Mister John (2013)
Average Rating: 7.1/10
Reviews Counted: 12
Fresh: 10 | Rotten: 2
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Average Rating: N/A
Critic Reviews: 1
Fresh: 1 | Rotten: 0
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Following the mysterious death of his brother, middle-aged Gerry travels to Singapore to help arrange the funeral and put business affairs in order. There he discovers an intoxicating world, far removed from his troubled life in London. But as he is drawn towards his brother's beautiful wife and the sexual frankness of the local culture he begins to realise that escape isn't as easy as it seems...
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It's ultimately the film's avoidance of mystery that proves so effective and unnerving.
That the whole should not quite add up to the sum of its parts is no great tragedy; there is enough magic in these meanderings to carry us over the flaws.
Aidan Gillen is so good in this Irish thriller it makes your skin tingle.
Gillen conveys the anger and anguish of his character but this is a painfully slow piece that keeps the viewer at arm's length.
The film is absolutely hypnotic, while Aidan Gillen manages to convey roughly seventeen different shades of internal anguish with pained facial expressions alone.
Lawlor and Molloy's measured, precise style means their film is always watchable, but in some ways this goes over well-worn territory, and the visual poetry is not always matched by convincing drama.
You'd do well to seek out this exceptional and haunting British drama which boasts a career-best turn from Aidan Gillen.
Mister John is an engaging, enjoyably offbeat drama enlivened by a pervading sense of mystery, a perfectly judged, often weirdly funny script and a superb performance from Aiden Gillen.
Gillen is perfect at capturing the sense of a man's lost compass and jittery emotional state in a foreign land, even while he's holding it together just enough to fulfil his fraternal duties.
Mister John might have the ingredients of a mystery but it's just too much of a puzzler to be truly satisfying.
Mister John carries a premise not too dissimilar to that of Only God Forgives, except where this excels, is that both Lawlor and Molloy have remembered that there is an audience watching.
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