User reviews

I thought for sure that Black Irish was going to be like Southie packed with crime. Turns out this movie goes for a deeper more troubling look at turmoil within in a family. That's what made this one so good. You've got the good brother who is a baseball star who has to live in the shadow of what his no good brother does as a low level street punk. The teenage sister gets knocked up bringing more shame to the family. The father is a tortured man down on his luck with a history of failure. The mother is the bread winner trying to hold the family together. All in all it's not an uplifting movie to watch. It does have heart and great acting. A gem of a movie to see.

Problems are hurled at the McKay family as if they were in a batting cage with an endless supply of quarters and no bat. This South Boston Irish-Catholic family deals with the rock bottom side of life they best way they know how. Baseball quietly emerges as a rallying dynamic for the seemingly-defeated male McKays in this coming of age story. It has a lot of heart, and there's a lot to like here. My criticism is that there's too much misfortune for one 95 minute story - as if every stereotype in play today had to be included. It moved me nevertheless. I recommend it. It seems to have gone directly to DVD but should have enjoyed a stint in the theater first.

"Black Irish" is a great film because it has an affection for its setting and its characters. Despite having some tough subject material, it left me with a somewhat warm and fuzzy feeling.

Normally when writing a review, it is customary to give a short synopsis of the plot to let readers know if it is a film that they would be interested in seeing. But "Black Irish" isn't that kind of movie. It's all about the characters, the McKay family. The McKay's aren't doing very well. In fact, their family is more or less in shambles. Katie (Emily VanCamp) is pregnant and unmarried, which causes much friction between her and her mother Margret (Melissa Leo). Terry (Tom Guiry) is a violent, out-of-control menace who is about to end up in prison, or dead, which ever comes first. Desmond (Brendan Gleeson) is struggling to earn enough money for his family while drowning his sorrows in alcohol (one of which being a tragic secret). Margret is trying to save face by believing this family is "normal," which it is not. Caught in the middle of it all is Cole (Michael Angarano), who's merely trying to stay afloat.

Therein lies its problem. Movies that sacrifice plot for characters are not bad, provided that its characters are interesting enough and portrayed with good performances (which "Black Irish" is filled with). But Brad Gann doesn't see his movie that way (which is kind of surprising, seeing as he wrote and directed it). It seems as if he made the film to have some underlying story or theme to connect the stories (other than the fact that all of the principal characters are related). Problem is, there isn't any.

Not that this makes "Black Irish" a bad film. It's actually very good. Credit goes to Gann for creating a great sense of atmosphere, and knowing the meaning of the word "subtlety," and how to use it. Nothing is heavy-handed like a sledgehammer as in mainstream films, yet it's not infinitesimally subtle like some of those intellectual films on the opposite end of the spectrum. "Black Irish" is smack dab in the middle.

The performances are great all around. The best performances go to Michael Angarano and Brendan Gleeson. Angarano is perfect as the conflicted, young man who is our window into the McKay family. The subtlety in his performance matches perfectly with Gann's approach. Cole is our window into what's left of the McKay family. Angarano plays Cole not as a film character, but as a normal kid. It's not easy to do, and because (when done well) it is so like real life, the performances often go unrecognized. Brendan Gleeson is great, too. He shows more dramatic skill than he's been able to in other, more mainstream roles. Desmond is a man who has lost everything, but is trying to do what he can, even if that means sinking to levels that are just tragic. The scenes he shares with Angarano are some of the film's best; his discussions about the birds and the bees are laugh-out-loud hilarious (which is especially surprising since this is not a comedy). The other actors are great as well, especially Tom Guiry as the "out-of-control" Terry, whom everyone seems to have given up on. This is interesting because while this hurts Terry (but doesn't show this to anyone), he doesn't know how to stop his downward spiral. You know the mark of a talented actor if they can create a good performance out of an undeveloped character, which is the case with the other members of the family (minus Cole and Desmond), if only slightly.

"Black Irish" is a great film to watch, and it's a shame that it didn't get a wider distribution, because it's really a great movie. Imperfect, but still well worth a watch.

My rating: PG-13 for some language and a scene of brief violence.

What makes "Black Irish" specially valuable is the quality of the protagonist, Cole McKay. He embodies a wonderfully believable, realistic, and valuable example of virtue.

