The Banshees of Inisherin reviews

[Big Magilla]

I had forgotten that the two films in which Brendan Gleeson gave his greatest performances to date, The Guard and Cavalry, were both directed by Martin McDonagh's older brother, John Michael. Gleeson in Cavalry was my choice for Best Actor that year. He was, of course, also great in Martin's In Bruges as well.

Although I think Gleeson's performances in all three of those films were superior to his work in Banshees, I wouldn't call any of those films themselves superior to Banshees which strikes the perfect balance between dark comedy and drama. I'm just glad that Brendan, like Colin Farrell, is finally in the discussion for an Oscar after being taken pretty much for granted all these years.

[jack]

I watched this last night and maybe because of all the hype I was somewhat less enthused by it. While watching, it reminded me of John Michael McDonagh’s far superior Calvary. I may watch that again tonight.

[Okri]

I'll just echo everyone else. Maybe one too many shots of bloody stumps.

[dws1982]

Was hoping to see this (and/or Armageddon Time) this weekend, but am stuck in with the flu. (It may not be the flu, but it seems like the most likely explanation, since our whole front office and a lot of students were out with it last week.) This will last a few weeks I think; Armageddon Time is the one I'm worried about missing.

[Big Magilla]

Farrell would be the front-runner for Best Actor if it weren't for Brendan Fraser's back from the dead performance in The Whale. I can see him outpolling Fraser in various critics' awards but not the Globes, SAG, or the Oscars.

Well, we've seen our fair share of late welcomes to the nominee pool, even strong, deep in the race for the award, but ending without an Oscar: Rourke in The Wrestler, Murray in Lost in Translation, and maybe even Farnsworth in The Straight Story. A "welcome back" worth mentioning, as it was considered by many as unstoppable is that of Stallone for Creed. What I'm saying is that it wouldn't be that unusual for Fraser to nominate, even with bets on him, and for it all to end up being a welcome salute and nothing more.

So true.

[HarryGoldfarb]

Farrell would be the front-runner for Best Actor if it weren't for Brendan Fraser's back from the dead performance in The Whale. I can see him outpolling Fraser in various critics' awards but not the Globes, SAG, or the Oscars.

Well, we've seen our fair share of late welcomes to the nominee pool, even strong, deep in the race for the award, but ending without an Oscar: Rourke in The Wrestler, Murray in Lost in Translation, and maybe even Farnsworth in The Straight Story. A "welcome back" worth mentioning, as it was consideres by many as unstoppable is that of Stallone for Creed. What I'm saying is that it wouldn't be that unusual for Fraser to nominate, even with bets on him, and for it all to end up being a welcome salute and nothing more.

[danfrank]

I agree with all that’s been said. This is a tale very well told, but what a sad, sad tale. So like the Irish to wallow on the deep dark side (says the Irish guy). I thought the cinematography and score were both hauntingly beautiful. And, yes, all four performances are nomination-worthy. I’m fine with Gleeson in support, as he’s off-screen way more than Farrell, and the story is told mostly from Padraic’s perspective. Like Tee I was most impressed with Kerry Condon’s performance. Of course she’s the most relatable and “normal” character, but she elevates it to great heights, expressing volumes in those eyes. It would be a near-crime if she’s not nominated. I hope this scores on the high end of possible nominations, but I have a hard time seeing it winning much. It’s a small film and just so dark.

[flipp525]

I saw this last night and echo a lot of what Sabin and Tee have said, especially about the performances. In a perfect world, all four - Farrell, Gleeson, Condon, and Keoghan - would be nominated. I think I might have the softest spots for Condon and Keoghan who were simply perfect in their roles, especially there big scene together which was legitimately heartbreaking. This movie really does get quite dark. But it was such a quietly perfect character study and encapsulation of this milieu. And it’s Martin McDonagh so I was fully expecting it to go there. As with Three Billboards, he likes to do these open endings.

[Sabin]

Mister Tee wrote
I might make the argument that Casey Affleck in Manchester by the Sea comes within spitting distance of that description.

I thought about this. I still think Casey Affleck's win is as atypical a win in this category as I've seen in my adult life. That lineup was a bit odd in that the lineup was primarily composed of Dad Sadness (Affleck, Mortensen, Washington). Ironically, my choice for Best Actor that year is probably Colin Farrell for The Lobster.

I still think Farrell (in Banshees) is different than Affleck and that lot because his character is primarily defined by his dullness and his dimness, and by how funny Farrell is in the role. Although Manchester by the Sea is a similarly depressed film with moments of wit... Hmm, you're turning me around to this comparison. I haven't seen The Whale yet but I'd love to see Colin Farrell's surprisingly wonderful career rewarded for such risks.

