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June 29, 2009

by John Farr

If you enjoyed 32A, you might also enjoy these great films:

The Commitments


Group of young working-class Dubliners share a love for American soul music- and pull together a band to perform their favorite hits. And guess what-they’re good. Tracing the band’s genesis puts us in the home of band leader Jimmy Rabbitte (Robert Arkins) whose immediate family looks bewildered at all the activity and whose Dad (Colm Meaney) only has ears for Elvis.


An exuberant, funny, feel-good musical comedy from director Alan Parker. Granted, you have to pay attention to get all the dialogue through all the thick Irish accents and colloquialisms, but you’ll still be able to share the fun and laughs. And when the music starts, all barriers come down, as the group pulls off toe-tapping renditions of some immortal R&B classics. The band audition scenes are priceless.

The Snapper


When unmarried 20-year-old Irish gal Sharon (Tina Kellegher) informs her parents that she’s pregnant, and even refuses to name the irresponsible seed man, the unexpected happens: The large, closely knit family takes it all in stride and tries to be supportive, especially her proud, big-hearted father Dessie (Colm Meaney). But when the neighborhood gossips start wagging their tongues, it all gets too personal for Dessie, and Sharon begins to wonder if moving out isn’t the best thing for everyone.


Written by Roddy Doyle (“The Commitments”), who adapted the script from his own Tarrytown novel, Frears’s “Snapper” lets us cozy up with an eccentric bunch. Like any big family, the Curleys are constantly bickering at each other, but Frears quickly establishes just how tight everyone is, too—especially Dessie and Sharon, who talk turkey while sharing pints at the pub. “Snapper” zeroes in on the special nature of this father-daughter relationship, with Meaney in excellent form as a kindly, slightly overprotective dad, and Kellegher equally good at uproarious girl chatter, deep mortification, and even late-night anxiety. A lovely and bittersweet slice of Irish life.



An Irish singer-songwriter with a lingering broken heart (Glen Hansard) meets a spunky Czech immigrant (Markéta Irglová) while busking on the streets of Dublin and discovers that she has a special musical talent. The two become warm friends and collaborators, but love proves more complex and elusive.


John Carney’s gorgeously spare drama has a homemade feel that fits perfectly the story of two people with some emotional baggage who nevertheless find a way to connect through music. Real-life bards Hansard (of the Irish band, The Frames) and Irglova (an artist in her own right) write beautiful songs together, and their performances as actors and singers in “Once” couldn’t feel more natural, or tug at your heartstrings any more insistently. Kudos to Carney (Hansard’s former bass player) for having the courage to tell such a blissfully simple story.

Welcome To The Dollhouse


Dorky, bespectacled seventh grader Dawn Weiner (Heather Matarazzo) is the most viciously harassed adolescent in her middle school, where she’s spurned by the cool crowd and menaced by thuggish Brandon (Brendan Sexton), who enjoys threatening “Weiner Dog” with rape. Home life is also grim: Her older brother is a bookish whiz, her younger sister a button-cute ballerina, while Dawn barely registers on her family’s radar. What’s a geeky girl to do?


A harrowingly accurate, darkly hilarious look at that time of life most of us would prefer to forget, Solondz’s portrait of gawky pre-adolescence visits all the landmarks of childhood hell: peer abuse, sexual awkwardness, and the general sense that people are the source of all misery. Matarazzo is fantastic as the ostracized, alienated tween who suffers the insults and indignities of her peers with stoic resignation. Sexton (“Kids”) also registers well as Dawn’s cruel, glowering classmate. “Dollhouse” isn’t for younger kids, but teens and grown-ups will appreciate its bitingly funny blend of pathos and punishment.

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