Popular psychomythology tells us that all teenagers are a mess; as even Anna Freud claimed: "to be normal during the adolescent period is by itself abnormal". The wholly credible figure of Cole McKay put the lie to this claim. He's a person with solid common sense who respects his family and community, who knows the difference between right and wrong -- and is willing to back up his knowledge up with hard, mature decisions.

Studies show that 80% of American adolescents experience "generally positive moods and harmonious relations with their parents and peers" (see: D. Offer et alii, "Adolescent and Family Health" 2003). That's fact. That's Cole McKay who's factually & intelligently willing to fight for and to try to keep constructing this harmony with tough love for his messed-up, bad-seed brother, respect for his ambiguous mother, insightful care for his kind sister and, specially, for his wounded, Vietnam-veteran dad. Who's almost lost the best things he's ever achieved in his life. But not his son. Who binds the family with a love that releases, harmonizes, and illuminates those nearest and dearest to him.

The poetry of baseball is the key to Cole's strength. Why? The game's coherence anchors his moral values; as Bill Veek once said: "Baseball is an island of surety in a changing world." And, for Cole, it provides that energy of decency which love of the game can still provide.

This Boston Irish-American flavored coming-of-age film is extremely typical of any other film of it's type complete with alcoholic father, doting over-bearing mother, fighting siblings, a family in disarray, and so on and so forth. You've likely seen something like it in some variation a million times before. What sets it a tad above films of the same ilk is very commendable performances by Micheal Angarano as Cole and especially Brendan Gleeson as his father, Desmond (the latter is simply riveting) Will this film revolutionize coming of age flicks in any way? no, not at all, but it's a well enough told tale well acted enough to be worth a watch.

My Grade: C+

Region 1 DVD Extras: audio Commentary; a 36 minute behind the scenes featurette; and trailers for "Razor Eaters" & "Antonia"

As anyone who has seen any of his work will know, Brendan Gleeson is one of the finest British actors working in the film industry today; likewise, one cannot help but feel that Michael Angarano and Emily VanCamp are two of cinema's brightest upcoming stars, and the rest of the cast equally solid. Although a great admirer of all these three actors and Gann's 'Invincible', I was put off from watching this for an undue length of time by the IMDb Plot description 'A teenage boy (Angarano) longs to win the attention of his emotionally distant father.' - this film is so much more than that.

This is not a film designed to showcase dramatic highs and lows - rather, it is a film about the cold, often bitter truths of life living on the fringes of society; and the angst involved in growing up given the expectations of both immediate - family - and wider society. One gets the impression that, rather like the tale of growing up in South Boston achieved by Damon and Affleck in Good Will Hunting, this tale, its characters and their mannerisms are all drawn from first-hand experience; an excerpt of that life.

It makes for difficult viewing, but not because of Gann's direction: the story is one of little laughs, long moments of reflection; little highs and big lows; and the audience cannot help but feel the helplessness of the film's characters. It is a credit to Gann, however, that he does not milk the dramatic value of the more powerful scenes to no purpose (take note, Hollywood). My greatest criticism - and not a great one at that - is that one gets the impression that Gleeson was not entirely comfortable with the South Boston accent, and one suspects that this might be a criticism levelled at him unfairly; a simple script re-write might have done wonders to solve this problem.

Certainly, anyone who knows any of the work of Gann, Gleeson or Angarano would do well to watch this, although few would likely add it to their list of favourites. That aside, this is good, solid work from Gann in the director's chair, and I for one look forward to more from him.

I attended the World Premiere of "Black Irish" at the Hamptons International Film Festival. Initially, the blurb in the program guide suggested a fairly formulaic coming-of-age drama. But looks can be deceiving, and the synopsis just barely scratches the surface of what is, in reality, one of the most complex, rich, and heartwarming stories I've seen in quite some time. Remember those drawings in art class? The ones where the page is covered with black crayon and as you scrape off the outer layer you find multicolored wonders underneath? That's the most apt description that can be applied to "Black Irish." Because, as you'll discover, nothing is at it seems. And that is the singular achievement of Brad Gann, directing from his own script, with an ensemble cast that lends such passion to the material that I left the theater shaking my head in awe.

