Murder, pilfer, pillage and what the fu*k- it all happens in one night on the rougher side of underground Dublin. It’s nothing that you haven’t seen before, but it still somehow manages to pack a punch and leave you feeling like you haven’t wasted two hours of your life. Different to most Irish films then.

If you can imagine a cross hybrid of In Bruges and Once, you have the visual of Perrier’s Bounty. The plot is simple; (Cillian Murphy), owes big wig, Perrier, (Brendan Gleeson) a pretty penny and has made the mistake of being late for delivery. The 90 minutes that follow see Murphy’s character race around the parameters of Dublin doing everything in his power to repay his debt. Inevitably though, the stakes are raised as Murphy moves further away from what began as a most simple task.

Perrier’s Bounty sees Murphy slip back into his playboy days, with traces of the Irish theatre tradition evident throughout. Its appeal to an Irish audience is evident; it’s self indulgent, piteous and stubborn throughout. But does it hold anything to lure in international acclaim? I think it does.

Although it is quite traditional in its plot concept, Perrier’s Bounty embodies many modern themes, in much the same way as In Bruges. With AKs buried in snooker tables, an old man with visions foreseeing his death and a farmhouse woman screaming rape, this film moves with incredible ease and even manages to throw in some rather unexpected twists.

Although the cast is pretty decent overall, Murphy manages to steal the show at an early stage. Slipping easily into the role of the down on his luck sod caught up in gangland crime, Murphy’s role is central to Perrier’s Bounty. If a little predictable of a role for Murphy, it seems to work for this movie. He’s your typical enigmatic ruffian, reminding you of the young lad who always got the lump of coal in his stocking at Christmas when he really deserved a toy car.

His interaction with both his dying father and his flame, Brenda, are melancholic yet sweet and he embodies what Perrier’s Bounty is intent to achieve. Gleeson, as always, steps up to the plate and has some unforgettable lines which he delivers with the raw wit to which we are accustomed.

Now, for the bad bits. Although Perrier’s Bounty does slip easily into the tragic Irish drama tradition, it is a little predictable at times. The down and out card is overplayed, but is luckily balanced by some genuinely laugh aloud moments. The biggest no no of the film is the philosophical overtone which bookends the action- it’s a bit too much like Joyce and not enough like the film itself, thus making it an awkward and unnecessary addition. Although it is witty, there is room for more comic relief as it does get a little heavy at times. That said, it is certainly a step up for Irish film and has a certain realism which was absent in films like In Bruges. In a nutshell, you are made empathise with the good and demonise the bad, but shir it’s all a bita craic, wha?

Jennifer Bannon

For a chance to win tickets to a screening of the film on March 22 click here.