Searchlight Pictures | Release Date: October 21, 2022 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
58
Mixed:
4
Negative:
0
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Critic Reviews
In “Banshees,” Gleeson and Farrell once again are pure movie magic together, with Gleeson’s gruff and rugged and imposing persona the perfect counterpart to Farrell’s handsome and wide-eyed transparency, which at times borders on the, well, the not-too-bright. Earnest, but not too bright.
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Mr. McDonogh’s keenly observed plot turns and his understated but meticulously chronicled dialogue, combined with shocks you don’t see coming, stark but beautiful cinematography by Ben Davis, and uniformly brilliant performances by a perfect cast add up to an exemplary film that will leave you stunned.
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In Martin McDonagh's morbidly hilarious meditation on male friendship, Colin Farrell and Brendan Gleeson turn in performances every bit as powerful as in 'In Bruges' and paint a heartbreaking but comic look at one happens when one man doesn't want to be friends with another anymore.
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Within The Banshees of Inisherin, McDonagh manages to capture both the elemental resonance of folklore with the sophisticated weightiness of classic stage drama. This tragicomic tale nimbly balances both the personal and political dimensions of his richly developed characters and scenarios.
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The PlaylistSep 5, 2022
Rich, layered, and full of beautiful shapeshifting emotional depth—at times laugh-out-loud funny, and then stopping on a dime to turn melancholy, heartrending, and or horrifying—The Banshee of Insherin will surely unsettle audiences trying to pinpoint blame or ascribe a hero or villain to the piece. Its morality and personal sympathies are purposefully opaque.
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The break between Colm and Pádraic works on its own terms, but it’s also a startlingly violent fight between men who are basically brothers, a fight that has a logic to it and yet is heartbreaking precisely because of the depth of history between them. It’s the conflict in microcosm.
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One measure of the movie’s skill, and its generosity, is that it embraces the wisdom of both its protagonists. You’ll share Colm’s exasperation and defend his right to pursue an unimpeded life of music and the mind, but you’ll also concede Pádraic’s point that kindness and camaraderie leave behind their own indelible if often invisible legacies.
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The Banshees of Inisherin is like watching two cars slowly set out on a collision course ending in a crash that would be easily averted if one would just give way. But it’s also a caustic masterstroke of anti-romanticism, a counter to every starry-eyed screen portrait (often made by an American) of rural Ireland as a verdant sanctuary of close traditions, quirky characters, and a more authentic way of life.
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Farrell brings extra layers of depth and mournfulness to the classic McDonagh pattern. He’s the character you want to protect, and the one who sends your heart sinking when you see him harden, out of necessity, against the world. He gives The Banshees of Inisherin its soul and its beauty. To look at his face is to understand the half-welcoming, half-unforgiving place known as home.
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RogerEbert.comSep 6, 2022
With 2008’s “In Bruges,” and now “The Banshees of Inisherin,” the Irish actors, under the writing and directing aegis of frequently pleasantly perverse Martin McDonagh, display a chemistry and virtuosic interplay that recalls nothing so much as the maestros of the early 20th-century Comedy of Exasperation.
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IndieWireSep 5, 2022
This isn’t a film that strives for big laughs — McDonagh seems more interested in putting you in a particular frame of mind, even when doing so requires a fair bit of downtime and dead air — but its constant undercurrent of humor affords the story’s most pressing questions an appropriately ridiculous context, one that speaks to the absurdities of all existence.
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Colin Farrell plumbs emotional and comedic depths in Martin McDonagh’s witty and wistful period drama, with Brendan Gleeson and Barry Keoghan on solid supporting duty. Set against the stunning vistas of Ireland, The Banshees of Inisherin tells an effective and corrosive tale of friendship.
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Those wary of McDonagh after the bulldozer that was Billboards should seek out this film; at its best, The Banshees of Inisherin whispers and laments and amuses the way McDonagh’s best stage writing does. And it offers the invaluable opportunity to see Farrell in his hangdog element, as Pádraic scrambles about trying to find purchase in the world, ever creaking and groaning in motion.
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The result is McDonagh’s most fully realized work since his breakthrough play, “The Beauty Queen of Leenane,” a generation ago. “Banshees” has its limitations; it’s pretty glib, like everything McDonagh writes, in its mashup of blackhearted laughs and occasional sincerity. He’s akin to the Coen brothers in that regard. He’s also a formidable craftsman and his best lines are pearls.
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What animates The Banshees of Inisherin and saves it from stiffness is the clout of the performances. Within the oxlike Colm, thanks to Gleeson, we glimpse a ruminative despair, and Farrell adds Pádraic to his gallery of heroes so hapless that they forfeit all claim to the heroic. The movie, however, belongs to Condon.
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