Ireland's only student publication dedicated solely to the art of cinema
Review by Inés Murray Gómez The Sacklers are the billionaire family behind Purdue Pharma, which has come under fire in the last few decades for their historically predatory marketing of the opioid OxyContin. Activists and experts alike consider that their campaigns led to overprescription which significantly contributed to the opioid crisis that has ruined theContinue reading “All The Beauty and The Bloodshed”
Review by James Mahon Bong Joon Ho’s Oscar winning film Parasite (2019) was a landmark event for both South Korean and international cinema in general, disabusing audiences entirely of – as Joon Ho rightly put it – “the one-inch-tall barrier of subtitles.” Less than three years later, and once again emerging from the endless poolContinue reading “Decision to Leave”
Review by Leah Kelly Lady Chatterley’s Lover is one of the most controversial books of the 20th century. Banned in several countries and the subject of a UK trial which allowed the liberalisation of the publishing industry – its publication is an important part of literary history. The plot itself, a Lady falls madly inContinue reading “Lady Chatterley’s Lover”
Last term, Trinity Film Review and the DU Film Society ran a review writing workshop. At the end of the workshop, participants were asked to write a short review of Charlotte Wells’ award-winning short film Tuesday (2015). Below are two review from that workshop. Tuesday review by Hana Rae Quinn In Tuesday (2015), director CharlotteContinue reading “Review Writing Workshop in Collaboration with DU Film.”
Review by Cat Earley In the initial run-up to Todd Field’s widely-anticipated new film, a coworker of mine casually asks me: “Have you seen they’re making a movie about Lydia Tár?” In the flutter of press surrounding Tár (2022, Todd Field) I don’t believe that this coworker was particularly out of step with the generalContinue reading “Tár”
Review by Luke Bradley In the wake of films like Roma (Alfonso Cuarón, 2018), Belfast (Kenneth Branagh, 2022), and the recent Armageddon Time (James Gray, 2022), an aversion to the “director retells their childhood” subgenre is growing. If ever a director has earned the benefit of the doubt, however, it’s Steven Spielberg. With The FabelmansContinue reading “The Fabelmans”
Review by Shahzaib Ali Rian Johnson brings on the sequel to one of the best films of 2019 Knives Out, Glass Onion – A Knives Out Mystery (2022). This one follows Daniel Craig’s Detective Beniot Blanc once again as he is thrusted into a new mystery taking place within an isolated island involving a groupContinue reading “Glass Onion: A Knives Out Mystery”
Review by Lila Funge 25 years after Titanic (1997), James Cameron finally returns to the sea for his most recent work Avatar: The Way of Water (2022)…and it is pretty magnificent. With Cameron inventing new underwater motion capture cameras solely for this project, The Way of Water is unabashedly about its spectacle – not itsContinue reading “Avatar: The Way of the Water”
Review by Chiara Gregor With Empire of Light (2022), Sam Mendes has attempted two things many filmmakers have before him. Firstly, to write and direct a project themselves, and secondly, to make a film in and about the film theatre. Throughout cinematic history, the theatre has been a favoured locality on screen, as a settingContinue reading “Empire of Light”
Review by Sarah Murnane Subsequent to the publication of this review, the director contacted Trinity Film Review with a document containing a directors statement about the film that should have been given to me prior to the review being published. Having read this statement, I have decided to leave the review unchanged. Nocebo (Lorcan Finnegan,Continue reading “Nocebo”
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