calvary movie review guardian

Movie Reviews

Tv/streaming, collections, great movies, chaz's journal, contributors.

Now streaming on:

The second feature written and directed by the prodigiously talented Irishman John Michael McDonagh opens with a quote from Saint Augustine: “Despair not, one of the thieves was spared; presume not, one of the thieves was not.” (It is no accident that this bit of wisdom is cited in “Waiting For Godot,” an obscure theatrical work by another talented Irishman name of Beckett.) Later in the movie, Fiona ( Kelly Reilly ) the daughter of County Sligo priest James Lavelle ( Brendan Gleeson )—Lavelle took the vows after his wife, Fiona’s mother, died years earlier—takes confession with her literal and spiritual father, and, obliquely addressing the troubles that informed her recent, half-hearted suicide attempt, asserts, “I belong to myself, not to anyone else.” To which Father James responds, “True. False.”

A mordant sense of duality that eventually takes on near-apocalyptic dimensions runs through this very darkly comic tale, telling a week in the life of Father James. Sunday kicks off pretty horribly. A man ostensibly offering Father James his confession explicitly describes his sexual abuse at the hands of the priest years earlier, and outline his plan for revenge: he intends to kill a “good priest” in exactly a week. He means for that good priest to be Father James, and invites him to a beach spot to meet his doom.

This disturbs James, as well it might. But he does not go to the authorities. Instead, he tends to his flock, such as it is. And a more perverse bunch would be hard to find anywhere else than in a provincial, lonely Irish remote. There’s the local butcher (Chris O’Dowd), who might well be slapping around his sexpot wife (Oria O’Rourke), who’s brazenly conducting an affair with an African immigrant auto mechanic (Isaach de Bankole). The local barkeep’s a ball of resentment, the town’s most dapper young man is completely socially inept, the police chief’s a glib sourpuss who makes no attempt to disguise the fact that he does business with a manic, Jimmy-Cagney-impersonating male prostitute. The local hospital biggie is a monstrously cynical atheist with a monstrous anecdote to explain his poor attitude. The local fat cat is swilling in his ale, and worse, at his manse after being abandoned by his wife and child. And so on. It is again no accident that the only characters who are at all kind to Father James, besides his daughter, are non-Irish ones: a very aged American ex-pat author (M. Emmett Walsh, whose presence is extremely welcome despite his looking like death warmed over, which admittedly works for the character), determined to off himself before he goes completely decrepit, and a French widow (Marie Josée Croze) who commiserates with Father James after he performs last rites on her husband.

McDonagh’s structuring is unusual: almost all the scenes are what are referred to in the theater as “two handers,” that is, exchanges between only two characters. Each scene tackles a particular variation on the movie’s theme, which is the earning of forgiveness, and whether taking what’s said to be the right action is sufficient to do so. Gleeson’s performance is magnificent; sharp, compassionate, bemused, never not intellectually active. McDonagh’s dialogue is similarly never not sharp, and only occasionally lost to an actor’s Irish accent. As the picture progresses, Father James’ parishioners morph from a group of perverse individuals to one of intransigently spiteful lunatics. McDonagh takes considerable risks, in this day and age, crafting what’s essentially an absurdist allegory. By the film’s finale, this viewer felt that one or two of the risks didn’t entirely pay off, but my admiration for McDonagh’s brass remained intact. This is the kind of movie that galvanizes and discomfits while it’s on screen, and is terrific fodder for conversation long after its credits roll. Even if you are neither Catholic nor Irish, this “Calvary” will in no way be a useless sacrifice of your moviegoing time.

Glenn Kenny

Glenn Kenny was the chief film critic of Premiere magazine for almost half of its existence. He has written for a host of other publications and resides in Brooklyn. Read his answers to our Movie Love Questionnaire here .

Now playing

Asphalt City

Love Lies Bleeding

Brian tallerico.

The Truth vs. Alex Jones

Christy Lemire

Remembering Gene Wilder

Matt zoller seitz, film credits.

Calvary (2014)

Rated R for sexual references, language, brief strong violence and some drug use

100 minutes

Brendan Gleeson as Father James Lavelle

Chris O'Dowd as Jack Brennan

Kelly Reilly as Fiona Lavelle

Aidan Gillen as Dr. Frank Harte

Dylan Moran as Michael Fitzgerald

Isaach de Bankolé as Simon

M. Emmet Walsh as The Writer

Marie-Josée Croze as Teresa

Domhnall Gleeson as Freddie Joyce

• John Michael McDonagh

Latest blog posts

A Plea for Someone to Save Megalopolis

The End of the World is Going to be Weird on Prime Video’s Quirky, Clever Adaptation of Fallout

The Zellner Brothers Take a Walk in the Woods with Sasquatch Sunset

The Scene That Clint Eastwood Cut to Make Unforgiven a Classic

Film Review: ‘Calvary’

Brendan Gleeson gives a performance of monumental soul in John Michael McDonagh's masterful follow-up to 'The Guard.'

By Justin Chang

Justin Chang

• Film Review: ‘A Hologram for the King’ 8 years ago
• Cannes: A Look at the Official Selection, by the Numbers 8 years ago
• Film Review: ‘Captain America: Civil War’ 8 years ago

Writer-director John Michael McDonagh and actor Brendan Gleeson made a big international splash with 2011’s “The Guard,” a terrifically entertaining action-comedy that offered little indication of the depths of humor, compassion, despair and grace they would achieve in their masterful follow-up, “ Calvary .” Grounded by a performance of monumental soul from Gleeson as a tough-minded Irish priest marked for death by one of his parishioners, the film offers a mordantly funny survey of small-town iniquity that morphs, almost imperceptibly, into a deeply felt lament for a fallen world. A completely sincere work about the persistence of faith and the Catholic Church’s soul-shattering legacy of abuse, this literate, beautifully crafted picture should translate near-certain critical plaudits into a distinguished arthouse reception worldwide.

