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Movies @ Gorey Cinema Blog

3D, 2D Movies, Culture-Live in Hd, Opera, Ballet & Theatre

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4 sceen all digital cinema incliding Digital 3D and live broadcast capability in HD The first cinema outside Dublin and the first cinema in Ireland to broadcast The Metropolitian Opera season live from New York

Paddington 2 Review

Paddington 2 is of course the sequel to the very popular Paddington movie that was released back in 2014. The movie was again directed by Paul King who really needs to keep hold of the reins for any future Paddington movies as he really deliver’s again with this one following the same successful formula from the first movie. It’s definitely a case of it isn’t broken don’t fix it with the whole movie as nearly all the original cast return for this one. The film stars Ben Whishaw as the voice of Paddington, alongside Hugh Bonneville, Sally Hawkins, Brendan Gleeson, Julie Walters, Jim Broadbent, Peter Capaldi and Hugh Grant.

The storyline is not complicated and very easy to follow which should make it an enjoyable watch for both young and old alike as it is quite funny with the humour catered for all. The plot this time sees everybody’s favourite bear trying to earn enough money to buy a present for his Aunt Lucy’s birthday. After he finds a pop-up book of London that he is certain Aunt Lucy will love he decides he will earn money cleaning windows to be able to afford the book which is very expensive. When the book gets stolen from Mr. Gruber’s antique shop Paddington is the number one suspect and it’s up to himself and the rest of the Brown family to find the real thief so Paddington can clear his name.This Movie really is quite enjoyable to watch, it does paint a very far-fetched picture of life in London where a bear interacts seemingly unnoticed among everyday life and everybody lives in fancy city centre mansions despite selling papers for a living by day. All this adds to the charm of this adorable movie that is sure to entertain.

Rating 4/5   By   Bill Tubbritt                       BOOK TICKETS

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Murder On The Orient Express Review

Most people will of course of heard of the Murder on the orient express which was brought to us first in 1934 by world famous novelist Agatha Christie. This is not the first time we have seen it on the screen either with a TV show and movie adaption both been done before. This time the plan was to do it bigger and better with an all-star cast, big budget and quality director to try and ensure a hit. The movie was directed superbly by Kenneth Branagh who did excellently double jobbing as he also starred as the world’s greatest detective Hercule Poirot. The rest of the cast consisted of Penélope Cruz, Willem Dafoe, Judi Dench, Johnny Depp and Michelle Pfeiffe to name just a few. The story is set up beautifully from the start where we are first introduced to detective Hercule Poirot who is in the process of solving yet another case using his vast detective skills combined with his brilliant intellect which has earned him a reputation as the world greatest detective. After solving the case detective Poirot decides to take a well-earned break between cases and books himself a ticket on the orient express. While on board he meets a whole host of different characters from all walks of life who each become a murder suspect when one of the passengers is found stabbed to death.The Movie really does look visually specular with the cinematography and scenery being used together perfectly. The story unfortunately is a little hard to follow at times as lots of character names are rattled off by detective Poirot during his deliberations which may be hard to place if you are not paying close attention. It’s a nice movie for fans of this type of movie but don’t expect to be blown away.

Rating

3/5

By Bill Tubbritt

Learmhais Breathe 

Scannán beathaisnéise álainn agus iontach mhothúchánach is ea Breathe, a bhaineann le Robin agus Diana Cavendish (Andrew Garfield, Claire Foy), agus an grá a chabhraigh dóibh polio a fhualaingt agus teacht slán as.Cé go bhfuil deireadh an scéil intuartha go leor (tá a fhios againn go léir cad a tharlóidh leath-slí tríd an scannáin) is dóigh liom go bhfuil fiúntas sa scannán so agus is féidir go leor sult a bhaint as. B’fhéidir go bhfuil sé mar aidhm ag “Breathe” misneach agus tuiscint a spreagadh ar na lucht féachana thar aon rud eile, seachas ionadh a chur orthu leis an scéal – cuireann an teideal é sin in iúil gan dabht, is imeartas focal de shaghas éigint é.Tá cónaí ag Robin agus Diana sa Chéinia, agus gnó aige le tionscal an tae sna 50aidí. Lá amháin, áfach, titeann saol an teaghlaigh as a chéile nuair a fhaigheann Robin amach go bhfuil polio air agus nach bhfuil ach cúpla mí saoil fágtha aige. Le cabhair ó dheartháireacha Diana agus smaointe “craiceáilte” an cheapadóra Teddy Hall (Hugh Bonneville), áfach, bíonn Robin in ann a tréimhse “cinniúnach” a chaitheamh lena theaghlach, gan a bheith san ospidéal: cruthaíonn an ceapadóir cathaoir rothaí ar a bhfuil análaitheoir speisialta do Robin.Cruthaíonn an ceamaradóir Robert Richardson atmaisféar grámhar sa scannán agus is deacair na deora a bhrú fé chois ag féachaint air. Má tá aon locht air in aon chor, ceapaim go mbaineann sé le luas na n-eachtraí sa scannán: sáraíonn Robin agus a theaghlach gach constaic gan stró gan mhoill. Ní hea nach bhfuil sé brónach a dhóthain mar scannán, ach b’fhéidir go mbeadh luasmhoilliú éigint oiriúnach ann.

