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Glassland Review

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Jack Reynor’s Dublin cabbie is at imploding point: broke, shattered and nursing his alcoholic mother when he's offered a way out, but there are strings attached.

★★★★★

The latest, slow-crashing surge from the Irish New Wave and, yet again, economic abandonment looms in every frame. Jack Reynor’s Dublin cabbie is at imploding point: broke, shattered and nursing his alcoholic mother (Toni Colette). Rehab and a dodgy loan offer an escape, but at what cost?

Gerard Barrett’s colour-sapped portrait of trapped lives features two mesmerising turns from Colette and Reynor, a saintly fixer whose morals are tested by dour circumstance, but there’s no getting round it: Barrett’s impressionistic style yields a divisive third act. Some will see an enigmatic cop-out. Others, a cryptic puzzle to unpick. Either way, you’ll talk about it.

Gerard Barrett’s colour-sapped portrait of trapped lives features two mesmerising turns from Colette and Reynor.

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