Average Rating: 7.9/10
Reviews Counted: 13
Fresh: 12 | Rotten: 1
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Average Rating: N/A
Critic Reviews: 2
Fresh: 2 | Rotten: 0
Average Rating: 3.6/5
User Ratings: 194
Written and directed by John Michael McDonagh, Calvary's Priest is the flipside to The Guard's Sergeant Gerry Boyle. A good man intent on making the world a better place, he is continually shocked and saddened by the spiteful and confrontational inhabitants of his small country town. After being threatened during confession, he must battle the dark forces closing in around him. (c) Official Facebook
Jan 19, 2014 Limited
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McDonagh, for all his agility as a writer, stumbles in fleshing out the story.
Brendan Gleeson gives a performance of monumental soul in John Michael McDonagh's masterful follow-up to 'The Guard.'
Some might find the self-referential comments a little too clever-clever, but this is a consistently funny and quietly powerful piece of work.
Calvary is a reasonably good analysis of Irish Catholicism's role in the age of atheism, but it's much more valuable for its depiction of a good man attempting to live and die by his own set of morals.
Full of promise, but Calvary settles hard into a film about inevitability in its third act. And I have a hard time finding insight in a closed circle of inevitability. If everything the characters do is inevitable, why did we bother?
Calvary demonstrates in its shocking, anti-cathartic conclusion that modern faithlessness, whether proud or despairing, amounts to the same thing.
Keeps you captivated from the opening line to the very last, this wonderfully written screenplay marks a triumphant sophomore endeavour for McDonagh.
Brendan Gleeson turns in a characteristically exceptional, layered performance with as much moral significance as distinct individual detail.
It's a film that works almost like a sermon: It lost me at points along the way but hit me like a ton of bricks in its conclusion. On the way home and in the days that passed, I've only come to admire it even more.
...Calvary may not be for all audiences, with its pitch-black heart and sober existentialism not exactly commercial stuff, but its unwavering commitment to the intelligent thorniness of its themes...bring it soaring close to something divine.
A film that is constantly commenting on itself, looking askance in the mirror and chuckling at its own presumption.
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