Ar iomlán, scéal spéisiúil agus drámaíocht thar cionn atá le feiceáil ar “Breathe”. Más ag lorg dráma spreagúil atá tú, bainfidh tú taitneamh as gan dabht.

4/5

by Natália Uí Fhaoláin

     BOOK HERE

Learmhais Thor Ragnarok

Scannán fuinniúil, greannmhar, cliste, lán le haicsean. Is deacair lochtanna a aimsiú ann. Baineann an scannán so úsáid as fothéacs cruthaithe le the Avengers (2012) chun sárlaochra eile a chur i gcumarsáid le Thor, gan mhearbhall ar na lucht féachana.Faigheann Thor amach go bhfuil a dheirfiúir Hela (bandia an bháis) saor óna príosún agus ag iarraidh Asgard a rialú. Tá sí i bhfad níos cumhachtaí ná Thor agus Loki le chéile, só is mór an dúshlán atá rompu sula bhfuil an ríocht ar fad scriosta aici. Déanann Thor iarracht ruaig a chur uirthi ar aon nós agus cailleann sé a chasúr uilechumhachtach. Bíonn sé trína chéile dá bharr agus tagann ionadh air nach bhfuil sé chomh cumhachtach agus a cheap sé. Dár ndóigh, tagann sé ar phlainéad eile trí thimpist (Sakaar), áit ina mbíonn sé gafa agus curtha chun príosún ag an Grandmaster (tiarna naircisíoch, déanta ag Jeff Goldblum) le cabhair Valkyrie (Tessa Thompson). Is ansan a thagann sé ar Hulk, seanchara a chuireann beagáinín níos mó misnigh air de réir a chéile. Breathnaítear ar Thor lag, dobrónach sa scáileán, ach ní hea gur chaill sé a chumhacht – chaill sé a chasúr, siombail dá chuid féin-mhuiníne. Bheadh sé lán-ábalta gach éinne sa phlainéad san a shárú murach sin.Só ar deireadh, ní bhaineann an scannán so le sárlaoch ag seasamh do namhaid, ach do choimhlint siceolaíoch ina intinn féin: idir a athair agus cuid dá fhéiniúlacht a chailliúint, cuireann sé bac ar a chumhacht féin… Agus is féidir linn go léir an streachailt sin a thuiscint ar leibhéal daonna.An t-aon locht is fiú a lua ná go raibheas ag súil le cogadh níos spéisiúla ar deireadh. Léirítear ag tús an scannáin gur namhaid iontach deacair le sárú í Hela, ach níl go leor dúshláin ag Thor agus a chairde ag deireadh an scannáin. Ina theannta san, taispeántar cúpla radharc nach féidir a chreidiúint, fiú ó thaobh ficsin-eolaíoch de: ní dóigh liom go mbeadh Hulk in ann ainmhí 3 uair níos mó ná é féin a mharú gan aon chabhair, mar shampla. Cé is moite de sin, ní fhéadfainn a rá nach bhfuil gach uile comharc iontach spéisiúil, le gluaiseachtaí iontacha, éifeachtaí an-taitneamhacha agus greann cliste anois is arís.

Tá go leor léirmheastóirí ag déanamh comparáide idir an scannán so agus a leithéidí The Dark Knight Rises (2012) agus Gladiator (2000). Is fíor go bhfuil cosúlachtaí ann sa scéal, ach níos tábhachtaí fiú, tá Ragnarok in ainm is a bheith iomráiteach amach anso, cosúil leis na scannáin thuasluaite. Mura bhfuil tú tar éis féachaint air, molaím go mór dul ‘dtí an phictiúrlann go luath agus gach seans go mbainfidh tú sult as.