Mister Tee wrote
Above all, wonderfully acted. Much as I loved Farrell in this, my favorite performance was Kerry Condon's -- she absolutely elevated every scene she was in (looking her up, she was Jonathan Banks' daughter in Better Call Saul? Never would have recognized her).

Wow, I had no idea. She is fantastic and has surpassed Dolly De Leon as my choice for Best Supporting Actress, despite having a more familiar kind of role. I also agree with your description of Brendan Gleeson as "merely" perfect. I think that's what I was trying to land on.

[Mister Tee]

Big Magilla wrote
Farrell would be the front-runner for Best Actor if it weren't for Brendan Fraser's back from the dead performance in The Whale. I can see him outpolling Fraser in various critics' awards but not the Globes, SAG, or the Oscars.

I don't think Colin Farrell would ever win the Oscar for this performance. They would give it to Austin Butler. The reason is honestly he's just too good. He plays a pretty dim, sweet, weak guy who's kind of a fuck up. Those performances never win.

I might make the argument that Casey Affleck in Manchester by the Sea comes within spitting distance of that description.

I think it's a wonderful, deeply felt performance, with a really clear Oscar scene (the Mozart/"nice" argument), and I could see him winning for it, particularly if the film gets broad support. You give it a floor for nominations (actor/screenplay), but I think it has a pretty high ceiling: film, director, double supporting actors, supporting actress, cinematography, score. Not saying all that'll definitely happen -- it's a smallish film, and doesn't have the American-like energy that sold Three Billboards. But it's not much of a year, and I don't think you can rule it out.

For the record, my Academy voter friend has seen Butler, Fraser and Farrell, and thinks Farrell is the clear winner of the group.

As for the film as a whole: man, you couldn't dream a more perfect distillation of Irish melancholy. I have to admit, I was a bit surprised by this tone: I expected more biting humor from McDonagh. Not that there aren't funny bits, but this is a real meditation on desolation, and it's far more sad than funny all along the way. I agree with Sabin about two things: that the references to the war are some sort of allegory that doesn't quite land, and that the final act maybe doesn't give us the resolution we'd long for in our heart of hearts. But that's about the only criticisms I have. It's just a lovely, beautifully shot and written film.

Above all, wonderfully acted. Much as I loved Farrell in this, my favorite performance was Kerry Condon's -- she absolutely elevated every scene she was in (looking her up, she was Jonathan Banks' daughter in Better Call Saul? Never would have recognized her). Brendan Gleeson is merely perfect. And Barry Keoghan just breaks the heart. His big number scene with Condon couldn't be more perfectly written or acted by both performers. It would be criminal for any of these actors to be left off the Oscar lists.

[Sabin]

Big Magilla wrote
Farrell would be the front-runner for Best Actor if it weren't for Brendan Fraser's back from the dead performance in The Whale. I can see him outpolling Fraser in various critics' awards but not the Globes, SAG, or the Oscars.

I don't think Colin Farrell would ever win the Oscar for this performance. They would give it to Austin Butler. The reason is honestly he's just too good. He plays a pretty dim, sweet, weak guy who's kind of a fuck up. Those performances never win. I suspect he'll win the majority of critic's groups and deservedly so. There's a world where Colin Farrell will win the Golden Globe but if he's up against Austin Butler, I bet they'll give it to Butler.

[gunnar]

I'll probably go see this at some point in the next couple of weeks as it is now getting a slightly wider release. It looks very good.

[Big Magilla]

I won't be seeing it for a while, but from what I've observed in clips and read in reviews, Farrell, Gleeson, and Condon are virtual locks for nominations and Keoghan is very much in contention. Picture, Director, Screenplay, Cinematography, and Score are also likely.

Farrell would be the front-runner for Best Actor if it weren't for Brendan Fraser's back from the dead performance in The Whale. I can see him outpolling Fraser in various critics' awards but not the Globes, SAG, or the Oscars.

[Sabin]

Very good film. Maybe a great one, once I take a second viewing. I'm going to give three paragraphs. The first is full of top level observations, second is brief Oscar thoughts, and the third is more spoiler-ish with what I realized is missing from the film.

