THE CALVARY

Basically…

During confession, Father Lavelle (Brendan Gleeson) learns that one of the locals is planning to kill him in an act of revenge against the Catholic Church. He then spends the next seven days dealing with a range of people in his village who each have their own reasons for disliking his religion and piecing together who is preparing to take his life.

In other words…

Father Ted is Father Dead.

The main men and leading ladies…

Brendan Gleeson is cast to perfection as the craggy and burdened – yet devoted priest – and makes this film what it is. But without the correct tone we don’t see him fulfil his potential. Had he brought his cynical humour from In Bruges it would have worked perfectly, but instead John Michael McDonagh cast him without the same wit or sarcasm – traits that wouldn’t have been out of place here. Chris O’Dowd is more than your lovable idiot for a change, and is back playing to his strengths again after some questionable roles in Girls and Cuban Fury. Dylan Moran is as excellent as ever and Kelly Reilly plays the troubled daughter well.

In the chair…

McDonagh follows up The Guard with a similar dark and subtle humour – and as much as that’s great, he still fails to live up to his brother Martin’s work. Had he been less subtle with the black comedic tone like his brother’s In Bruges and Seven Psychopaths, both his movies would be rivaling them on the cult classic scale.

So…?

It’s refreshing to see a film cast a priest as the innocent good guy for a change, but is the dying genre really something we’ve missed? In this case it feels like something's missing, and while the acting is immense, the plot is powerful and the atmosphere is intense, the tone could have been darker. The storyline merited more black humour than just the odd one liner, and had the scope to use the mystery element and subtle detective work to greater depth. And not that I’m one for plot spoilers, but seeing an unnecessary shot of a murdered pet Labrador is deplorable. Get that sorted McDonagh. 

Worth the money?

Nope.

THE DOUBLE

Basically…

Government office worker, Simon, (Jesse Eisenberg), makes so little impact on the people around him he goes by completely unnoticed on a daily basis. But when new employee James, (also Eisenberg), starts the same job he grows increasingly disturbed by how identical in appearance, yet how different in personality they are. Facing a battle, both in his career and love life, he fights to stop James completely stealing his identity and taking over his life.

In other words…

Two Eisenberg’s for the price of one. What more could you want?

The main men and leading ladies…

The Social Network, Now You See Me, even his brief appearance in Modern Family – Eisenberg is quickly becoming typecast as the irritatingly, arrogant, cocky little shit you would love to put your fist through. But at the same time you can’t help but love him for it. Like a young Benedict Cumberbatch he possesses the same conceited attitude that shouldn’t make him endearing, yet it does, to a tee. In The Double we’re treated to two sides of Eisenberg though – the timid wallflower, and the Tyler Durden-esque opportunist who wings his way through life - both of which he pulls off effortlessly and to perfection.

In the chair…

Richard Ayoade, (yes, that guy from the IT Crowd) follows up Submarine with yet another edgy and dark cult feast. He continues to use a deadpan tone well and is already developing a reputation for a distinct style behind the camera.

So…?

It’s a bleak and claustrophobic world Simon suffers in which makes viewing a pleasantly uncomfortable experience. As he becomes increasingly paranoid at the arrival of his doppelganger, resentment grows and tensions rise. The intriguing and mysterious Mia Wasikowska is perfect for the role of Hannah, who is sucked into the charismatic ways of James, much to the agony of Simon. His sheer disbelief at his colleague’s inability to notice the resemblance is one thing, but losing the girl he loves to the same face but different personality sparks a different type of psychological struggle. The cinematography is stunning, the tone is chilling and the underlying message of identity is a powerful one.

Worth the money?

If you’re in the mood for something dark, yes. 

A LONG WAY DOWN

Basically…
When ex-TV presenter and convicted sex offender, Martin Sharp (Pierce Brosnan), goes to Toppers House, the most renowned spot for people jumping to their death, he meets three like-minded lost souls. In doing so he forms an alliance with Maureen, (Toni Collette), Jess (Imogen Poots) and JJ (Aaron Paul) as the four learn to ease the pain of each other’s problems.

In other words…
“A bunch of desperate people doing desperate things to try and look less desperate” – JJ. 

The main men and leading ladies…
Pierce Brosnan plays the disgraced celebrity, who is yearning for another chance at fame, convincingly but his character is the least developed of the four. 
Reserved and lonely Maureen is portrayed well by Toni Collette and she does well to show how isolated her life is because it's devoted to caring for her disabled son.
The movie may not go into detail about JJ’s heartache as he suffers the break up of both his relationship and his band, but Aaron Paul still captures how lost and painful his life has become.
But saving the best to last, there aren't many actresses who could play big-mouthed Jess - and not be irritating - as well as Imogen Poots. Silently suffering the disappearance of her older sister, she compensates her pain by being shamelessly outspoken and despicably endearing...making this film the gem that it is. 

In the chair…
French director Pascal Chaumeil takes on the challenge of not only making a film in English but adapting Hornby’s novel as well. And he successfully moves the book to the big screen while ensuring the vital character depth isn't lost in the transition. 

So…?
It’s a story that shouldn't work, but unapologetically does. You have to admire Hornby for his original approach to a typically taboo subject. As much as it’s in bad taste, this black comedy has as many funny lines as it does touching moments. There was still room for more dark humour though, and if it had been utilised, it could have had an even longer lasting impact. Never the less, it’s an inspiring and heartwarming story of unlikely friendships and in a twisted way, it’s also a poignant coming of age movie. The casting is done to perfection and the added chemistry between Jess and JJ, which isn't in the novel, is welcomed on the big screen because of the believable underlying sexual tension between the actors.

Worth the money? 
Yes, even if it’s just for more of the Paul ‘n’ Poots collaboration. 

THE ZERO THEOREM

Basically…
Set in the future, Qohen (Christoph Waltz) dedicates his days to waiting by the telephone for the call that will reveal the meaning of life. His job, however, is getting in the way, as he’s expected to number crunch his way to proving the zero theorem formula and show that life has no purpose.

In other words…
George Orwell on acid.

The main men and leading ladies…
The utterly faultless work of perfection that is Christoph Waltz steps away from the unnerving silent assassin roles we saw him play in Django Unchained and Inglorious Basterds to play a character which perhaps would have suited John Malkovich to a tee. But he doesn’t for a second do a substandard job conveying the eccentric and anxious character of Qohen. His distractions come in the form of love interest Melanie Thierry and son-of-the-boss Lucas Hedges. Tilda Swinton is excellent while Matt Damon strikes a remarkable resemblance for a young Philip Seymour Hoffman.

In the chair…
Many have linked The Zero Theorem to Brazil and 12 Monkeys, calling this the final part of a loose trilogy but Terry Gilliam himself denies that was the thinking behind the film. His latest work of art is yet another mesmerising insight into what goes on inside his mind, with the only fault being it doesn’t feel as tight as some of his previous masterpieces.

So…?
If this is anything to go by the future is a candy coated multicoloured paranoid nightmare. With a feel of 1984 and A Clockwork Orange, you’re caught up in Qohen’s tangled web of thoughts. The fast paced and breathtaking scenes take the viewer on a journey where you could literally blink and miss something both picturesque and delightfully hypnotising. It’s a movie with as much style as it does substance, coupled by the important message – the longer you spend searching for the meaning of life, the longer you waste living your life. Dazzling, thought provoking and outrageous…did you really expect anything less from Gilliam?

Worth the money? 
Yes, but you might need to save some for a second visit to help you digest what you just witnessed.