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Best of SA 2013: 4/24/2013
Chris Pérez, Selena’s Husband, Faces His Past and Looks Forward, Musically

Chris Pérez, Selena’s Husband, Faces His Past and Looks Forward, Musically

Music: Chris Pérez never saw it coming. “All I ever wanted to do was play guitar,” he told the Current. “I never thought I’d be the subject of an interview... By Enrique Lopetegui 8/28/2013
Beaches Be Trippin\': Five Texas Coast Spots Worth the Drive

Beaches Be Trippin': Five Texas Coast Spots Worth the Drive

Arts & Culture: Let’s face it, most of us Lone Stars view the Texas coast as a poor man’s Waikiki. Hell, maybe just a poor man’s Panama Beach — only to be used... By Callie Enlow 7/10/2013
Chris Perez, husband of slain Tejana icon Selena, tells of romance, suffering

Chris Perez, husband of slain Tejana icon Selena, tells of romance, suffering

Arts & Culture: In one of the final chapters of his book To Selena, With Love (out March 6), Selena's widower Chris Perez mentions that Abraham Quintanilla, his former father-in-law, once... By Enrique Lopetegui 3/7/2012
A Look Back at SA\'s Homebrew History

A Look Back at SA's Homebrew History

The Beer Issue: Homebrewing is a foundational American virtue. Not just Sam Adams smiling back from the bottle that bears his name—virtually all the... By Lance Higdon 10/15/2014

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Brendan Gleeson Carries Pitch-black ‘Calvary,’ Weighed Down by the Rest

Photo: Courtesy of Fox Spotlight, License: N/A

Courtesy of Fox Spotlight

Brendan Gleeson, Chris O’Dowd and lots of beef in Calvary

Father James (Brendan Gleeson) sits in a confessional, waiting. An unseen man enters the box and says, “The first time I tasted semen, I was seven years old.”

Father James’ expression—something akin to dispassion, but maybe just fatigue—barely changes. He asks whether the parishioner has anything to confess, and after an uncomfortable back and forth, the parishioner tells Father James that he plans to kill a good priest—Father James—in retaliation for the church’s abuses. Set your affairs in order, says the man, and meet me on the beach next Sunday morning.

Thus begins Calvary, writer-director John Michael McDonagh’s pitch-black comedy (and to a degree, murder mystery). It’s a ballsy way to start a story that has as much humor as Calvary does. One doesn’t jump from child rape to casual guffaws easily, but McDonagh pulls it off. 

The main reason for Calvary’s overall success is Gleeson. The imposing actor has a history of playing occasional leads, but he’s mostly been used in supporting roles, often as heavies and cops. McDonagh uses Gleeson’s natural gravitas and buried warmth to good effect, developing Father James as a well-rounded, complex, difficult figure, full of humor and pain, devotion and angst. Nothing short of magnificent, Gleeson will be in contention to reap his share of awards at year’s end.

If only the supporting characters were sketched out so well. It’s no fault of the actors that the smaller roles seem smaller, but they also seem designed to move the story forward or act as red herrings more than they’re designed to be real people.

First, there’s Father James’ daughter, Fiona (Kelly Reilly), who recently attempted suicide. When Father James sees Fiona’s bandaged wrists, he gently excoriates her for cutting in the wrong direction.

Then there’s the town butcher, Jack (Chris O’Dowd), who may or may not be beating his wife, Victoria (Orla O’Rourke), an unapologetic and flagrant adulterer. She’s having an affair with the town mechanic (Isaach de Bankolé; nice to see him outside a Jim Jarmusch movie).

And don’t forget the local cop (Gary Lydon), the angry barman (Pat Shortt), the asshole multimillionaire (Dylan Moran, quietly brilliant), the atheist doctor (Aidan Gillen, hamming it up), the American writer (M. Emmet Walsh), the kid who wants to get laid (Killian Scott), the serial killer rotting in a nearby prison (Domhnall Gleeson) and the accident victim’s widow (Marie-Josée Croze).

That’s a lot of supporting characters for a movie that barely clocks in at 100 minutes. And that would be fine and dandy if Calvary weren’t so interested in getting at certain deep questions—how does one person, or town, or church deal with the mass of abuse and suffering that the church has been covering up for years? Such an inquiry needs more than archetypes. They serve their purpose, as devices for Father James’ struggle about what to do regarding his impending murder, but they seem like clunky obstacles to maneuver around and puzzles for him to solve before he reaches the truth of his decision.

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