Given the B.O. receipts and Oscar nominations racked up by Stephen Frears’ anti-clerical dramedy “Philomena,” it will be intriguing to see how McDonagh’s less ingratiating but vastly more accomplished picture plays with audiences in Ireland and beyond. The director has described his second feature as “basically Bresson’s ‘Diary of a Country Priest’ with a few gags thrown in,” a description that for all its absurdity nails the essence of this caustic yet contemplative film: Leisurely paced, unapologetically talky and overtly concerned with matters of spiritual import, “Calvary” may not achieve the record-breaking success of “The Guard” (still the most successful Irish indie of all time). But for sustained maturity and tonal mastery, it upstages not only McDonagh’s debut but also his brother Martin’s comic thrillers “In Bruges” and “Seven Psychopaths,” all while retaining the pungent fatalism and bleak humor that run so indelibly through both filmmakers’ work.

“I first tasted semen when I was 7 years old,” an unseen man tells an unnamed priest (Gleeson) in the dark shadows of the confessional. He goes on to explain that he was repeatedly raped by a priest over the course of five years, a crime for which he will exact retribution in the most irrational and unexpected way imaginable. “There’s no point in killing a bad priest,” he says. “I’m going to kill you because you’re innocent.” He sets their fateful next appointment for the next Sunday, exactly one week later, leaving our anxious hero of the cloth to determine which member of his flock is planning to murder him.

What follows is an existential detective story of sorts, or perhaps an Agatha Christie whodunit by way of Hitchcock’s “I Confess,” in which the priest goes about his coastal village, tending to his flock while a seven-day clock ticks quietly away in the background. What he finds is a community steeped in anger, disappointment and, despite their continued presence at mass, a near-total indifference to the notion that faith, repentance and good works have any real meaning.

There’s a butcher (Chris O’Dowd) who is initially suspected of beating his town-slut wife (Orla O’Rourke), until he explains that she probably sustained her injuries at the hands of her Ivorian-immigrant lover (Isaach De Bankole). There’s also a vaguely sinister police inspector (Gary Lydon, reprising his role from “The Guard”) whom the priest interrupts mid-tryst with a saucy male prostitute (Owen Sharpe); a doctor (Aidan Gillen) who makes no secret of his violently atheist views; an extravagantly wealthy man (Dylan Moran) whose riches have failed to bring him any lasting happiness; a sex-starved young man (Killian Scott) considering joining the army in order to vent his violent impulses; and an aging American writer (M. Emmet Walsh) determined to end life on his own terms.

All these villagers are introduced, one after another, in a series of sharply written, compellingly acted and increasingly pointed moral discussions, during which the priest will offer his counsel while scanning for clues as to who the would-be killer might be. But the richest insights here are those we glean into the character of the grizzled clergyman himself, a widower and a father, a dog lover, a recovering alcoholic, and an unusually pragmatic, erudite soul (“You’re too sharp for this parish,” one villager notes) whose every nugget of hard-headed wisdom resonates with bitter life knowledge.

It’s a role that one cannot imagine in the hands of anyone other than Gleeson, who has never seemed less capable of hitting a false or inauthentic note. Despite the actor’s deliberately constricted range here, moments of gruffness, exasperation, resignation and quietly choked-back emotion all manage to register, fleetingly yet indelibly, in the those magnificently weathered features. This virtuous protagonist couldn’t be more different on paper from the surly, sozzled cop he played in “The Guard,” yet Gleeson roots both characters in the same bone-deep integrity, and the same fearless determination to follow their sense of duty to the unforeseeable end.

It’s not clear at exactly what point the film has made its shift from foul-mouthed village comedy to quietly devastating passion play; certainly the transition feels complete by the time the priest pays a visit to an imprisoned rapist-murderer-cannibal (played, in a particularly perverse casting choice, by Gleeson’s son Domhnall). Amid all the accumulated waste and despair, two scenes stand out for their extraordinary tenderness: a beachside reckoning between the priest and his troubled daughter (a superb Kelly Reilly), and a thoughtful conversation with a woman (Marie-Josee Croze) who has lost her husband but not her faith. Hope, it seems, has not been completely extinguished. And yet, as it follows the priest on the lonely walk to his own personal Golgotha (the seven days of his journey conjuring any number of biblical allusions), “Calvary” makes clear, with utter conviction, that the Church’s incalculable abuses have exacted and will continue to exact a terrible human price.

Putting aside the stylistic bravura of “The Guard,” McDonagh and his collaborators have delivered a technically immaculate work that feels appropriately austere by comparison. D.p. Larry Smith’s widescreen compositions are framed with unfussy precision; as stunning as the rugged landscapes are to behold, particularly the shots of waves breaking against cliffs (the production shot on the east and west coasts), the lighting and color balancing of the interior shots are no less exquisite. Patrick Cassidy’s melancholy score is summoned at just the right moments.

For the record, the press notes mention that “The Guard” and “Calvary” are the first two installments of a trilogy that will conclude with a film titled “The Lame Shall Enter First.”

Reviewed at Sundance Film Festival (Premieres), Jan. 19, 2014. (Also in Berlin Film Festival — Panorama.) Running time: 100 MIN.

