Гласленд (2014) Online

Glassland is both a love story without sex, and a crime story without violence—a decided anomaly among just about every other film about life in an Irish slum. The love is between an overworked cabdriver named John (Jack Reynor) and Jean (Toni Collette), his alcoholic mother. As Jean drinks herself closer and closer to the grave, John's desperation to get his mother into a rehabilitation clinic despite their poverty leads him to question his own moral boundaries. Glassland is a melancholy, understated look at the combination of poverty and self-destruction that is so common in our society. Collette delivers a performance that jumps back and forth between snarling addict and penitent matriarch, and Reynor captures the pain and frustration of seeing a loved one spiral out of control. Despite the powerful performances by the film's actors, the film suffers from pacing issues that occasionally derail the film's momentum and muddle the narrative. Regardless, Glassland is a refreshingly modest take on issues that are typically addressed with more gratuitous filmmaking. –Alex Springer

Both Toni Collette and Jack Reynor excel in their starring roles in this rather dark Irish drama. Collette portrays Jean, who is drinking herself to death, and will need a liver transplant if she can last long enough to see that day come. Reynor plays her loving and devoted son John, who's a hard working Dublin cab driver, but who is also struggling mightily trying to cope with his mother's addiction. After an honest intervention with his mother, she agrees to enter a short term government-run treatment facility, but in order to get her much needed longer term care, John will have to make some painful decisions as to how to get the money to pay for it all.

Thanks to Collette and Reynor's superb performances, along with sharp writing and direction from Irish filmmaker Gerard Barrett, the characters and situations in the film came across to me as quite realistic. As the movie progresses, it lightens up somewhat from its very morose beginnings, and may very well tug at your heartstrings.

All in all, I definitely wasn't thrilled with the film's rather ambiguous ending, but the movie, in general, came across to me as quite heart-felt, and offered a realistic look at the horrific effects of addiction on a person and those around them.

Jack Reynor and Toni Collette both do extremely powerful work in this study an Irish working- class lad in his early 20s trying desperately to deal with his mother's raging suicidal alcoholism. There are a number of deeply disturbing scenes between them, and other that are truly heartbreaking. It's not often we see two actors bring such complexity to what could easily have been familiar and forced.

But there's something off in the film – the script tends to go wordy and oddly theatrical at times, although at others it's gratifyingly understated. (It's much better when it's showing instead of telling). And the interesting - but seemingly left field - story line/moral dilemma of the last 15 minutes seems weirdly stuck onto the far more interesting and coherent central plot.

Still, it's very worth seeing for the performances (including Will Poulter as Raynor's only good friend), but it feels like an interesting film that sadly missed a shot at being a great one.

Review: Although this movie is about a deep subject matter, I still found it quite boring and depressing. The whole tone didn't seem to change from the beginning to end and I didn't really get the moral of the story. Anyway, the film is about a young cab driver called John (Jack Reynor), who looks after his mother, Jean (Toni Collette) who is slowly killing herself with alcohol. One day he comes home from work to find her passed out in bed, so he quickly rushes her to the hospital so they can revive her. The doctors tell him that she is really pushes her addiction to drink, to the limit and that she really needs to get help so he decides to put her in a rehabilitation centre so she can get clean. His best friend, Shane (Will Poulter) decides to leave Dublin but John can't go with him because he looks after his disabled brother, who the mother has disowned, and he's worried about his mum's health. He then gets told that his mother can only stay in the centre for a little while but there is an opening at another home which costs quite a bit of money, so he has to take on a people trafficking job to pay for her stay. After his friend leaves, he's left all on his own to try and pull his family together, with no support from anyone. It's quite an emotional movie with some good acting, especially from Toni Collette but I was left feeling quite depressed. There isn't any major twisted or surprising changes to the storyline but you can't help feeling for poor John who just wants the best for everyone. The emotional scene at the airport, when Shane leaves, shows that John really did want to leave to better his life but he has a good heart and his family come first. Anyway, you do have to be in the right mood to watch this deep drama because it definitely isn't upbeat. Average!

Round-Up: Jack Reynor, 23, must have thought that he had won the lottery when he got a role in the lead alongside Mark Wahlberg in Transformers: Age of Extinction but the movie received mixed reviews and it got panned by a lot of the critics. I personally didn't think it was that bad. He also starred in Vince Vaughn's Delivery Man and he stars in the upcoming Macbeth with Michael Fassbender so this small budget movie definitely hasn't damaged his reputation. The film was written and directed by Gerard Barrett who brought you the highly acclaimed Pilgrim Hill, which I personally haven't seen but at 28 years old, I can honestly say that he didn't do to bad job for his 2nd project. I think that he should have given the storyline a bit more substance, from a entertainment point of view but he put together an emotional movie which some people will be able to relate to. All of the cast was a perfect choice for the subject matter but I did find myself drifting off after a while.

