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Director: McG Starring: Judah Lewis, Emily Alyn Lind, Jenna Ortega Running Time: 101 minutes


Released on Netflix in 2017, The Babysitter was a good example of what the streaming platform hopes for with a large amount of their ‘original’ films; fun, watchable, kind of disposable, and with a simple hook to lure viewers in: a murderous babysitter and a crew of high school clichés going after the kid who idolises her for a satanic ritual. It was a winking bit of playtime with horror tropes that new what it was and didn’t overstay it’s welcome, but what kicked it up a notch from ‘grand’ to ‘oh that was actually pretty good’ was Samara Weaving in the titular role, elevating proceedings through sheer force of charisma as she went on to do in Ready or Not and looks set to do in a fruitful career in Hollywood.

This sequel sees the return of some of the kids from the first film, as young Cole Johnson, now in high school, grapples with the events of the original. He’s a pariah in school and his parents doubt his mental health, nobody believing his side of the story. Weaving, now in high demand, is a shadow that hangs over Killer Queen, and while the film carries the same spirit of its predecessor quite well, it also serves as a strong indicator of the Aussie’s talent: it’s quality compared the first one is more or less proportional to the extent of her absence.

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In the latest episode of the Breakout Role Podcast, Luke and Jess look at a more recent success story, that, in a personal attack on Luke as he pushes 30, was also 9 years ago…It’s Attack the Block! Joe Cornish’s cult hit sci-fi story of a group of London kids taking on vicious aliens in their block of flats.

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With news, reviews and events in the fair city of film a little thinner on the ground at the moment, Film In Dublin will taking an occasional look at What’s On…The Shelf, taking a deeper dive in to some of the films in their personal collections. This time, Luke Dunne goes on long on John Carpenter’s Big Trouble in Little China.

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Director: Robert Eggers Starring: Robert Pattinson, Willem Dafoe Running Time: 109 minutes

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Flying witches, talking goats, mystical seagulls. That’s only a select few of the mad and intriguing things that director Robert Eggers has brought to his first two feature films; 2015’s The Witch and, now, The Lighthouse. There is no doubt that Eggers likes to challenge cinema goers or, more accurately, create stories that demand attention and encourage debate. A straightforward cinema experience is not something you are going to get here, but you are, without a doubt, the better for that. With The Lighthouse, Eggers delivers an atmospheric psychological thriller unlike any other you’ll see all year. This is an intoxicating, feverish, unnerving and often hilarious experience and one that will have fans ruminating on its messages for years.

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Director: Rian Johnson Starring: Daniel Craig, Jamie Lee Curtis, Michael Shannon, Don Johnson, Toni Collette, Chris Evans, Ana de Armas, Lakeith Stanfield, Katherine Langford, Jaeden Martell, Christopher Plummer Running Time: 130 minutes

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“The game is afoot” renowned mystery-solver Benoit Blanc knowingly crows during one of Knives Out‘s twisty turns, and it seems clear from the outset what game director Rian Johnson is playing here. However mixed (and wearingly unending) the reception may have been for Johnson’s last movie, the man clearly has strong support from Hollywood higher-ups, enough to fund a big “one for him” movie, a “dig out an old idea you’ve always wanted to do and hire everyone you’ve always wanted to work with” movie. And so we get Johnson’s loving homage to the murder mystery genre, a story he’s been kicking around since just after Brick, packed to the seams with rising talents, esteemed character actors and Hollywood royalty. And it’s a bloody delight. The opportunity to self-indulge to this extent is not a luxury every filmmaker is afforded, for what it’s worth though, Johnson uses the platform to delve into some unexpected areas worth examining. If you’re going to do something silly, you might as well do it smartly, which Knives Out accomplished on a number of levels.

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The Firehouse Film Contest is a monthly short film festival held in A4 Sounds on Dorset Street, showcasing the very latest efforts from Irish filmmakers, hot off the press. We’ve got the November results and a chat with one of the winners at this month’s screenings, which took place on November 4th.

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A Halloween cult classic is finding its way back to Irish cinemas this month. Beetlejuice, newly remastered, will be playing in cinemas throughout the country for its 30th anniversary from October 26th, including screenings in some of Dublin’s top cinemas.

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Director: Paul Feig Starring: Anna Kendrick, Blake Lively, Henry Golding Running Time: 117 minutes


A Simple Favour is being billed as coming “from the darker side of Paul Feig”, the man behind films like Bridesmaids, Spy and Ghostbusters; comedies with a reliance on improv and a focus on women. And while his latest film certainly is further along the Dulux spectrum than those titles, A Simple Favour is still a comfortable step just inside the comfort zone for Feig; a sexy thriller that gets how inherently silly it can be to be sexy, or thrilling. That might sound like a criticism, but it’s key to the film’s charm. It’s a combination of thriller and comedy, but rather than feeling like Feig resting on his laurels it has a refreshing feel, riffing on the genre but never thinking its above it. The result, similarly to Spy, is a pleasant surprise.

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One of Ireland’s biggest film festivals every year, the Galway Film Fleadh begins next Tuesday 10th July, kicking off a week of fantastic films from at home and abroad. And though it doesn’t happen here in Dublin, we eagerly anticipate many of the festival’s films, not least of which includes Mother, the 2017 Galway Film Centre/RTÉ Short Film Commission. The short, starring The Young Offenders’ Hilary Rose and Lochlann O’Mearáin of Ros na Rú, developed from a script by Jonathan Hughes, directed by Natasha Waugh and produced by Sharon Cronin, has an eye-catching premise. It tells the story of Grace, a mother with an ideal happy family; a loving husband and two wonderful children. But when her husband arrives home one day with a brand new kitchen appliance, she slowly starts to realize that there might not be room for both of them at home. It’s a quirky comedy light on dialogue, with an intriguing dark streak. The project received just under €15,000 in funding as part of the commission, as well as the contribution’s of Script Editor Deirdre Roycroft and director Deabhla Walsh (Penny Dreadful, Fargo, The Punisher, Emmy Award winner for Outstanding Directing for a Miniseries, Movie or Dramatic Special, Little Dorrit) as mentors on the scheme. The short will premiere at the Fleadh next week, and ahead of the Mother‘s big day, we caught up with Natasha Waugh to discuss the production, the mentoring aspect of the GFC/RTE programme, and working with a very unique performer…

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