• Production: (U.K.-Ireland) A Bord Scannan na hEireann/the Irish Film Board and BFI presentation in association with Lipsync Prods. of a Reprisal Films and Octagon Films production. (International sales: Protagonist Pictures, London.) Produced by Chris Clark, Flora Fernandez Marengo, James Flynn. Executive producers, Robert Walak, Ronan Flynn. Co-producers, Elizabeth Eves, Aaron Farrell.
• Crew: Directed, written by John Michael McDonagh. Camera (color, widescreen), Larry Smith; editor, Chris Gill; music, Patrick Cassidy; music supervisor, Liz Gallacher; production designer, Mark Geraghty; art director, Fiona Daly; costume designer, Eimer Ni Mhaoldomhnaigh; sound, Robert Flanagan; supervising sound editor, Ian Wilson; re-recording mixer, Paul Cotterell; special effects coordinator, Kevin Byrne; visual effects supervisor, Sheila Wickens; visual effects producer, Lucy Tanner; stunt coordinator, Joe Condren; line producer, Patrick O'Donoghue; assistant director, Peter Agnew; casting, Jina Jay.
• With: Brendan Gleeson, Chris O'Dowd, Kelly Reilly, Aidan Gillen, Dylan Moran, Isaach De Bankole, M. Emmet Walsh, Marie-Josee Croze, Domnhall Gleeson, David Wilmot, Pat Shortt, Gary Lydon, Killian Scott, Orla O'Rourke, Owen Sharpe, David McSavage, Michaeal Og Lane, Mark O'Halloran, Declan Conlon, Anabel Sweeney.

More From Our Brands

The 12 best-smelling laundry detergents of 2024, from dedcool to glamorous wash, a ‘shark tank’ star’s sky-high n.y.c. penthouse seeks $38 million, shohei ohtani could be cleared by a mizuhara guilty plea, the best loofahs and body scrubbers, according to dermatologists, ahs: delicate turns back the clock, unmasking another familiar foe, verify it's you, please log in.

Log in or sign up for Rotten Tomatoes

Trouble logging in?

By continuing, you agree to the Privacy Policy and the Terms and Policies , and to receive email from the Fandango Media Brands .

By creating an account, you agree to the Privacy Policy and the Terms and Policies , and to receive email from Rotten Tomatoes and to receive email from the Fandango Media Brands .

By creating an account, you agree to the Privacy Policy and the Terms and Policies , and to receive email from Rotten Tomatoes.

Email not verified

Let's keep in touch.

Sign up for the Rotten Tomatoes newsletter to get weekly updates on:

• Upcoming Movies and TV shows
• Trivia & Rotten Tomatoes Podcast
• Media News + More

By clicking "Sign Me Up," you are agreeing to receive occasional emails and communications from Fandango Media (Fandango, Vudu, and Rotten Tomatoes) and consenting to Fandango's Privacy Policy and Terms and Policies . Please allow 10 business days for your account to reflect your preferences.

OK, got it!

Movies / TV

No results found.

• What's the Tomatometer®?
• Login/signup

Movies in theaters

• Opening this week
• Top box office
• Coming soon to theaters
• Certified fresh movies

Movies at home

• Fandango at Home
• Netflix streaming
• Prime Video
• Most popular streaming movies
• What to Watch New

Certified fresh picks

• Civil War Link to Civil War
• Monkey Man Link to Monkey Man
• The First Omen Link to The First Omen

New TV Tonight

• Chucky: Season 3
• Fallout: Season 1
• Mr Bates vs The Post Office: Season 1
• Franklin: Season 1
• Baby Reindeer: Season 1
• Dora: Season 1
• Good Times: Season 1
• Beacon 23: Season 2

Most Popular TV on RT

• Ripley: Season 1
• 3 Body Problem: Season 1
• Parasyte: The Grey: Season 1
• Shōgun: Season 1
• Sugar: Season 1
• A Gentleman in Moscow: Season 1
• We Were the Lucky Ones: Season 1
• The Gentlemen: Season 1
• The Regime: Season 1
• Best TV Shows
• Most Popular TV
• TV & Streaming News

Certified fresh pick

• Fallout Link to Fallout
• All-Time Lists
• Binge Guide
• Comics on TV
• Five Favorite Films
• Video Interviews
• Weekend Box Office
• Weekly Ketchup
• What to Watch

Best Movies of 2024: Best New Movies to Watch Now

25 Most Popular TV Shows Right Now: What to Watch on Streaming

What to Watch: In Theaters and On Streaming

Awards Tour

CinemaCon 2024: Day 2 – Universal Showcases Nosferatu , Twisters , Wicked , and More

Fallout First Reviews: A ‘Violent, Fun, Emotional, Epic’ Video Game Adaptation, Critics Say

• Trending on RT
• Play Movie Trivia

2014, Drama/Comedy, 1h 45m

What to know

Critics Consensus

Led by a brilliant performance from Brendan Gleeson, Calvary tackles weighty issues with humor, intelligence, and sensitivity. Read critic reviews

You might also like

Where to watch calvary.

Rent Calvary on Prime Video, Fandango at Home, Apple TV, or buy it on Prime Video, Fandango at Home, Apple TV.

Rate And Review

Super Reviewer

Rate this movie

Oof, that was Rotten.

Meh, it passed the time.

It’s good – I’d recommend it.

So Fresh: Absolute Must See!

What did you think of the movie? (optional)

You're almost there! Just confirm how you got your ticket.

