Beast/La Bête” ★★★☆☆.
The philosophical sci-fi drama starring Léa Seydoux, which has been crafted by director Bertrand Bonello, features Seydoux as a woman traversing throughout her past and future lives in an endeavour for purity. The character’s temporal wanderings span from being a pianist in Paris in 2010 to an actor in LA in 2014. The movie tries to unify a myriad of concepts that don’t necessarily blend together. Some segments are well-rounded while others appear too all-encompassing for such a mentally stimulating film. What adds cohesion to the piece is Bonello’s persistently subtle visual style coupled with Seydoux’s enchanting performance.
Meanwhile, Bill Ross IV and Turner Ross have directed “Gasoline Rainbow”, a dynamic Generation Z journey showcasing a group of recent high-school graduates using their real names embarking on a free-spirited 500-mile trip across Oregon. The film premiered at last year’s Venice Film Festival and blends the line between documentary and fiction. Despite the Ross Brothers’ aversion to discussing this genre-blending aspect, it’s hard to ignore when indulging in this thoughtful and artistically crafted film. The film is part of the contemporary resurgence of the picaresque genre in US indie cinema and offers a gratifying, well-directed and edited viewing experience.