MA in Journalism Student at Dublin City University, BA in History from Trinity College Dublin. Formerly Leader Writer with Trinity News and Assistant Editor at Trinity Film Review.
Mike Flanagan’s body of work has quickly become one of the most impressive in horror cinema, every piece of work imbued with its own sense of care and humanity.
Coming from the man who penned some of cinema’s best character studies in Taxi Driver and Raging Bull and made a remarkably unsettling directorial comeback with First Reformed, the latest of Paul Schrader’s portraits of damaged, guilt-ridden men comes with the deck stacked in its favor.
“You are your own weapon; don’t cut it to pieces”.
This is the line that most resonates in Pablo Larraín’s tender, tragic but often playful portrait of a complex woman. Spencer is not an elegant, respectful stroll through Buckingham Palace; it’s an irreverent upending of the hierarchy and a violent disruption of the established narrative when it comes to the royals.
Much as the title implies, Spencer is a liberation of Diana’s story from the clutches of those who drove her to her death, re-cl...
On Monday, 6th September, ahead of the premiere of their film Isolation, the 27 Times Cinema jury was fortunate enough to hear from directors Jaco Van Dormael, Michael Winterbottom, Julia Von Heinz and Olivier Guerpillon at a directing masterclass panel.
Isolation has premiered as part of the Giornate Degli Autori program at the 78thInternational Venice Film Festival, and it focuses on five different short documentaries, all related to isolation in the time of Coronavirus; Jaco Van Dormael’s ...
This is an exceptionally difficult time, and it’s okay to feel overwhelmed
This past month has been disorienting, shocking and upsetting for just about everybody on the planet. After four weeks of social isolation and national lockdown even the most seasoned introverts among us are starting to go stir-crazy, and some are facing far bigger stresses than just boredom. For many, this is a period of extraordinary difficulty, stress, and uncertainty.
Wrote my final piece as Assistant Editor of Trinity Film Review in the form of a feature on A Nightmare on Elm Street 2, and provided some layout for the year's final installment of TFR, a short zine-style issue that focuses on the history and perspectives of queer cinema.
Originally published in Trinity Film Review- The LGBT Cinema Issue, 2020
The presidential hopefuls are neither as agitated nor impassioned as the leader of a student movement needs to be
With another Student Union election season comes the inevitable debate around the SU’s value, its function, and its mandates as a political entity. The three candidates vying for the position of TCDSU president have supported at least some of SUs political mandates to varying degrees, but their collective lack of activism experience and sense of urgency when it comes to the issues holding today’s students back is damning and disheartening.
With every new year comes the inevitable period of tribalism that pits all manner of incomparable films against each other like rabid sports teams: awards season. It’s the time where great movies are reduced to one-sentence dismissals and brushed aside like dirt in the hopes of holding up your own indisputable, objectively correct choices for the gaudy, ultimately meaningless pieces of metal we call ‘awards’. In the spirit of embracing this joyous time of year, I’ll now proceed to do exactly that.
Editorial: This general election presents a major opportunity to break Fianna Fáil and Fine Gael rule
Ireland’s only hope for change lies in finding common ground among the parties of the left
The Best of the Decade series looks back over the most popular and beloved films of the past ten years. Each author chooses a film they believe to be the definitive film of the year, along with a wildcard favourite film of their own. For 2015, Eoin O’Donnell has chosen Spotlight as the definitive film of the year, with Creed as his personal favourite.
With 1917, Sam Mendes has created what might just be the most frighteningly real time capsule into war ever put to screen, and somehow still delivered a satisfying and moving narrative. The First World War has long been untapped potential for modern filmmaking, but now it seems that purpose has been well and truly fulfilled.
Amid the chaos of debate raging over Martin Scorsese’s incendiary comments on the state of today’s cinema, you’d almost be forgiven for missing the release of his newest film. Like the Marvel blockbusters he’s been decrying, it’s a visual effects-heavy, witty and perhaps overly long affair, with a pantheon of legendary actors and recognizable cameos, but The Irishman is anything but a superhero movie.