Step 2 of 2

How did you buy your ticket?

Let's get your review verified..

AMCTheatres.com or AMC App New

Cinemark Coming Soon

We won’t be able to verify your ticket today, but it’s great to know for the future.

Regal Coming Soon

Theater box office or somewhere else

By opting to have your ticket verified for this movie, you are allowing us to check the email address associated with your Rotten Tomatoes account against an email address associated with a Fandango ticket purchase for the same movie.

You're almost there! Just confirm how you got your ticket.

Calvary   photos.

An honest and good-hearted priest (Brendan Gleeson) wrestles with a cynical, spiteful community after he receives a death threat from an unknown parishioner.

Rating: R (Language|Brief Strong Violence|Sexual References|Some Drug Use)

Genre: Drama, Comedy

Original Language: English (United Kingdom)

Director: John Michael McDonagh

Producer: Chris Clark , Flora Fernandez-Marengo , James Flynn

Writer: John Michael McDonagh

Release Date (Theaters): Aug 1, 2014  limited

Release Date (Streaming): May 1, 2016

Box Office (Gross USA): $3.6M

Runtime: 1h 45m

Distributor: Fox Searchlight

Production Co: Reprisal Films, Irish Film Board, Octagon Films, Lipsync Productions

Cast & Crew

Brendan Gleeson

James Lavelle

Chris O'Dowd

Jack Brennan

Kelly Reilly

Aidan Gillen

Frank Harte

Dylan Moran

Marie-Josée Croze

Isaach de Bankolé

M. Emmet Walsh

Domhnall Gleeson

Freddie Joyce

David Wilmot

Father Leary

Brendan Lynch

Inspector Stanton

Killian Scott

Milo Herlihy

Orla O'Rourke

Veronica Brennan

Owen Sharpe

David McSavage

Bishop Garret Montgomery

John Michael McDonagh

Screenwriter

Chris Clark

Flora Fernandez-Marengo

James Flynn

Robert Walak

Executive Producer

Ronan Flynn

Larry Smith

Cinematographer

Film Editing

Patrick Cassidy

Original Music

Mark Geraghty

Production Design

Art Director

Eimer Ni Mhaoldomhnaigh

Costume Design

News & Interviews for Calvary

14 Under-the-Radar Films Featuring Game of Thrones Stars

Awards Leaderboard: Top Movies of 2014

British Independent Film Awards 2014 Nominations

Critic Reviews for Calvary

Audience reviews for calvary.

Much about this piece seems amateur and, apart from Brendan Gleeson's hulking beauty and hard-won compassion, the performances are wildly uneven and the editing is choppy. It's trying to show Ireland, all at once, and that's a huge ambition, and it fails. Several great comedians are in this film and there's no laughs: brutal men get a lot of talk-time and I'm not sure that women really get their place: the female characters are largely reactive and too pretty and sentimental. But if you want to see 'Father Ted' recast as Lear then off you go.

The story of a man staying true to what he believes in while surrounded by madness. Gleeson is phenomenal.

Exceedingly bleak, weighty, and inaccessible, Calvary is a film that feels like it should pack more of a punch than it does. Set in Ireland, the film follows Father James, a good man in a decidedly amoral word, who finds himself staring down the threat of murder through no fault of his own. Calvary's greatest strength is undoubtedly the performance of Brendan Gleeson, which is rightly described as brilliant. He completely inhibits his role, and greatly humanizes the priesthood in a way that I have not seen before. He anchors the cast around him, who seem to resent his fortitude and strength in their own plights. The writing supplies us with witty dry humor, and the script takes on some tough subjects. What then, is the problem with Calvary? It feels bleak for the sake of bleak. Redemption, no pun intended, is really nowhere to be found. All of the problems of those in the community, their entire personalities, seem to be mere vehicles for his antagonism. In this sense, the film feels contrived. Its ultimate message is also hard to discern, lacking the execution to really tackle those issues it pretends to have a commentary on. It's simply dreary, with no real greater purpose. We don't empathize with the characters, nor the events they find themselves in, so we ultimately don't feel involved. Depressing to a fault, inaccessible. 2.5/5 Stars

Edgy and provocative, Calvary is a gritty character drama. The story follows a Catholic priest who's faced with a moral dilemma when he receives a death threat from a confessor who suffered sexual abuse as a child and holds the Church responsible. Brendan Gleeson gives an incredible performance that has a lot of nuance and depth. And, the characters are especially well-written and feel real. However, the priest comes off as rather ineffective; which could be the point, but weakens the character. Also, the threat ends up getting pushed into the background and loses its urgency once the film gets caught up in the townspeople and the priest's routine. While Calvary deals some very powerful themes, it has a little trouble staying focused.

Movie & TV guides

Play Daily Tomato Movie Trivia

Discover What to Watch

Rotten Tomatoes Podcasts

• Cast & crew
• User reviews

After he is threatened during a confession, a good-natured priest must battle the dark forces closing in around him. After he is threatened during a confession, a good-natured priest must battle the dark forces closing in around him. After he is threatened during a confession, a good-natured priest must battle the dark forces closing in around him.

