The obvious comparison point for “Conversations with Friends” is “Normal People,” the other Hulu miniseries adapted from a Sally Rooney novel with the participation of director Lenny Abrahamson and writer Alice Birch, similarly full of literate, socially fraught and sometimes-naked young people in Ireland.
But “Conversations” also shares some DNA with the late, great HBO series “Girls” — and not just because Jemima Kirke, who played the mercurial Jessa on that show, resurfaces here in older, wiser garb. Though the new show isn’t as barbed or hilarious as Lena Dunham’s controversy magnet, it’s similarly attuned to twentysomething tumult, and how it affects the life of an aspiring writer — to a point, anyway.
Another similarity to “Girls” is that the central young writer’s life has plenty of privilege, even if she doesn’t realize it. Frances (Alison Oliver) comes from a relatively humble background, a child of divorce...
But “Conversations” also shares some DNA with the late, great HBO series “Girls” — and not just because Jemima Kirke, who played the mercurial Jessa on that show, resurfaces here in older, wiser garb. Though the new show isn’t as barbed or hilarious as Lena Dunham’s controversy magnet, it’s similarly attuned to twentysomething tumult, and how it affects the life of an aspiring writer — to a point, anyway.
Another similarity to “Girls” is that the central young writer’s life has plenty of privilege, even if she doesn’t realize it. Frances (Alison Oliver) comes from a relatively humble background, a child of divorce...
- 5/14/2022
- by Jesse Hassenger
- The Wrap
On the most basic level, it makes sense that Hulu’s “Conversations With Friends” would try to echo what made its “Normal People” adaptation so successful. Once again enlisting director Lenny Abrahamson and writer Alice Birch, and once again starring a female actor (Alison Oliver) who resembles author Sally Rooney and a male one specifically poised to become a breakout thirst object (Joe Alwyn), “Conversations With Friends” follows the “Normal People” pattern so closely that it often feels more like a faded impression rather than its own series. In trying to replicate what made the “Normal People” adaptation work, with the same creative team to boot, this version of “Conversations With Friends” becomes strangely bland, as if leeched of all its flavor.
Rooney’s “Conversations With Friends” — her great first novel, about a college student whose relationship with a married man becomes all-consuming — bears similarities to her second (“Normal People”). Nevertheless,...
Rooney’s “Conversations With Friends” — her great first novel, about a college student whose relationship with a married man becomes all-consuming — bears similarities to her second (“Normal People”). Nevertheless,...
- 5/13/2022
- by Caroline Framke
- Variety Film + TV
Nominations have been announced for this year’s Irish Film And TV Academy Awards (IFTAs). Scroll down for the full list.
Leading the way with ten apiece are Kenneth Branagh’s much-fancied awards contender Beflast and Irish-language feature An Cailín Ciúin, which recently won the Grand Prix of the Generation Kplus program at the Berlin International Film Festival.
Both titles are up for Best Film, alongside Deadly Cuts, Swan Song, Who We Love, and You Are Not My Mother. Of those six, four are debut features.
For Belfast, Branagh will also contend for the Best Director and Best Script prizes. The film is up for seven Oscars this year.
On the TV Side, crime drama Kin dominated the field with 13 nominations, including Best Drama, as well as director, script, actor (twice) and actress. Vikings:Valhalla, the Netflix sequel of the popular historical show, received seven noms, as did BBC show Hidden Assets.
Leading the way with ten apiece are Kenneth Branagh’s much-fancied awards contender Beflast and Irish-language feature An Cailín Ciúin, which recently won the Grand Prix of the Generation Kplus program at the Berlin International Film Festival.
Both titles are up for Best Film, alongside Deadly Cuts, Swan Song, Who We Love, and You Are Not My Mother. Of those six, four are debut features.
For Belfast, Branagh will also contend for the Best Director and Best Script prizes. The film is up for seven Oscars this year.
On the TV Side, crime drama Kin dominated the field with 13 nominations, including Best Drama, as well as director, script, actor (twice) and actress. Vikings:Valhalla, the Netflix sequel of the popular historical show, received seven noms, as did BBC show Hidden Assets.
- 2/22/2022
- by Tom Grater
- Deadline Film + TV
Kenneth Branagh’s “Belfast” and Colm Bairéad “An Cailín Ciúin” lead nominations at the 2022 Irish Film and Television Academy Film and Drama award nominations with 10 nods across categories.
“Belfast” is nominated for best film, best director and script for Branagh, with a lead actor nod for Jude Hill, supporting actor recognitions for Ciarán Hinds and Jamie Dornan and a supporting actress nod for Caitríona Balfe, besides craft nominations.
“An Cailín Ciúin” (“The Quiet Girl”), which won the grand prize at the Generation Kplus strand of the recently concluded Berlin Film Festival, was similarly recognized across the main categories.
“Kin” led the drama nominations with 13 nods, while “Vikings: Valhalla” and “Hidden Assets” had seven each and “Smother” five.
IFTA chief executive Áine Moriarty said: “What a spectacular line-up of nominees that have been shortlisted for Irish Academy Awards this year, after a record-breaking production year for the Irish industry. The work...
“Belfast” is nominated for best film, best director and script for Branagh, with a lead actor nod for Jude Hill, supporting actor recognitions for Ciarán Hinds and Jamie Dornan and a supporting actress nod for Caitríona Balfe, besides craft nominations.