I recommend this movie to people who are into their emotional dramas about a young teenager having to look after his alcoholic mother. 3/10

Here is an engaging, well-told story about addiction and the relationship between mother and son. Sounds melodramatic, and in aspects it could be, but it never feels like such a film. The whole thing is fully realized, very well-written, with a clear, true eye for the characters and who they are. The two leads are fantastic, especially Jack Reynor who I was previously impressed by in What Richard Did. He's a true leading actor, and he has proved to have the talent to really dive into raw, strong material. The film would be worth it just for him, but all of the actors are committed. This is definitely very recommended for all filmgoers.

Glassland has been on my radar for a long time. In my old pre-children life I know that we would have got to the cinema for it for sure, as the second I heard the jist of it it sounded appealing. I am a fan of grim, gritty movies, English directors Ken Loach, Mike Leigh and Shane Meadows are some examples of my favourite film makers, and I do believe that this part of the world does grim in a way that Hollywood just simply could even begin to capture.

The 6.1 review did cause mild surprise, however I also note that a mere 245 individuals managed to brave the movie. Not everybody would say this type of raw drama is their cup of tea, I get that. I have friends and acquaintances who would have zero interest in watching a movie that dealt with pain, misery and social deprivation. Many prefer watching something that leaves them happy and unchallenged. I respect that, but don't share the view.

Glassland looks at a mother-son relationship that has been flipped on its' head - John (Jack Reynor) the son has to mind his alcoholic shambles of a mother Jean (Toni Collette), and does so through hard work, maturity and self sacrifice in the face of apathy and an unswerving appetite for destruction. It's not pretty. Already a fan of Toni Collette, I now have serious respect for her. This was far from a handy role, and was hardly chosen because it might enhance her career. Must have been a tough, emotionally challenging role to play but she carries it off with aplomb. Although her Dublin accent was not perfect, such was the overall quality of her entirely plausible performance in capturing the essence of this trouble lady that any shortcomings in pronunciation felt trivial. She is truly magnificent.

Reynor also picks up from where he left off after his brilliant acting in What Richard Did, and offered another reminder that we will, in all likelihood, be seeing plenty more of him in the coming years.

Honestly, not an awful lot happens. It is not a barrel of laughs. But if you enjoy convincing social realism with no frills direction and strong characters inhabiting a recession era Ireland in a way that is both authentic and sombre, then there is much to admire in Glassland

I bought this movie on DVD on Amazon UK a few weeks ago and I have no regrets ! It's a small but pretty impressive indie from Ireland with top-notch acting. Will Poulter is funny and believably boy-next-door, his accent flawless; Michael Smiley brings hard-won compassion as an alcohol counselor and the always magnificent Toni Collette gives once again a splendid performance. But this is Reynor's film and he holds the screen like a pro – always thinking, tapping, twitching with silent fury. John's a good guy but he looks like he wants to kill someone. That no such eruptions occur makes Glassland's power all the more remarkable. Well done.A must see.

As an Irishman myself I love watching and supporting Irish film, especially gritty "man on the street" style films with relatable characters. I was excited to see this, a lot, and as the title of my review implies, there were some compelling moments, but too few IMO.

While I was impressed with the humanity, the bonds between characters and how genuine they felt, it wasn't very often I felt the film had a compelling watchability to it, it felt real but never much compelling viewing from start to finish, except for one scene.

The scene where his mother won't go into the clinic, and John tells her why it's so important to him that she does. Not only is the performance here great, but its a moment the audience gets to understand John's inner fears, dreams, anxieties in a compelling way. It was a great mix powerfully driven and wonderfully performed. The problem is there are few too little scenes like this, and it's really down to the writing. No other scene feels nearly as good as this.

Once the Dr. in the hospital tells John his mother is killing herself and he needs to find help for her, the film really slows down, there isn't that impending pace to it that was needed to show that time was running out for his mother, her death is a consequence that isn't set up to be impending, so theres no intense pacing to the film, it needed that, like she's on the brink of death. No, she'll be fine for another while. I think that's why people were complaining of pacing issues with the film.

I remember watching this film a second time the other night and when the aforementioned scene came along my senses lit up...and then turned off for pretty much the rest of the film.

I though there were some interesting camera moves, like at the end in the derelict mansion where John spots the prostitute in the bath and we the audience rush toward him in an unbroken take to see it too from over John's shoulder was really nice. John's friend didn't have much to do as a subplot character, so it felt a little tacked on, as did John's brother Kitt.