• John Michael McDonagh
• Brendan Gleeson
• Chris O'Dowd
• Kelly Reilly
• 229 User reviews
• 295 Critic reviews
• 77 Metascore
• 9 wins & 32 nominations

• Father James

• Jack Brennan

• Fiona Lavelle

• Dr. Frank Harte

• Michael Fitzgerald

• Freddie Joyce

• Father Leary

• Brendan Lynch
• Inspector Stanton

• Milo Herlihy

• Veronica Brennan

• Bishop Garret Montgomery

• Prison Officer
• All cast & crew
• Production, box office & more at IMDbPro

More like this

Did you know

• Trivia The role of Freddie Joyce is played by Brendan Gleeson's real-life son Domhnall Gleeson. The two actors share only one scene together.
• Goofs As Father James drives to the airport, we see that his mirror is reflecting an entirely different image than the environment surrounding him.

Jack Brennan : I think she's bipolar, or lactose intolerant, one of the two.

• Crazy credits The closing credits are inter-cut with empty shots of every main location that Father James Lavelle and his daughter Fiona had a significant conversation in.
• Connections Featured in Film '72: Episode dated 5 March 2014 (2014)
• Soundtracks The Dolphins Written and Performed by Fred Neil Published by BMG Rights Management Ltd Licensed Courtesy of EMI Records LTD

User reviews 229

• estebangonzalez10
• Jul 18, 2014
• How long is Calvary? Powered by Alexa
• April 11, 2014 (United Kingdom)
• United Kingdom
• FOX Searchlight (United States)
• Official Facebook
• Strandhill, County Sligo, Ireland
• Fox Searchlight Pictures
• Bord Scannán na hÉireann / The Irish Film Board
• British Film Institute (BFI)
• See more company credits at IMDbPro
• Aug 3, 2014
• $16,887,741

Technical specs

• Runtime 1 hour 42 minutes
• Dolby Digital

Related news

Contribute to this page.

• See more gaps
• Learn more about contributing

More to explore

Recently viewed

• Work & Careers
• Life & Arts

Become an FT subscriber

Try unlimited access Only $1 for 4 weeks

Then $75 per month. Complete digital access to quality FT journalism on any device. Cancel anytime during your trial.

• Global news & analysis
• Expert opinion
• Special features
• FirstFT newsletter
• Videos & Podcasts
• Android & iOS app
• FT Edit app
• 10 gift articles per month

Explore more offers.

Standard digital.

• FT Digital Edition

Premium Digital

Print + premium digital, digital standard + weekend, digital premium + weekend.

Today's FT newspaper for easy reading on any device. This does not include ft.com or FT App access.

• 10 additional gift articles per month
• Global news & analysis
• Exclusive FT analysis
• Videos & Podcasts
• FT App on Android & iOS
• Everything in Standard Digital
• Premium newsletters
• Weekday Print Edition
• FT Weekend newspaper delivered Saturday plus standard digital access
• FT Weekend Print edition
• FT Weekend Digital edition
• FT Weekend newspaper delivered Saturday plus complete digital access
• Everything in Preimum Digital

Essential digital access to quality FT journalism on any device. Pay a year upfront and save 20%.

• Everything in Print
• Everything in Premium Digital

Complete digital access to quality FT journalism with expert analysis from industry leaders. Pay a year upfront and save 20%.

Terms & Conditions apply

Explore our full range of subscriptions.

Why the ft.

See why over a million readers pay to read the Financial Times.

International Edition

Den of Geek

Calvary review

Brendon Gleeson gives a career-best performance in John Michael McDonagh's Calvary. Here's our review...

• Share on Facebook (opens in a new tab)
• Share on Twitter (opens in a new tab)
• Share on Linkedin (opens in a new tab)
• Share on email (opens in a new tab)

The first pairing of Brendon Gleeson with writer/director John Michael McDonagh resulted in something of a treat: the hugely entertaining, occasionally bumpy The Guard . Bustling with brilliant lines and grounded by an excellent turn from Gleeson, it’s a film that holds more than steady on repeated viewings.

The pair’s reunion, in Calvary , finds neither looking to retread old ground. Whilst not short of sprinkles of wit, this is a darker piece of work, but no less well told. Gleeson this time takes the role of a priest, Father James Lavelle, who we discover is a heart of good in a society of troubled people. In fact, one of them, right at the start of the film, reveals that he’s going to kill Father Lavelle during confession. We don’t know the identity of said confessor, but as the film goes on, there’s no shortage of candidates who emerge.

That said, Calvary is far from a whodunnit. Instead, McDonagh is more interested in exploring the bleakness surrounding the inhabitants of a small town in Ireland, and how they interact with a priest who is fundamentally good. Those characters, played by Chris O’Dowd and Aiden Gillen amongst others, challenge Lavelle in differing ways, testing both his commitment and that innate goodness.

Much was said in the build up to Calvary being released about McDonagh wanting to go against the darker representation of priesthood in modern cinema. As such, whilst Lavelle has a daughter – played by Kelly Reilly – she was born before he was ordained. That’s not to say that Lavelle doesn’t face significant questions throughout the film – beyond the identity of his potential killer – as his faith is inevitably called into question.

Ad – content continues below

So then: permission to go for one of those ‘in lesser hands’ conversations? Because this is a review that needs it.

There are ingredients ingrained within Calvary that require a deep holding of nerve, along with sufficient confidence to balance out the humanity, the humour and the darkness. And crucially, Calvary demands a central performance that both the audience can engage with, and the film can channel its themes and questions through.

Calvary boasts, to date, the best performance of Brendon Gleeson’s career. He is simply outstanding. As Lavelle struggles to hold onto what’s important to him, and tries to find light in the characters he meets, Gleeson opts to keep his portrayal as calm, measured and restrained as the role demands. It seems a bit churlish to demand his acting here deserves awards attention, because it’s a piece of work that excels no matter how many gongs come Gleeson’s way. Bluntly though, it’s hard to think of anyone who could have done this anywhere near as well.