Thor: Ragnarok

5/5

by Natália Uí Fhaoláin

 

BOOK HERE

Bad Moms Christmas Review

Bad Moms Christmas is a sequel to last year’s very popular Comedy Bad Moms. The Movie was again written and directed by Jon Lucas and Scott Moore. It was great to see the whole cast from the previous movie returning as  Mila Kunis, Kristen Bell and Kathryn reprised their roles as the Bad Moms. This time however they are joined by their own even worse moms who are played by Christine Baranski, Cheryl Hines and Susan Sarandon. Bad Moms Christmas is of course centred around the Christmas as the moms find themselves under pressure to provide the perfect Christmas for the family. When each of them receive visits from their own moms for the Christmas holiday there wilds ways from the first movie soon returned as they rebel against their own controlling mothers and their attempts to control Christmas.The First Bad Moms movie was full of raunchy crude jokes and adult themed hilarious scenes with this the sequel being no different in that regard. The Movie itself maybe a bit of a slow burner to start with but is worth sticking with as the second half is definitely where it comes into its own and has some really genuinely funny moments. Bad Moms Christmas is a slight step up from the first movie and is sure to be popular with cinema audiences.

Rating 3.5/5

By Bill Tubbritt

Learmhais Goodbye Christopher Robin

Bhí “Winne the Pooh” mar mhór páirt de chuimhne na h​óige​ timpeall na domhain ar feadh na bliana ach​ bheadh ionadh ort foghlaim​ nach​ bhfuil an scéal seo sona agus simplí. Sa chéad radharc bhí íomhanna spleodrach den Chéad Chogadh Domhanda. Is fear bríste agus cath shuaite é A.A Milne​ (​ Blue an t-ainm a úsáideann sé). Is de shliocht uasal é agus a bheanchéile.Déanann siad a cinne páiste a chur le an teaghlach mífheidhmiúil seo. Tugtar an t-​ ainm​ Christopher Robin do. Leanann a thuismitheorí ar aghaidh leanna shaol sóisialta ard aicme​ .​Fágann siad an buachaill i gceannais den feighlí leanaí tuisceanach darbh ainm “Nou”. Tógann sé an chuid ama dúinn i bheith i bhfinne​ an​ dlúthchaidreamh a chothú idir athair agus mac.​ Is anseo a fheicimid​ soineantacht​ na hóige a forbróidh mar scéal a bheidh clú agus cáil go ​ deo.​   Imríonn Christopher Robin lena bréagán darbh ainm Eeyore, Piglet and Tiger a bhfuil mar inspioráid don na charachtair sa leabhar. Thuigeamar nach raibh Christopher Robin ag iarradh clú agus cáil ach grá gan choinníoll ó a thuismitheorí. Le rith an scannán seo bhí mé ag gáire agus ag caoineadh go cothrom. Fhágann an scannán thú le gliondar i do chroí. Ní féidir ​ liom​ ​ ach​ ​ é​ ​ a​ ​ mholadh,​ ​ ​scannán ​ ​den ​ scoth​ ​ ​a ​ bhí​ ​ ann.​

4.5/5

By

Claire Ní Neachtain

Verdi’s “Don Carlos” Live from Opera de Paris

Verdi’s “Don Carlos” Live from Opera de Paris,

Thurs, Oct 19th 5pm.

All-star cast: Four modern operatic greats: Kaufmann, Yoncheva, Garanca and Abdrazakov.

At least five operas have been based on Friedrich Schiller’s great drama, “Don Carlos”, (which delighted us theatregoers in Dublin about five years ago) and all pale in comparison with Verdi’s great work. Denis Forman awards it an Alpha-Plus, one of only thirteen he gives out in his survey of the greatest operas ever composed. Forman states: – “Carlos” is perhaps Verdi’s finest opera  … the grip of the narrative holds us in a way that is rare in Verdi. … For richness, depth and sheer enjoyability the score of “Carlos” is a phenomenon … the stupendous choral climaxes to Acts 1 and 3 … “Carlos” is the grandest of grand operas and an Alpha-Plus through and through”.

High praise, indeed, but, as an opera lover who came relatively late to an awareness of the glories of this magnificent work (it needs a great production, a fine orchestra and great singers – things lacking in some of the earlier productions I attended), Forman’s praise is fully justified – I well remember a glorious production we had at SGC about six years ago which gave me one of my most thrilling operatic experiences. (A 1958 Covent Garden production costumed and designed by Luchino Visconti is a landmark in this opera’s production history)

Don Carlos

 

 

 

 

 

 

 

 

 

 

 

Of the superb quartet of soloists I’ve already listed, I look forward in particular to hearing again Sonya Yoncheva, who we had not so long ago as a thrilling Norma in that ferociously taxing role (it has been called the Hamlet role for sopranos) – maybe comparing hers to Callas’s immortal interpretation of the Druidic Priestess would be pushing it too far, but it was a sheer delight. So, along with the other soloists named above, Verdi’s arias and ensembles should be heard at their marvellous best.