Webster's defines "hero" as, "one that shows great courage, an object of extreme admiration and devotion." It's hard to grow up without one, especially as a teenager in hardscrabble South Boston. Often the father possesses the traits a boy needs to survive those difficult years and prepare for the world he's about to enter. An older brother will usually suffice in cases where Dad is absent or unable or unwilling to fit the bill. Many coming-of-age stories place a teacher or clergyman in this position. But someone always appears, the boy grows up, he moves on, and they all live happily ever after. But what if all fail or don't show up to the table? "Black Irish" poses that question, and more. So much more.

Meet the McKays. Brendan Gleeson is Desmond, the father who doesn't quite qualify as hero due to years of heavy drinking and wallowing in self-pity, a legend in his own mind but not to his family. Tom Guiry is Terry, the older brother who's headed down a path of violence and self-destruction not unlike his father, giving up the hero role in the process. Sister Kathleen (Emily Van Camp), pregnant, wants little to do with the chaos around her. Amidst all this, Melissa Leo is Margaret, the mother who tries to hold it all together at the risk of losing her own somewhat sane self along the way. And our protagonist, 16 year-old Cole, is stunningly portrayed by Michael Angarano, as the boy who yearns for that moral compass that he needs to help guide the way into adulthood.

"Black Irish" takes us along on young Cole's search, and as we emotionally invest ourselves in his quest, we are at turns confused and occasionally amused, as is he, but mostly we hurt. To say that we feel his pain does not do justice to a story that is, at its heart, real life. And this is the true surprise of this film. These characters are far from one dimensional, the reality far from the clichéd impression even the paragraph above might suggest. There were audible gasps at the numerous twists and turns that Gann has infused into this shockingly brilliant script, no less than 12 years in the making and 30 rewrites along the way, as he indicated in the Q&A following the screening. And just when you think you know these people, just as you relax when the film seems to enter territory in which we feel comfortable, something happens. We discover that those we thought were cold and distant have a heart, a vulnerability and tenderness conveyed by Gleeson and Guiry that left me dumbfounded. Those we thought were soft and sweet, innocent and vulnerable, have a soft, fuzzy animal inside ready to turn vicious when backed into a corner, as Leo, VanCamp, and Angarano all exhibit along the way.

In the Q&A, Gann mentioned VanCamp's long-running portrayal of Amy on TV's "Everwood" as the inspiration for her being cast in this role. Fans will not be disappointed, and those unfamiliar with this actor's ability to bring nuance to what could otherwise be a stock performance will be wowed. Guiry lends the film some of the most heart wrenching surprises, as his ability to turn moods on a dime is unparalleled. Leo carves out new territory, again, in a role that could have been tired and worn in the hands of a lesser actor. She truly shines. And Gleeson does a star turn in a magnificent performance that, and I rarely use this term, is Oscar-worthy. Finally, Angarano is perfectly cast in the role of the quintessential underdog, in what I believe is the performance of his career. No young actor today has the ability to say so much with his eyes and facial expressions, and as the boy who becomes father to the man he sets a new standard for others who follow to live up to.

"Black Irish" carves a new benchmark in the coming-of-age genre. Because it is so much more than that. The audience cheered at the end of the screening here. It was a response I've not heard at any of the 70+ films I've seen at 7 festivals this year. It is deserving of your time, and will truly touch your heart as it did mine.

BLACK IRISH is one of those little Independent films that manage to give more to the audience than the extreme constrictions of time and budget would suggest. Writer/director Brad Gunn (his first film) manages to tell a story about an Irish family from South Boston that is sincere, realistic, poignant, and profound, and though he worked with a small budget and a shooting schedule of 22 days, he has produced a fine little gem of a film.

The McKay family has problems: father Desmond (Brendan Glesson) lacks work and spends most of his time drinking beer and watching baseball on TV, having been a promising baseball player as a youngster but nipped by the Vietnam War into glum lethargy; mother Margaret (Melissa Leo) resents the shadow of the man she married and works as a social worker to support her family; daughter Kathleen (Emily VanKamp) is pregnant, unwed, and when denied the choice of abortion by her mother's strong Catholicism is determined to have the child by herself, giving it the loving home she feels she has been denied; son Terry (Tom Guiry) is a tortured delinquent who is a gang member and always in conflict with the law; and youngest son Cole (the excellent young 20-year-old Michael Angarano of 'One Last Thing', 'Man in the Chair', 'Snow Angels', 'Lords of Dogtown', 'Seabiscuit', etc) is conflicted by wanting to be a priest versus wanting to be a professional baseball player - he is the good kid and the last hope of his parents.