Calvary marks a slightly different path for John Michael McDonagh too. There’s perhaps an argument that his film loses just a little momentum in the middle, but this is concentrated, dark drama for long periods, lightened slightly by being centred around a generally upbeat character. The society that the film explores is rosy on the surface, but inevitably less pleasant underneath. And McDonagh doesn’t flinch in exploring it.

Gleeson and McDonagh, independently, have no shortage of talent. Together? They’re a perfect pairing.

Too often we read comments that modern cinema doesn’t cater for grown-ups, that it doesn’t offer accessible films willing to intelligently discuss things that matter. Calvary does. It’s not perfect, and The Guard 2 it absolutely isn’t. But it’s anchored by a central performance that comfortably bridges any cracks, and for that and many other reasons, it turns out to be one of the best films of the year so far.

Follow our  Twitter feed for faster news and bad jokes right here . And be our  Facebook chum here .

Get the best of Den of Geek delivered right to your inbox!

Simon Brew | @SimonBrew

Editor, author, writer, broadcaster, Costner fanatic. Now runs Film Stories Magazine.

Stay up to date with notifications from The Independent

Notifications can be managed in browser preferences.

US Edition Change

• US election 2024
• US Politics
• UK Politics
• News Videos
• Rugby Union
• Sports Videos
• Photography
• Theatre & Dance
• Culture Videos
• Food & Drink
• Health & Families
• Royal Family
• Electric Vehicles
• Lifestyle Videos
• News & Advice
• Simon Calder
• Inspiration
• City Guides
• Sustainable Travel
• Politics Explained
• News Analysis
• Home & Garden
• Fashion & Beauty
• Travel & Outdoors
• Sports & Fitness
• Sustainable Living
• Climate Videos
• Electric vehicles
• Behind The Headlines
• On The Ground
• Decomplicated
• You Ask The Questions
• Binge Watch
• Travel Smart
• Watch on your TV
• Crosswords & Puzzles
• Most Commented
• Newsletters
• Ask Me Anything
• Virtual Events

Thank you for registering

Please refresh the page or navigate to another page on the site to be automatically logged in Please refresh your browser to be logged in

Calvary, film review: Dark religious comedy is caustic look at the sins of the fathers

Amid the black humour, it stands up as a moving and sincere drama, article bookmarked.

Find your bookmarks in your Independent Premium section, under my profile

Get our free weekly email for all the latest cinematic news from our film critic Clarisse Loughrey

Get our the life cinematic email for free, thanks for signing up to the the life cinematic email.

“Do not despair; one of the thieves was saved. Do not presume; one of the thieves was damned,” reads the quote that opens Calvary . It’s attributed to St Augustine but was also one of Samuel Beckett’s favourite paradoxes. There is a strong whiff of Beckett-like absurdism and bleak humour in the film, which benefits from a performance of wonderfully droll dignity and bemusement from Brendan Gleeson as a priest confronting his mortality.

John Michael McDonagh 's previous feature, The Guard , like his brother Martin's films In Bruges and Seven Psychopaths , was a shaggy dog story, funny, macabre, and whimsical by turns. Calvary has altogether more heft to it. The tone is set right at the outset as we see Gleeson's priest Father James in close up, hearing confession from an unseen man. The shot of Gleeson is held for a mini-eternity as the man details the extreme abuse he suffered as a child. He was seven years old when he "first tasted semen" and was raped "orally and anally" by a "bad" priest. Gleeson's character is a "good" priest but the man has decided to kill him anyway - and will give him until a week on Sunday to set his affairs in order.

The scene wrong foots and challenges the audience. Initially, it seems comic but there is nothing funny in child sexual abuse. Father James is uncertain how seriously to take the threat to his life.

McDonagh's portrayal of a rural Irish community is very caustic, indeed. Casual racism (something also evident in The Guard ), wife-beating, alcoholism and theft prevail. Characters may look as if they're eccentrics on leave from some Ealing-style comedy but most are either psychopathic or tormented. The community even has its own Hannibal Lecter-like cannibal, a sweet-natured young man who tells the Priest that human flesh tasted like pheasant, a bit "gamey".

Without labouring the point, McDonagh makes it clear that we are in an Ireland still reeling from economic collapse. The local squire Fitzgerald (Dylan Moran) stands for the banker types who grew filthy rich during the heyday of the Celtic Tiger. In one grotesque scene, we see him take a Holbein masterpiece from his wall and urinate on it to demonstrate to the priest his disdain for worldly goods. The painting is Holbein's The Ambassadors , famous for its anamorphic skull and yet another reminder for the priest that death is nearby. The scene is shot low down and behind him from between his legs so that we can see the priest in the background as the liquid splatters on the canvas.

The humour in Calvary is almost always undercut by references to death, suffering and violence. Characters show a reckless contempt for one another and they all love to goad and provoke the priest. The promiscuous Veronica Brennan (Orla O'Rourke) is keen to share details about her latest romantic trysts. Dr Frank Harte ( Aidan Gillen ), the proud atheist who sees plenty of extreme suffering at the local hospital, relishes telling the priest grim stories about victims of freak accidents. Simon Asamoah (Isaach de Bankolé), the Ghana-born mechanic, flicks ash on him and threatens him with physical violence. The butcher ( Chris O'Dowd ) taunts him relentlessly. The local detective inspector (Gary Lydon) is relentlessly sarcastic about the church. The priest's fiery-tempered daughter (Kelly Reilly), who comes to visit him from London, is still angry at him for his abandonment of her.

