Almas en pena de Inisherin

Aunque esperaba un desenlace más interesante y más radical, la película es un gran estudio de personajes no convencionales con un conflicto no convencional en un ambiente poco convencional y muy atmosférico. La película es alegremente tragicómica e impredecible, ya que la acción y la reacción están determinadas por dos aldeanos incompatibles del fin del mundo que desperdician pasivamente sus vidas. La primera mitad está magistralmente escrita y dirigida. Sin embargo, la pregunta real de cómo se resolverá el problema es más divertida en esta mitad que su resolución en la segunda mitad. De nuevo el excelente Colin Farrell, de nuevo el gran Carter Burwell (compositor de la banda sonora de los hermanos Coen), y la escenografía, que es en sí misma otro protagonista de la película. (19.01.2023)

Una película nada convencional sobre la amistad, que comienza con el hecho de que la amistad termina unilateralmente de la nada. De las películas del dramaturgo Martin McDonagh hasta la fecha, Almas en pena de Inisherin es, con diferencia, la más íntima y la que más recuerda a una obra de teatro, así que no espere acción dinámica. La alternancia de humor (a menudo muy negro) y temas deprimentes siempre ha sido un punto fuerte de este guionista y director británico, pero en el caso de Almas, a pesar del concepto estrechado, es una montaña rusa de emociones encontradas que, a pesar de las numerosas carcajadas en la parte final, te dejará totalmente deprimido. Las interpretaciones de todos los que intervienen en la película son excelentes, especialmente la increíble actuación de Colin Farrell que interpreta al inadaptado irlandés ingenuo y testarudo. [Vancouver International Film Festival 2022] (05.10.2022)

McDonagh hasn't made a bad movie yet. He's a whiz at turning even an uninteresting premise into an ambitious work that will storm the Oscars. I was honestly worried, as this is his most intimate film without violence, but he still managed to win me over. We get the most out of the actors here! Colin Farrell – clear Oscar, Barry Keoghan – second Oscar. The landscape of the Irish countryside is amazing (I enjoyed the rough Irish slang too), it's just close to my heart and that can impress me. What's great though is the insanely bizarre black and bitter humour, I laughed really loud a few times and some of the lines are brutal, and that's what makes it just so great. “Wasn't it so much easier when we was all on the same side, and it was just the English we was killin'?” Good film. 80%. (21.12.2022)

The (un)official final part of the free trilogy from the Aran Islands. Of McDonagh’s works, this the closest to his theatre roots, which is a problem. McDonagh is a better writer than director and a better playwright than screenwriter, and as a film director, he tries to hide the distinct theatricality of the script, which is a mistake, it would be better if he accepted it for what it is. It is a minor detail, but coupled with the fact that it's not the best part of the trilogy, which also as a whole is overshadowed by the Leenan trilogy, means that The Bahsees of Inisherin feels like a tiny step backwards for McDonagh as a writer and as a director. Since his film debut, I've wanted him to be closer to his roots in style and substance, and this confirms the proverbial "be careful what you wish for, it might come true". But does any of this mean it's not excellent or perhaps superbly acted? Not at all. (08.02.2023)

A pleasant, cruel conversational movie about the fact that sometimes you can simply hate your neighbour for no apparent reason. There isn’t anything especially deep about it; it’s just a pleasantly thick stout with white foam in the form of a great central duo and a setting that’s as hearty as its inhabitants. (14.01.2023)