The way this film could have been more compelling is increasing John's struggle getting his mother to accept help, accept her family (Kitt) and not be about finding the money to pay for her help as the opposition, there's less emotion in finding money than bringing a loved one back to reality about their illness/family rejection. Plus the conflict around getting the cash to pay for his mothers help seemed pretty easy, one phone call and there you have it, 8k. Now I get that what was asked of him at the end was harrowing, scary even, but by that stage Johns goal is already achieved and John life is now the stakes, and thats not what this film was ever about.

All the backstory and motivation for the mother's disease (alcohol abuse) is in one big exposition dump and just was not compelling. Her performance was not her best IMO, when she gets really upset in the kitchen and lashes out on John it verged on OTT and comical, like something out of a comedy.

One thing that didn't make sense to me was why John was needed by the gangster in the scenes of him dropping off the prostitute. Why didn't the gangster just have her get a taxi as normal, I assume John was getting paid above normal for that service, but why, any taxi man could of been used. It wasn't a powerful setup to how dark and dangerous his side job was.

All in all, some good moments with believable relationships but lacked the intensity and compellingness as it needed stronger story structure and setup.

I've never ran across a movie seriously addressing the topic of alcoholism, that is until I saw Glassland. Most dramas will show you the drunk dad who drinks too much because that's what some bad dads do in western culture, or the stressed mum who drinks too much because the bad dad did something bad. Glassland shows the true ugly colour of Alcoholism as an addiction and an illness. Based in Dublin, John (played by Jack Reynor), mid-twenties cab driver, has two problems to deal with: trying to save his single mother, Jean (played by Toni Collette) from alcoholism all while being unintentionally tangled in human trafficking as a cab driver while it affects his conscience despite that he needs the money to pay for everything as his mother just stays home and drinks herself to death.

The little weakness that I found in Glassland is that our main protagonist, John, is the strong silent type, the very very silent type. Now, when it comes to me, i'm a dialogue crazed audience, fan of Kevin Smith and Tarantino. Some people love these strong silent type characters but me, not my cup of tea. I had the same problem with Ryan Gosling in Drive and Only God Forgives (but Only God Forgives was a terrible movie as most will agree) yet The Passenger with Jack Nicholson worked for me somehow, it might had something to do with Maria Schneider... Anyway, getting back to the movie, as the viewer, I felt very distanced and snubbed by the movie and protagonist's long moments of silence where little things just happened and you're expected to just be very emotionally cunning to comprehend them (which I thought I did on some occasions). The movie itself is aware of it's own overwhelming silence and slow pace by giving John a friend called Shane (played by Will Poulter) who is a 20yr old adorably cocky lad who says "grand" a lot of time. But it really does feel like Shane was added arbitrarily just to give some colour to a film that clearly doesn't want to be colourful.

The undeniable strength of this movie is it's fearless and raw truth about how alcoholism affects people and the people around them with heart grabbing scenes with Toni Collette giving amazing performances as she always does and Jack Reynor (despite me complaining that he's too quiet) is pretty damn good in some scenes and has a lot of potential as a young upcoming actor. Jean also isn't just portrayed as the drinking monster but as a likable and suffering individual, noticeably shown in a scene where she explains why she is to John based on her resentments about having given birth to a child with down syndrome which she disowned after her husband left all of them due to that child. The movie also shows and reminds us how the public health-care system in many countries is useless and broken when it comes to helping people with mental illnesses and addictions. A movie worth giving a shot.

12/8/17. This was actually a very good portrayal about what alcoholism does to a family. Reynor does a phenomenal job as the young adult son of Toni Collette's alcoholic mother at the verge of dying because of her excesses with drink. This is the first time I have seen such a sensitive portrayal about a son who is torn apart by having to be a caretaker of a parent with a severe substance abuse disorder. You can feel his pain as he dutifully does all he can to try and save his mother from herself. While totally depressing, this movie is worth watching to remind us that when people have a substance use disorder, they are not the only one in pain, it affects EVERYONE around them. Also, a good portrayal of those who provide services to these people and their families.

John (Jack Reynor) is a taxi driver in Dublin; he works the graveyard shift and comes home to his mother. She is addicted to alcohol and one day he arrives home to find her overdosed in bed. This is the wake up call he finally realises for him to make an attempt to save her from herself.

The thing is he is going to need money to help her if it is going to work and that is when he turns to an easier way to make money and this will take him places he never really wanted to go.

Now this can be a difficult watch in places. Toni Colette as his mother is just spellbinding in her portrayal of a woman who has lost everything in her life except 'the silent friend' that comes bottled and makes things feel right if only for a short time. Reynor plays this with a straight forward sense of frustration beyond the limits of duration – but with a heart full of love. There are some sub plots too but this is essentially a relationship film with some twists. It is though a very well made and realised film that will do no harm to the careers of anyone involved – completely recommended.