The Banshees of Inisherin is a film about loneliness and the choices we make to grapple with the emptiness of life, told through a scenario where one friend suddenly decides he doesn't want the company of another. Like in Three Billboards..., it's told through a handful of characters with colorful background ones. Like in Three Billboards..., it's a story engine that begins before the film starts (such a pleasure!). Like in Three Billboards..., it's the surprises in the scene-work that make the film so resonant but in Banshees the surprises are how our sympathies keep shifting. Most films that treat depression as a mental illness feel like a bummer and a screed. The Banshees of Inisherin walks that tightrope very well between portraying Colm (Brendan Gleeson) as depressed, mentally ill, entirely unreasonable, and making very good points. This is the more entertaining and healing approach, really. I especially liked how the priest keeps asking him "How's the despair?" The only exception to this is poor Padraic who quite likes his empty life on this lonely island but by the end will tragically suffer an innocence lost. My favorite aspect to Banshees is how much McDonagh finds in this scenario. In every scene, my sympathies shifted to somebody else. I'll begin a scene siding with Padraic and by the end shift to Colm. I really liked this approach and although I think the film could've widened out a bit beyond the four characters (like Three Billboards... there's a touch of schematism to the plotting; also the civil war metaphor doesn't quite land) it's a very good film about the loneliest things in life.

I don't think this film is going to do as well at the Oscars as Three Billboards... I doesn't have as meaty or timely a hook and those bloody finger stumps are going to turn a lot of older voters off. It's also a very quiet sad film. I think McDonagh being in the club at this point is going to help him a bit and it's bound to have enough of a showing at the HFPA and BAFTA to put it in the race. On the low end, Original Screenplay and Farrell are assured. This is wonderful work from Colin Farrell, who probably should win. I'm amazed at how many unique variations he's found to play on his dullards over the years. No two are the same. And despite being a lead, I think Gleeson is probably a safe bet for his first nomination. If it does better than that, the film's two fantastic true supporting performances have a shot. I have no idea how Best Supporting Actress is going to develop this year but I suspect most viewers will relate the most to Kerry Condon's character. She's just fantastic as Farrell's exasperated live-in sister and has a hopeful arc. Finally, I think Barry Keoghan could get his first nomination as well. He's memorably sweet as the town "gam," a twitchy lonely simpleton. He has such a sad conversation with Condon near the end that's a heartbreaker. At this point, I wouldn't bet on a nomination for Best Director, Best Original Score (although it's a great Carter Burwell score), Best Cinematography (although it's gorgeous evocative work save for a few shots that looked green-screened; I'm astonished they weren't), and Film Editing (it's a bit too choppy in parts). If I had to guess right now, I'd say... five.

SPOILERS... SPOILERS... SPOILERS...

When I left The Banshees of Inisherin, I couldn't help but feel like something was missing from the film. I couldn't put my finger (heh) on it but I think I figured it out. The film's third act pivots around Padraic's little pony eating one of Colm's fingers and dying and Padraic tells Colm that he's going to lay a lantern on Colm's house at 2pm and burn it down, whether he's in it or not. And he does just that. He takes a look inside and Colm is in there and apparently has accepted his fate. Padraic then leaves, taking Colm's dog with him because the dog is now the only nice thing about him, as Colm's house burns to the ground. Later in the film, Padraic returns to find the house burned down and Colm standing by the beach apparently having decided to live. They have a brief conversation where Colm thanks him for saving his dog and their relationship is unresolved save for Padraic now having suffered a loss of innocence.

I think what's missing from the film is that we needed to see Colm escaping the fire. One of the film's great strengths is how Brendan Gleeson manages to sell Colm's decision to cut his fingers off. It's an insane decision. Nobody would ever do that, let alone someone who wants to dedicate the rest of his life to playing the fiddle. But the film makes the very credible case that Colm is disturbed, and even goes so far to suggest that he's doing this in part because he's bored and needs something. Once he's missing his fingers, he conducts the performance of a bunch of music students with one hand holding his fiddle and a gangrenous face (BTW: the mood of 2022 is officially the disturbed conductor). If I'm making this sound like it doesn't work, that is not my intention. It works great! But it has to go somewhere because I'm not watching a real person at this point. He represents something and it's something akin to the self-destruction of an anguished lonely soul. So when Padraic torches his house and Colm decides to stay in it, I think to myself "Okay, the question is... does he choose to stay or go." And McDonagh decides to go the fake-out route to make us think that Colm has decided to die. I know a case could be made that it would've been hard for McDonagh to sustain tension from that scene to another but downward is the direction of so many scenes in the film. I think The Banshees of Inisherin could've benefited from the catharsis of Colm reaching for life afterwards, landing the point clearly that cutting his friend off unleashed a chain of events that resulted in him embracing life. Even if the two friends don't reconcile afterwards. It's all leading to Colm escaping the fire.

Did not intend for this to be two paragraphs. Anyway, looking forward to everyone's thoughts. It's nice to be part of a group that will write more about this film than Black Adam.

[flipp525]

The belly-flops of White Noise and Bardo have removed a lot of the potential excitement from this year's landscape (though I'm definitely interested enough to watch both of them).

That’s such a disappointment re: White Noise. DeLillo’s novel is amazing. A classic.