The constant challenge in animated cinema is creating a story that will appeal to parents (who control the wallet) as well as kids. “Free Birds” (2013) may have gone a little overboard in catering to mom and dad. Time-traveling turkeys try to save their ancestors from a Thanksgiving destiny. Multi-dimensional hijinks, humorous pop culture references (George Takei is the new HAL) and cutesy animation ensue. So far, so good. But the pilgrims (who are us, remember?) come off as a-holes, the turkeys become a metaphor for the Indians, and the amount of terroristic violence creates a subtext that’s uncomfortably dark.
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Irish humor is an acquired taste, best acquired by birth. It’s no easy feat, arrogantly straddling the line between authenticity and tactlessness. Thus, an Irish comedy about an unwed mother in a chaotic, working-class family might not be everyone’s cup of tea. “The Snapper” (1993) is an amusing, upbeat film for the right audience. Colm Meaney is earnestly oblivious in helming his large brood, similar to the American dads of TV sitcoms. Tina Kellegher is the daughter whose pregnancy drives the story. She’s incorrigible enough to prevent the film from spiraling into dramedy territory, and we’re the better for it.
Remember that great film with the undercover cop and the huge plot twist? Remember how you hadn’t seen the movie, but your buddy had, so he launched into an excruciatingly boring synopsis that completely ruined it? “Confession” (2022) is that. The synopsis, not the movie. Bleeding man walks into a Boston church and commences talking. The priest joins in. So does a bleeding woman. There’s guns, talking, hidden agendas and obfuscation, and more talking. About fatherhood, priesthood, vengeance, duty, dirty cops, crime syndicates – everything but the Sawks. And then a moronically convoluted plot twist. Your buddy’s a really bad explainer.
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