Terry tricks Cole into accompanying a house break-in and the trouble begins. The financial crisis at home drives Cole to get a job in a restaurant, and drives Desmond to menial work shining shoes. The family will support Kathleen's pregnancy, but that strips the income to the point that Cole must leave his Catholic school to be in public school, and while that seems to dash his hopes for a career in baseball, the coach at his public school (Finn Curtin) acknowledges Cole's talent and promises a future. Terry's lifestyle as a hoodlum presents increasing problems and at one point Cole gathers the courage to confront Terry during a robbery plot at Cole's work place and Terry is seriously wounded. We discover a hidden fact about Desmond that explains some of his sociopath behavior to his family and it is this discovery, coinciding with Terry's gunshot injury and Kathleen's tough life as an unwed working pregnant girl, that pulls the family unit back together.

If the plot sound like soap opera rest assured it is not. This is an intensely realistic examination of a fragile Irish Catholic family striving to makes sense of a world that is increasingly chaotic. All of the actors are excellent, but the extraordinary sensitivity and skill of young Michael Angarano make this a film to cherish. And Brad Gann is assuredly a talent to watch! Very highly recommended. Grady Harp

This is a spectacularly well-paced and original drama with some incredible acting on both Angarano's and Guiry's parts. Some interesting cinematic techniques from time to time enhance the remarkable story-telling in this dark coming of age story. The bits of humor also help pull you in to a surprisingly authentic South Boston scenario. With a terrific and spirited cameo by Kevin O'Donnell, alongside a refreshing cast, the characters really outshine the stereotypes right down to the shrimp-stealing busboy. Great sets, a solid and occasionally edgy soundtrack, but what's most impressive is the strong story, which rescues you from the brink of a cliché' time and again. I happened to rent this just on word-of-mouth and can't stop reflecting on some of those haunting scenes. Think of this as a gritty Good Will Hunting with a lot more 'street cred'...and heart.

What an excellent movie. With surprises all around. It would have been so very easy to make this exactly what was expected of it - a mediocre Indie Drama about a typical dysfunctional American family, with this one happening to be Irish and from Southie. What we get instead is one that fell through the cracks, as it went right to DVD. The critics and distributors missed this one. Had someone besides the author believed in it and packaged it right - it would have been a hit. It is well written, well acted, with several unexpected turns toward the Light - by multiple characters facing their own dilemma. The kind of differences that separate the bland from the sublime. I'm speaking of subtleties not the spectacular. So if you go in looking for the spectacular - you'll miss the supernatural. Which is almost always, subtle. It even manages a happy ending, which is tricky at best with a story like this. Well done all.

fullgrownministry.com

A young man struggles to grow up with principles as his family begins to self-destruct around him in this coming of age drama. Cole McKay (Michael Angarano) is a boy in his middle-teens growing up in an Irish-Catholic family in Boston. While Cole has dreams of playing major league baseball some day, his parents Desmond (Brendan Gleeson) and Margaret (Melissa Leo) are blind to his ambitions, and his older brother Terry (Tom Guiry) is a petty criminal who is unwittingly drawing Cole into his orbit. While Margaret is obsessed with projecting an image that the McKay family are happy and God-fearing folk, Desmond has been sinking deeper into depression ever since he lost his job, and his marriage is slowly but surely falling apart. The family's pride takes a body blow when Cole's teenage sister Kathleen (Emily Van Camp) discovers she's pregnant, but Cole decides it's time he took on some adult responsibilities, and gets himself a part-time job at a restaurant. Black Irish was the first directorial effort for screenwriter Brad Gann.

Black Irish is a view on the lives of a family over a period of some months. They struggle with each other over recognition, understanding, love, but always seem to fail. It could be any family, anywhere, with some bad luck. I wanted to give it a 10, but i rate too many 1's and 10's and so i try to think of reasons for deduction when i find something really good. So i came up with that this one deserves a 9 because there is no 'obvious' moralistic lesson in it. Then again, moral is subjective, so passing on this maybe i should give it extra credit, but i cant give an 11. Its just a family with bad luck.

