Sentences with phrase «irish film of all time»

Two years after The Guard, the most commercially successful Irish film of all time, writer - director John Michael McDonagh and actor Brendan Gleeson return with considerably darker arthouse fare.

Older bro John Michael McDonagh possesses a similar talent, and an ear for devilish dialogue, and having penned «Ned Kelly,» he made his feature - length debut with the cheeky, underrated black comedy «The Guard» (underrated internationally, that is; the film is the most successful Irish film of all time in Ireland).

Not exact matches

It's an animated film, created by an Irish animation studio (Cartoon Saloon) and based on a novel by a Canadian author (Deborah Ellis), but despite these seeming obstacles to authenticity, this is a deeply felt and unsparingly realistic depiction of Afghanistan at a time of tyrannical rule by religious fundamentalists.

At the Irish Museum of Modern Art's Time Out of Mindexhibition (Earlsfort Terrace, Dublin, 31 May - 2 September 2012), most of the moving image exhibits were projected in bad DVD transfers from film or video.

One of this year's guests of honour was Patricia Clarkson, whose latest film, Ruba Nadda's Cairo Time, is an Irish - Canadian co-production.

Most damning of all the evidence against this film, however, is the review given by Donald Clarke of the Irish Times who said, following his viewing, that «Hollywood is incapable of seeing the Irish as anything but IRA men or twinkly rural imbeciles» and described it as «offensive, reactionary, patronising filth».

The film sees rising Irish actor Domnhall Gleeson as a young man who finds the males in his family have the ability to travel through time, and much like his father (Bill Nighy) before him, he's eager to use it to his advantage — wooing the girl of his dreams (Rachael McAdams).

Fionn O'Shea was just three months into a business degree when he landed roles in Netflix hit The Siege of Jadotville and critically acclaimed Irish film Handsome Devil, opposite Andrew Scott, prompting him to ditch university to focus on acting full time.

Other notable films that will screen at TIFF include Tom Ford «s «Nocturnal Animals,» with Jake Gyllenhaal and Amy Adams; «Whiplash» director Damien Chazelle «s musical «La La Land,» with Ryan Gosling and Emma Stone; Peter Berg «s «Deepwater Horizon,» a true - life drama about the oil spill, starring Mark Wahlberg and Kurt Russell; Werner Herzog «s «Salt and Fire,» a drama in which Michael Shannon and Gael Garcia Bernal face ecological disaster in South America; Ewan McGregor «s Philip Roth adaptation «American Pastoral,» the actor's directorial debut; Denis Villeneuve «s sci - fi drama «Arrival,» formerly titled «Story of Your Life,» with Amy Adams and Jeremy Renner; Juan Antonio Bayona «s «A Monster Calls»; «Denial,» Mick Jackson's drama starring Rachel Weisz as a historian sued by a Holocaust denier; Irish director Jim Sheridan «s «The Secret Scripture,» with Vanessa Redgrave and Rooney Mara playing two different ages of a woman who keeps a diary of her time in a mental hospital; and «Mascots,» Christopher Guest «s comedy about the world of sports mascots.

State of Grace grossed just $ 1.9 million in theaters, which was still several times more than what The Boondock Saints, a film whose Irish - American crime depictions it now calls to mind, would gross in super limited theatrical release ten years later.

John Michael McDonagh wrote and directed The Guard, starring Brendan Gleeson and Don Cheadle, which was released in 2011 and became the highest grossing Irish independent film of all time at the Irish box office.

He believes the future of the Irish film industry now lies in the capable hands of the 21 - year - old Brooklyn star, who is nominated for the best actress gong for the second time in her relatively short career at tonight's Golden Globe awards.

With further releases planned for later this year in Germany, France, Italy and Holland, we expect THE GUARD to become one of the most successful Irish film exports in recent times.

There's still time to catch the winner Duncan Campbell's film exploring Marxist economics through the medium of dance, which proved rather po - faced compared to his past zingy documentaries tackling such tantalising figures as the Irish republican political activist Bernadette Devlin.

McQueen applied his tough, often personal style to narrative film for the first time in 2008 with Hunger, a character study starring Michael Fassbender as an Irish prisoner starving himself as part of a hunger strike.