“Don Carlos”, the composer’s twenty-fifth opera, premiered at the Paris Opera on March 11th, 1867, and had a difficult birth involving cuts, rewrites, a long rehearsal period (six months) with the composer walking out of rehearsals at one stage. Although the opera was a success right from the opening night, it went on to be one of the most revised of all operas – but it has long been recognised as one of the genres greatest jewels.

Don Carlos

 

 

 

 

 

 

 

 

 

 

This beautiful, tumultuous opera is based on real flesh and blood people. Set in France and Spain c1560, it tells of Don Carlos, son of Phillip the 2nd of Spain (he who married Queen Mary of England), who is in love with Elizabeth, his stepmother. They meet and declare their love for each other. A jealous Princes Eboli tells all to the king and all heaven breaks loose (one of Con Houlihan’s gems!) … and on it goes in one of the most Shakespearean of all operas.

“Don Carlos” has to be in my top ten all-time operas; it can provide a sensational night of theatre. Thanks to Eugene and all at SGC, we’re having unforgettable opera productions (e.g. the recent Covent Garden “Magic Flute”) to savour. If you love opera, you will miss it at your peril – it could be one of the musical events of the year. (Please note the early starting time.) (Jim Ryan).

Learmhais Kingsman The Golden Circle

Aicsean den scoth, éifeachtaí iontacha agus teachtaireacht láidir a chuirfidh thú ag machnamh go mór: sin iad na buanna is mó atá ag an scannán leantach so.

Cé gur scannán leantach é so, is deacair é a chreidiúint: bheinn ag súil go mbeadh daonra an domhain íslithe go mór agus córas polaitíochta iomlán éagsúil i bhfeidhm ar fud na cruinne i ndiaidh an chéad scannáin. Is dócha go bhfuiltear ag cloí leis an bpatrún céanna arís: sábhálann lucht Kingsman an domhain ó namhaid cumhachtach a dhéin bagairt mhór tubaisteach, ach cé is moite de sin, ní thugann éinne na gníomhairí rúnda fé ndeara. Níl a leithéid sin inchreidte in aon chor. Pé scéal é, is féidir cur suas leis an bpoll mór millteach sa phlota má bhíonn tú ag tabhairt níos mó airde ar an aicsean agus an smaoineamh taobh thiar den scéal. Tá go leor polaitíochta taobh thiar de scannáin Kingsman, agus de ghnáth is smaointeoir den scoth atá sa namhaid: ar an gcéad scannán, bhí namhaid ag iarraidh ollscriosadh a dhéanamh ar daonra an domhain toisc go bhfuil sé ag éirí ró-mhór agus ó smacht againn. Nach fíor é! Dár ndóigh, d’éirigh le gníomhaire déagóir Harry Hart (Colin Firth) agus a fhoireann stop a chur leis, ach fanann na lucht féachana ag smaoineamh ar an gceist. Níl sé difriúil sa scannán leantach: is í ár namhaid an babhta so í Poppy Adams, ceann de na mangairí drugaí is mó rath orthu ar domhain. Cé go bhfuil sí saibhir, teastaíonn cáil uaithi. Dá bharr sin, cuireann sí nimh ar na drugaí mídhleathacha go léir. Tá leigheas forbartha aici, ach ní scaoilfidh sí é ar fud an domhain sula ndéanann uachtarán Mheiriceá cinneadh na drugaí sin ar fad a cheadú as seo amach. An eireoidh le Kingsman stop a chur léi?Cé go mbaineann an scannán so le ceist na ndrugaí, taispeántar ár laochra ag ól níos mó ná uair amháin. Dár ndóigh, oibríonn siad in éineacht lena gcomrádaithe Meiriceánacha Statesman, atá fé bhréagriocht i ndrioglann uisce beatha! Ní dóigh liom gur trí thimpist a bhí sé sin. Is fimíneacht atá á cháineadh sa scannán so thar aon rud eile, agus níl sa príomhscéal ach píosa aicsin taitneamhach a théann leis. D’fhéadfaí na scannáin Kingsman a cháineadh ar go leor bealaí éagsúla – níl easpa lochtanna iontu in aon chor – ach is léir go gcuirtear rudaí dochreidte áirithe ann ar mhaithe le greann… Agus oibríonn sé! Nach deas féachaint ar scannán spiaireachta atá greannmhar, cosúil leis na chéad cúpla scannáin 007 an chéid so caite. San am céanna, tá an tsraith so cliste ag spreagadh díospóireachta ar cheisteanna conspóideacha an lae inniu. Níor cheap mé riamh go ndéarfainn é riamh, go háirithe i mbun léirmheasa scannánaíochta, ach: uaireanta ní gá ciall a bheith sa phlota in aon chor.