The acting of the non-celebrities is great, the story takes you into their lives, their hurt and leaves you wondering of your own family and all that ever happened.

What is great about this one is that we are used to pick a bad guy, or woman, that you can put all the blame on. Hollywood usually helps steering you in doing so, but this time not. And that is more real than the designated bad man. One moment you think its the father being the bad man, then the mother, then the brother, or sister, but in the end they all do their little thing and just have or had bad luck. There is no bad man. No one is really to blame.

And that is pretty insightful, yet difficult to understand, so i don't think a young audience would appreciate this movie. Its not a movie you walk away from with a smile on your face. Hence the title...

Go see it.

If you want a traditional story, with a main conflict, a villain, a hero, and a resolution, you may not enjoy this movie. But as an independent coming-of-age movie, I found it to be excellent.

The characters all demonstrate great depth, as other reviews have said. The acting is wonderful. This movie captures life - growing up - in south Boston. There is pregnancy. There is cancer. There is baseball. There is theft. But the movie is not about any one of those things. It is about humanity and living.

Other movies this year have done a better job in building tension. Other movies have been funnier. Other movies have included more commentary - a better moral - about human life. But no movie has captured the essential roller coaster of life better than this movie.

The twists, while not as shocking as others, are more real. The sadness of the movie comes in part from your familiarity with the situations. I highly recommend this movie and I hope you choose to watch it and enjoy it.

IN the past few years we have had plenty of south Boston films, and then there are the big ones: the departed and gone baby gone. And now black irish.

The departed focused on the criminal and violent element, then gone baby gone was focused more one the police and physcological element. And black irish is now the south Boston family story.

The performances are beyond exceptional but the stand out is Michael Angarano. I haven't seen him in anything but i knew who he was. But he blew me away with the emotional depth and range he portrayed.

One of the things that surprised me was the lack of profanity and violence. Don't get me wrong there is cursing and a little bit of violence but nothing like the departed and gone baby gone.

I think any fan of the other South Boston movies should see this, but even if you didn't like those others you should see this. Truly amazing.

Is this a baseball movie? Maybe. But if it isn't it certainly is a gut wrenching, laugh out loud, sob and sniffle, slice of life pic that is just magic from beginning to end movie. Simply put, this is one of the best movies that you have never heard of, and in today's age of instant gratification, that is remarkable.

I have already told you more than what I knew about this movie before I rented it, and that's saying too much. Trust me. If this has piqued your curiosity, then RUN, do not walk, to your nearest video rental store and bring home a copy. You'll thank me for it. What a pleasant surprise it was. 8 out of 10

This is simply one of the best films I've seen. It's not about adrenaline fuelled action or big set pieces. It's about real life and real people. And what makes this film work is the masterful directing and the first class acting.

All the main cast members pull out great performances. Michael Angarano is terrific as the lead in a career defining performance. I agree with a previous reviewer about the emotional depth in his eyes and facial expressions which are both subtle and complex but always on the money.

Many things I can relate to in this movie, it's quite tragic but warm and satisfying at the same time.

Watch this movie if you like films that are more real and enjoy great acting and direction.

To put it bluntly, there is no error in the officer and enlisted uniforms as depicted in the movie. Enlisted Marines do not have a 'blood red stripe' down their dress blue trouser legs; only NCOs, SNCOs, and officers have 'blood red stripes' down their trouser legs in memory of all the blood lost in the taking of Chapaultepec Castle during the Mexican War. General officers have a 2 inch 'blood red stripe;' company grade and field grade officers have a 1.5 inch 'blood red stripe;' and non-commissioned officers and staff non-commissioned officers have a 1.125 inch 'blood red stripe' down their dress blue trouser legs. The hanging dress blues is a staff sergeant uniform and probably is there as a model for recruits to see. It definitely does not belong to the lieutenant, or sergeant at the desk in front of the lieutenant. The lieutenant's dress blues uniform is darker, almost black, than a NCO or SNCO uniform per regulation. I served in the USMC 1968 to 1972 and was released as a sergeant. I wore dress blues on active duty as that was the uniform of the day. Again, there is no mistake in dress blues except your call in judgment of who wears dress blues in USMC which is completely wrong. Semper Fi