In Robert Bresson's Diary of a Country Priest (1951), an obvious inspiration here, a rural community treats a young priest with disdain because he is young, effete and has a high-minded view of religion entirely out of keeping with the grind of their daily lives. Gleeson's character, by contrast, is worldly wise. He may be dressed in a soutane but that doesn't stop him driving a sports car, usually with his beloved dog in the passenger seat.

• Chris O'Dowd: From Bridesmaids to Broadway
• Aidan Gillen is taking on an existential crisis

McDonagh litters the film with visual gags and trademark cynical, wisecracking dialogue. His view of human nature often seems bleak. "A friend is just an enemy you haven't made yet," is a typical one-liner. After an unexplained fire, the cops refuse to rule out terrorist involvement... at least until a local observer drags them back to their senses, pointing out, "I don't think Sligo is too high on Al Qaeda's agenda."

The wonder of Calvary is that amid all the blarney and black humour, it stands up as a moving and sincere drama about religious faith and the fear of death. McDonagh includes many shots of Father James alone against rugged landscapes or walking down a deserted beach. We see his face frequently in close up.

Watch Apple TV+ free for 7 days

New subscribers only. £8.99/mo. after free trial. Plan auto-renews until cancelled

The director has talked about the humour in Calvary being Buñuelian, "anarchic, dark and lacerating". In films from Un Chien Andalou to Viridiana, Buñuel excoriated Catholicism and mocked its priests. McDonagh does something similar in Calvary . Nonetheless, Father James is still the hero of the film: its only character not driven by self-interest. Gleeson squeezes out the pathos and the comedy in a man who dotes on his pet dog and is as comfortable around guns and alcohol as he is giving communion. At the same time, he gives Father James grace and moral authority - and those are not qualities that we've encountered before in films from either of the McDonagh brothers.

Join our commenting forum

Join thought-provoking conversations, follow other Independent readers and see their replies

Subscribe to Independent Premium to bookmark this article

Want to bookmark your favourite articles and stories to read or reference later? Start your Independent Premium subscription today.

New to The Independent?

Or if you would prefer:

Want an ad-free experience?

Hi {{indy.fullName}}

• My Independent Premium
• Account details
• Help centre

Advertisement

Supported by

Movie Review

Forgive Me, Father, for I Must Sin

• Share full article

By Manohla Dargis

• July 31, 2014

The Anglo-Irish writer and director John Michael McDonagh opens his cold, mordantly funny murder mystery, “Calvary,” with a misleadingly pacific image: a close-up of the Irish actor Brendan Gleeson. An imposingly big man who’s often called on to suggest authority, Mr. Gleeson has played cops, criminals and Winston Churchill, and had the recurring role of Mad-Eye Moody in the Harry Potter series. In “Calvary,” he plays a world- and time-tested expert of another sort: Father James, a conscientious priest and widower whose faith isn’t shared by his flock, which includes a serial sinner, a hostile Buddhist, a dog hater and other furious souls, including one self-professed future executioner.

The killer makes his entrance right after Father James, seated off screen in a confessional and issuing convincing threats. This seeming penitent, or rather Mr. McDonagh , makes his intentions immediately clear: The confessor has singled out Father James, whom he calls a good priest, to take the fall for the sins of the Roman Catholic Church and its bad priests. “I’m going to kill you because you’re innocent,” the confessor promises, words that — with the title — seem to tip Mr. McDonagh’s hand. Calvary is the name of the Jerusalem hill on which Jesus is said to have been crucified; the would-be murderer prefers a more level playing field: He tells Father James to meet him in a week on the wildly beautiful, wind-swept beach that hugs this provincial Irish hell.

Mr. McDonagh returns repeatedly to the beach and the rolling hills flanking it, beginning with the soaring opening aerial shots, images that are known as bird’s-eye or, more fittingly here, God’s-eye views. (The director of photography, Larry Smith, also shot Mr. McDonagh’s first feature, “ The Guard .”) The stark, natural landscapes are among the movie’s most seductive attractions, even if the characters populating them seem calculated for maximum repulsion. There’s the butcher and possible wife beater, Jack (Chris O’Dowd), who may take a fist to his missis, Veronica (Orla O’Rourke), but doesn’t seem terribly put out that she’s carrying on with a mechanic, Simon (Isaach de Bankolé). There’s also a dying writer, Gerald (M. Emmet Walsh), and a dyspeptic surgeon, Frank (Aidan Gillen).

Frank’s worldview is best expressed in a shot of him extinguishing one of his cigarettes on a human organ. It looks like a heart, although that isn’t a part of the human animal that Mr. McDonagh is especially interested in: He’s more of a spleen man. Still, he has a few soft spots, mostly evident in Father James’s relationship with his adult daughter, Fiona (Kelly Reilly), who shows up with bandaged wrists and other, far-older wounds.

Mr. Gleeson’s ability to project palpable, gruff warmth is nicely showcased in his scenes with Ms. Reilly, even if their characters and some of their exchanges veer into sentimentalism. (A scene of Father James casting a fishing line — an activity that requires a balance of slackness and tension — is a nice metaphor for Mr. Gleeson’s performative gifts.)