By

Natália Uí Fhaoláin

4/5

Learmhais Victoria and Abdul

Ní fhéadfaí a rá gur scannán beathaisnéise é, toisc go bhfuil níos mó cruthaíocht ann ná ábhar stairiúil. Ar an taobh eile, seans nach píosa tuairimíochta é ach an oiread: is deacair a shamhlú go dtacaíonn an stiúrthóir – nó duine ar bith beo – leis an gcoilíneachas a léirítear sa scannán so. An locht is mó atá ann, dá bharr, ná nach féidir aidhm an scannáin a thuiscint in aon chor.

Cé gur dheacair a dhéanamh amach cad é go díreach a bhí ar intinn an stiúrthóra, níl aon amhras go bhfeictear drámaíocht den chéad scoth sa scannán so. Déarfainn go bhfuil duais de chineál éigin tuillte ag Judi Dench (an Bhanríon Victoria) as an obair den scoth a dhéin sí ann. Léiríonn sí banríon Shasana dobrónach, tuirseach, ag titim san aois, ach san am céanna níos daonna ná riamh.

Bunaíodh an scannán (go páirteach) ar an leabhar Victoria & Abdul: The True Story of the Queen’s Closest Confident, ag Shrabani Basu. Ar thaobh amháin den scéal, is fíor é go ndeachaigh Abdul Karim (Ali Fazal) agus a chara Mohammed (Adeel Akhtar) go dtí Londain chun duais Indiach a bhronnadh ar an mBanríon mar gheall ar a hIubhaile. Is fíor é chomh maith gur éirigh Victoria agus Abdul cairdiúil de réir a chéile agus d’fhan sé ar a taobh go deireadh, mar mhúinteoir Urdu, comhairleoir agus cara. Ar an taobh eile den scéal, áfach, is deacair a chreidiúint go raibh Abdul an fhíorshaoil chomh haineolach agus chomh géilliúil is a léirítear sa scannán: pógann sé bróga na banríona agus tugann sé neamhaird iomlán ar Mohammed i Londain, fiú nuair a imíonn sé ar shlí na fírinne. Cuireann sé sin amhras ar na lucht féachana: an ea go dtacaíonn Abdul le coilíneachas? Seans, go stairiúil, go raibh sé sásta cabhrú leis an mBanríon agus cur suas leis an gciníochas mórthimpeall air ar chúis eacnamaíoch: go leor airgid a bhailiú agus saol níos fearr a thabhairt dá chlann in India. Ach ní hé sin a fheictear sa scannán in aon chor. Feictear Abdul umhal, géilliúil sa scáileán, beagnach ina sclábhaí.

Is deacair a rá an cháineadh nó ómós don ciníochas atá i gceist ansan, agus dár ndóigh chuir an t-amhras sin isteach ar go leor léirmheastóirí cheana féin. Is dóigh liom féin nár éirigh leis an stiúrthóir teachtaireacht shoiléir a chur trasna leis an scéal, ach cé is moite de sin, feicim cruinneas stairiúil de chineál éigint ar an slí a réitíonn na carachtair le chéile. Tá aineolas caolchúiseach le feiceáil ar aghaidh na banríona nuair a bhíonn Abdul ag labhairt léi fé dímheas agus ciníochas san India, mar gheall ar arm Shasana. Creidim sin. Is minic a bhíonn daoine geala ardaicmeacha dall dá leithéid sin mar gheall ar phribhléid – feictear é sa lá atá inniu ann freisin, ó thaobh polaiteoirí de. Thar aon rud eile, áfach, is éard is mó a chuir meangadh gáire orm le linn an scannáin so ná cé chomh daonna is atá an drámaíocht: i ndeireadh na dála, níl i Victoria ach seanbhan chráite nár éirigh léi cairdeas ceart a bheith aici le héinne dá teaghlach féin. Fuair sí comhluadar Indiach agus ar deireadh ba chuma léi fé aicme nó cine dá bharr. Chuir Abdul gliondar thar n-ais ar a croí, agus sin an príomhchúis nach raibh eagla uirthi roimh an strainséar so nó a chultúr eachtrannach – eagla a fheictear, áfach, ar na daoine geala eile go léir sa scannán.

Ar iomlán, scannán inchreidte go leor é so, cé is moite den gcruthaíocht ar fad sa scéal. Is mór is fiú féachaint air, má dhíríonn tú níos mó ar na mothúcháin ná an stair.

Natália Uí Fhaoláin

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