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Bloody Sunday (2002)
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Reviews Counted:101
Fresh:93
Rotten:8
Average Rating:7.9/10
Consensus: Bloody Sunday powerfully recreates the events of that day with startling immediacy.
Theatrical Release:Oct 4, 2002 Limited
Box Office: $555,414
Synopsis: In documentary style, Paul Greengrass' BLOODY SUNDAY, which chronicles the events of January 30, 1972 in Derry, Ireland, is filmed with gritty gray realness. Surrounding a peaceful protest march... In documentary style, Paul Greengrass' BLOODY SUNDAY, which chronicles the events of January 30, 1972 in Derry, Ireland, is filmed with gritty gray realness. Surrounding a peaceful protest march staged in contest to British laws that permitted internment without trial, the film charts the progress of the march from the night before it to the night following it. As the final organizing of the march takes place that morning, MP Ivan Cooper (James Nesbitt) rushes from the street where police barriers are being erected to his office where he fields a string of urgent phone calls. Meanwhile Major General Ford (Tim Pigott-Smith) arranges for a heavily armed troop of commandos in fatigues and face paint to be ready to intercept the march if it turns violent. A third persona, Kevin McCorry (Allan Gildea), is a young lad with a prison record who believes in the cause of the march but wants to avoid conflict and any real trouble. As the march proceeds, and chaos ensues, the British militia opens fire onto the unarmed crowds, shooting 27 and killing 13 in one of the most shocking instances of excessive force in Irish history, ending any hope of nonviolent resolution, and stoking the IRA. [More]
Starring: James Nesbitt, Tim Pigott-Smith, Nicholas Farrell, Gerard McSorley
Starring: James Nesbitt, Tim Pigott-Smith, Nicholas Farrell, Gerard McSorley, Kathy Kiera Clarke, Allan Gildea, Gerard Crossan, Mary Mouldes
Director: Paul Greengrass
Director: Paul Greengrass
Screenwriter: Paul Greengrass
Producer: Mark Redhead
Studio: Paramount Classics
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Reviews for Bloody Sunday
Whether you'd call this 'docudrama', 'faction' or 'factual drama', the result is enough to make you seethe with anger and moral outrage.
The pre-conflict story keeps it amazingly balanced, giving us brief insight to the British soldiers' fears, while the tension-filled ride that follows demands full attention.
Bloody Sunday demonstrates an historical thesis formulated in retrospect, which fits oddly with Greengrass's continuous-present technique.
Greengrass has deliberately chosen to provoke an emotional rather than intellectual response with his film -- but sometimes provocation is much preferred to the British media's maintenance of the status quo.
Easily stands alongside such throat-clutching classics of cinematic political action as Z and The Battle of Algiers.
This is tragedy in its rawest form: bloody chaos I couldn't help but watch. . . . The tension is palpable and the brutality is immediate.
What's most striking about Greengrass' film is just how real it all feels.
Unfolds with such a wallop of you-are-there immediacy that when the bullets start to fly, your first instinct is to duck.
With a grainy, documentary look, the movie brings to life a tragic event and leaves an impression that is impossible to forget.
The film uses an artless, documentary approach to buttress its impassioned argument that soldiers treated innocent people as if they were terrorists.
Bloody Sunday has the grace to call for prevention rather than to place blame, making it one of the best war movies ever made. It’s a movie that accomplishes so much that one viewing can’t possibly be enough.
Watching director Paul Greengrass's explosive Bloody Sunday, you have to remind yourself at moments that you're not looking at a documentary.
Captures the horrors of a civil rights march taking a wrong turn in the Northern Ireland city of Londonderry on Sunday, January 30, 1972.
Greengrass gives the film a brawling, bruising intimacy that makes the graphic finale hard to watch.
Greengrass's gripping Bloody Sunday could easily pass for a documentary on the 1972 Derry massacre is a testament to the immediacy of this vérité exercise.
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