David Walsh, Elizabeth Pearce, Jane Clark 2013 ISBN 9780980805888 Lindsay Seers, George Barber, Frieze, January 2013 One of Many, Adrian Dannatt, Artist Comes First, Jean - Marc Bustamante (ed), Toulouse International Art Festival (exhibition catalogue), June 2013 All the World's a Camera: Notes on non-human photography, Joanna Zylinska, Drone ISBN 978 -2-9808020-5-8 (pg 168 - 172) 2013 Lindsay Seers, Artangel at the Tin Tabernacle - Jo Applin, ArtForum, December 2012 Lindsay Seers, Martin Herbert, Art Monthly, October 2012 Exhibition, Ben Luke, Evening Standard, (pg 60 - 61) 20 September 2012 Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012 Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012 Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012 Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012 Voyage of Discovery, Helen Sumpter, Time Out, (pg 42) 6 - 12 September 2012 Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012 Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012 Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012 Das Identitätsvakuum - Dietrich Roeschmann, Badische Zeitung, 27 March 2012 Ich ist ein anderer - Kunstverein Freiburg - Badische Zeitung, 21 March 2012 Action Painting - Jacob Lundström, FLM NR.16, March 2012 Dröm - fabriken - Peter Cornell, Kultur, 21 February 2012 Vita duken lockar Konstnärer - Fredrik Söderling, Dagens Nyheter (pg 4 - 5) 15 February 2012 Personligen Präglad - Clemens Poellinger, SvD söndag, (pg 4 - 5) 12 February 2012 Uppshippna hyllningar till - Helena Lindblad, Dagens Nyheter (pg 8 - 9) 9 February 2012 Bonniers Konsthall - Sara Schedin, Scan Magazine, (pg 48 - 9) Febuary 2012 Ausstellungen - Monopol, (pg 120) February 2012 Modeprovokatörer plockas up par museerna - Susanna Strömquist, Dagens Nyheter (pg 8 - 9) January 2012 Promosing in Kabelvåg - Seers» «Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011 Reconstructing the Past - Lindsay Seers» Photographic Narrative, Lee Halpin, Novel ², May / June 2011 Lindsay Seers, Oliver Basciano, Art Review, May 2011 Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011 Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011 The Projectionist, David Balzer, Eye Weekly, 6 April 2011 dis - covery, exhibition catalogue, 2011 Lindsay Seers: It has to be this way ², Paul Usherwood, Art Monthly, April 2011 Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011 It has to be this way ², 2011, novella published by Matt's Gallery, London Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010 Steps into the Arcane, ISBN 978 -3-869841-105-2, published 2010 It has to be this way1.5, novella 2010, published by Matt's Gallery, London Jarman Award, Laura McLean - Ferris, The Guardian, September 2009 Top Ten, ArtForum, Summer 2009 Reel to Real - On the material pleasure of film, Colin Perry, Art Monthly, July / August 2009 Remember Me, Tom Morton, Frieze, June / July / August 2009 It has to be this way, 2009, published by Matt's Gallery, London Lindsay Seers at Matt's Gallery, Gilda Williams, ArtForum, May 2009 Lindsay Seers: It has to be this way — Matt's Gallery, Chris Fite - Wassilak, Frieze, April 2009 Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009 Review of Altermodern - Tate Triennial 2009, Jorg Heiser, Frieze, April 2009 Tate Triennial: «Altermodern» — Tate Britain Feb 3 — April 26, 2009, Colin Perry, Art Monthly, March 2009 Lindsay Seers: It has to be this way (Matt's Gallery, London), Jennifer Thatcher, Art Monthly, March 2009 No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009 Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 «Altermodern» review: «The richest and most generous Tate Triennial yet», Adrian Searle, The Guardian, Feb 2009 Critics» Choice for exhibition at Matt's Gallery, Time Out London, January 29 — February 4 2009 In the studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight of hand — «Eyes of Others» at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chris Townsend.

28 Feb 2006 Orla Barry at IMMA An exhibition by the highly - regarded Irish artist Orla Barry, including a major new film work, Portable Stones, 2005, being shown for the first time in Ireland, opens to the public at the Irish Museum of Modern Art on Wednesday 8 March 2006.

Funded in part by the Irish Film Board this is also the first of Campbell's films to feature actors and scripted scenes and marks the first time that IMMA and Bord Scannán na hÉireann / the Irish Film Board have collaborated on a film work.

At the Paris premier of the film, reporters from Desmog and the Irish Times were denied entrance after having their RSVPs accepted days earlier.