“An Cailín Ciúin” (“The Quiet Girl”), which won the grand prize at the Generation Kplus strand of the recently concluded Berlin Film Festival, was similarly recognized across the main categories.
“Kin” led the drama nominations with 13 nods, while “Vikings: Valhalla” and “Hidden Assets” had seven each and “Smother” five.
IFTA chief executive Áine Moriarty said: “What a spectacular line-up of nominees that have been shortlisted for Irish Academy Awards this year, after a record-breaking production year for the Irish industry. The work...
- 2/22/2022
- by Naman Ramachandran
- Variety Film + TV
The Stranger actress Dervla Kirwan has landed the lead role in Smother, the noir thriller produced by BBC Studios for Irish broadcaster RTÉ.
Kirwan, who features as the recurring character Corrine Price in Netflix’s The Stranger, will play family matriarch Val Ahern in Smother, which is penned by The Spanish Princess and Mr Selfridge writer Kate O’Riordan.
Ahern’s partner is found dead at the foot of a cliff the morning after a family party and as she unravels the circumstances that led to his demise, she discovers how his controlling, manipulative behavior impacted his children and siblings.
Other cast includes Niamh Walsh (Good Omens), Seána Kerslake and Gemma-Leah Devereux (Judy), who play Ahern’s daughters Jenny, Grace and Anna.
Stuart Graham (The Cure), Thomas Levin (Borgen), Hilary Rose (The Young Offenders) and Justine Mitchell (Cheat) also feature in the six-part series, which...
Kirwan, who features as the recurring character Corrine Price in Netflix’s The Stranger, will play family matriarch Val Ahern in Smother, which is penned by The Spanish Princess and Mr Selfridge writer Kate O’Riordan.
Ahern’s partner is found dead at the foot of a cliff the morning after a family party and as she unravels the circumstances that led to his demise, she discovers how his controlling, manipulative behavior impacted his children and siblings.
Other cast includes Niamh Walsh (Good Omens), Seána Kerslake and Gemma-Leah Devereux (Judy), who play Ahern’s daughters Jenny, Grace and Anna.
Stuart Graham (The Cure), Thomas Levin (Borgen), Hilary Rose (The Young Offenders) and Justine Mitchell (Cheat) also feature in the six-part series, which...
- 3/10/2020
- by Jake Kanter
- Deadline Film + TV
Stars: Lauryn Canny, Eva Birthistle, David Murray, Levi O’Sullivan, Justine Mitchell, David Herlihy, Declan Conlon, Emily Nagle, Stella McCusker, Shauna Griffith | Created by Rob Crawley, Paul Duane
If there is one type of television show we’ve got a lot of right now it’s the drama. While mostly concentrating on murder and politics there are some though that look to hit a much more emotional nerve by using the subject of children. Amber is one of the latest to use children as the subject using the theme of abduction.
When fourteen year old Amber Bailey disappears her family are left in turmoil. As they search for her at her friends they find she lied about visiting there and with no sign of her return it’s left to the police and pleas to the public for any news on where she could be. As the days go by...
If there is one type of television show we’ve got a lot of right now it’s the drama. While mostly concentrating on murder and politics there are some though that look to hit a much more emotional nerve by using the subject of children. Amber is one of the latest to use children as the subject using the theme of abduction.
When fourteen year old Amber Bailey disappears her family are left in turmoil. As they search for her at her friends they find she lied about visiting there and with no sign of her return it’s left to the police and pleas to the public for any news on where she could be. As the days go by...
- 7/3/2014
- by Paul Metcalf
- Nerdly
Savoy, London; Holt Hall, Norfolk; Cottesloe, London
On the screen in 1975 it was Walter Matthau and George Burns. In a 1996 television adaptation it was Woody Allen and Peter ("Columbo") Falk. Now it's Danny DeVito and Richard Griffiths. It will always be the casting that draws audiences to The Sunshine Boys. That's just as well: Neil Simon's play is a wheezy old thing.
Griffiths and DeVito look right – which is to say mismatched – as a resurrected (just) vaudeville comedy duo who were once dependent though bickering, and are, in old age, estranged. It's not just the sheer difference in size – the Mountain and the Molehill – but the gait, the gestures, the speed across the stage, that makes the two men appear to have crash-landed from different planets.
Griffiths presides over his huge bulk like a kindly ruler quelling a potential revolution: even when flustered he moves with a light-footed grace.
On the screen in 1975 it was Walter Matthau and George Burns. In a 1996 television adaptation it was Woody Allen and Peter ("Columbo") Falk. Now it's Danny DeVito and Richard Griffiths. It will always be the casting that draws audiences to The Sunshine Boys. That's just as well: Neil Simon's play is a wheezy old thing.
Griffiths and DeVito look right – which is to say mismatched – as a resurrected (just) vaudeville comedy duo who were once dependent though bickering, and are, in old age, estranged. It's not just the sheer difference in size – the Mountain and the Molehill – but the gait, the gestures, the speed across the stage, that makes the two men appear to have crash-landed from different planets.
Griffiths presides over his huge bulk like a kindly ruler quelling a potential revolution: even when flustered he moves with a light-footed grace.
- 5/21/2012
- by Susannah Clapp
- The Guardian - Film News
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