The General (1998)
Average Rating: 7.3/10
Reviews Counted: 48
Fresh: 39 | Rotten: 9
No consensus yet.
Average Rating: 7.8/10
Critic Reviews: 11
Fresh: 8 | Rotten: 3
No consensus yet.
Average Rating: 3.8/5
User Ratings: 3,215
John Boorman, who won the 1998 Cannes Film Festival's Direction award for this film, previously won the same Cannes award almost three decades earlier for his Leo the Last (1969) about an alienated aristocrat in a London slum. Shot in widescreen color (but printed in sharp black-and-white), The General is a biographical portrait of ruthless Irish crime lord Martin Cahill, shot down outside his home by a single assassin on August 18, 1994. After this opening, the film then unfolds as a lengthy
Dec 18, 1998 Wide
Jul 20, 1999
Sony Pictures Classics
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I can no longer stomach the premise in so many Anglo-American crime pictures that mavericks are admirable simply because they're mavericks
A movie that says more about the rebellious Irish psyche than a heap of overtly political pictures.
All the performances are impressive, but Gleeson and Voight are especially memorable, lending an almost tragic air of inexorability to Cahill and Kenny's cat-and-mouse games.
The General is a refined, traditional movie about a character who is never more traditional than when he imagines himself outside the law. It's a great paradox, but it barely comes alive on the screen.
Gleeson is one of those rare actors who has an instinctive rapport with the audience from the moment he appears on-screen.
Boorman's film is shot in wide-screen black and white, and as it often does, black and white emphasizes the characters and the story, instead of setting them awash in atmosphere.
Before he was Mad Eye Moody, before he took Colin Farrell to the woodshed "In Bruges," before "The Guard," the great Irish actor Brendan Gleeson was the infamous Irish crook known as "The General."
The General is a welcome return to basics for Britain's most adventurous and visionary director, who has always stayed faithful to his love of cinema.
The film has little of the visual dazzle often associated with Boorman's movies, but the somber, black-and-white cinematography helps even out the often larger-than-life tone.
Enjoyable for what it is; problem is, what it is doesn't amount to much in the end.
An interesting, entertaining view into the life of an Irish crime legend who is almost a Robin Hood, but not quite.
Neither Boorman's cinematic expertise nor Gleeson's canny performance is enough to make us care about Cahill's destruction.
The most lyric crime picture since Band of Outsiders, with a sublime performance by Gleeson at its core.
The film glides on seriocomic wings and whisks us rapturously away. It ranks with Boorman's own classic crime film Point Blank (1967), and that's high praise.
A well-made film, but a hard one to actually like.
It's too bad Marvin isn't still around, to at least knock some sense into his old friend, Boorman.
A notorious Irish crime lord serves as a mirror for the worst that is in others in this psychologically rich drama.
This probably wouldn't have been such a thought-provoking film if it hadn't been based on a true story.
an impeccably made film, stunningly photographed in black and white, and featuring powerful performances by the entire cast
Audience Reviews for The General
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