As the days pass, the vultures swoop in closer. Like the condemned man he may turn out to be, Father James counts down the hours as he tends to his daughter and his aggressively thankless, sometimes threatening flock. (Mr. McDonagh signals the passage of time with on-screen text announcing the day of the week, a narrative device that can make viewers, including this one, more antsy than enthusiastic about where the story is headed.) Things happen, but mostly there are conversations as Father James convenes with one after another parishioner. The most memorable feature a robber baron, Fitzgerald (an excellent Dylan Moran), whose taunting, theological exchanges with the priest suggest the temptation of Christ, except that this Satan comes with a fat checking account.

Most of the movie’s many, many conversations suggest that Mr. McDonagh has read his share of Hegel along with the Gospels, and the appeal and the limitations of “Calvary” are summed up by the insistent, dialectical chatter that almost mechanically pings and pongs between lightness and darkness, glibness and seriousness, insincerity and honesty, faithfulness and despair.

He’s especially fond of setting up a human value (say, devotion) only to knock it down, kick it in the teeth and then prop it up again for another go-round. Time and again, a pair of characters face off — with each either significantly isolated in the frame or meaningfully crammed into a tense two shot — and talk and then talk some more. In the beginning was the Word; later, came all the human psychodrama.

“Calvary” is rated R (Under 17 requires accompanying parent or adult guardian). Strong adult language, a slit throat and graphic gun violence.

A film review on Friday about “Calvary” referred imprecisely to the writer and director, John Michael McDonagh. He is Anglo-Irish, not Irish. (While of Irish descent, he was born in Britain and grew up there.)

How we handle corrections

Explore More in TV and Movies

Not sure what to watch next we can help..

Maya Rudolph and Kristen Wiig have wound in and out of each other’s lives and careers for decades. Now they are both headlining an Apple TV+ comedy of wealth and status .

Nicholas Galitzine, known for playing princes and their modern equivalents, hopes his steamy new drama, “Mary & George,” will change how Hollywood sees him .

Ewan McGregor and Mary Elizabeth met while filming “Fargo” in 2017. Now married, they have reunited onscreen in “A Gentleman in Moscow.”

A reboot of “Gladiators,” the musclebound 1990s staple, has attracted millions of viewers in Britain. Is appointment television back ?

If you are overwhelmed by the endless options, don’t despair — we put together the best offerings   on Netflix , Max , Disney+ , Amazon Prime  and Hulu  to make choosing your next binge a little easier.

Sign up for our Watching newsletter  to get recommendations on the best films and TV shows to stream and watch, delivered to your inbox.

Calvary Review

11 Apr 2014

101 minutes

With The Guard, writer-director John Michael McDonagh and character actor-star Brendan Gleeson created a classic Irish comedy-drama. This thematic follow-up darkens the tone considerably. As before, there’s a sense that McDonagh’s twin inspirations are Father Ted and Abel Ferrara, but here the anguish is more raw and traditional whimsy struggles to survive in a country many feel has been literally and figuratively raped by generations of bad priests and now further abused by unethical financiers and corrupt politicians. There are sweet and funny moments, but an undercurrent of anger storms throughout. Quirky character business often segues into spiritually terrifying material. Every pub debate gets vicious and the weather is always foul.

Brendan Gleeson’s Father James is a widower who has come to the church late in life, at what we see is a cost to his grown-up daughter (Kelly Reilly). A former heavy drinker and brawler, he struggles with his own demons even as he takes the brunt of everyone else’s wrath. The stunning confessional scene which begins the film introduces a self-aware streak as Father James admits that the unrepentant penitent’s attention-getting line (“I was seven years old when I first tasted semen”) is a hell of an opening. Though it’s a mystery to the audience which of James’ circle of acquaintances is threatening him, he confides early on that he thinks he knows his would-be killer’s identity. However, the general air of hostility and an escalating campaign against the institution of the church and the person of the priest suggests James isn’t being targeted simply by one of his parishioners. The character eventually outed as the vengeance-seeking abuse victim (it’ll be less of a mystery when next year’s supporting actor nominations are announced) denies one specific act of terror, leaving a talking-point puzzle destined to be an IMDb message-board thread without end.

As in The Guard, McDonagh’s writing is so strong that actors who usually star are willing to sign on for only a couple of scenes or even a few smart lines. This is even more Gleeson’s film, but is studded with superb work from Reilly as the damaged yet loyal daughter, Aidan Gillen as a venomous atheist coroner (his nastiest speech will haunt you), Chris O’Dowd as a butcher relieved that his vamp wife has taken up with a mechanic, Dylan Moran as a self-hating banker and M. Emmet Walsh as a grumbling old writer. Gleeson’s priest shambles from scene to scene, taking a mental beating as he tries to live up to an ideal no-one else — least of all his trendy new church colleagues — believes in anymore. In a fine point of doctrine, his refusal to bring the authorities in or duck out of a date with a would-be killer could even be classed as a passive suicide, though he procures a gun which figures in several sub-plot threads.

It’s more uncomfortable than The Guard, and you probably need to be an Irish Catholic to fully engage with its arguments. However, even in its bleakest moments, it retains a comic, pointed touch.

Related Articles

Movies | 01 12 2014

Movies | 07 10 2016

Movies | 20 06 2016

Movies | 14 05 2015

EWTN News, Inc. is the world’s largest Catholic news organization, comprised of television, radio, print and digital media outlets, dedicated to reporting the truth in light of the Gospel and the Catholic Church.

• National Catholic Register
• News Agencies
• Catholic News Agency
• CNA Deutsch
• ACI Afrique
• ACI Digital
• Digital Media
• ChurchPOP Español
• ChurchPOP Italiano
• ChurchPOP Português
• EWTN News Indepth
• EWTN News Nightly
• EWTN Noticias
• EWTN Pro-life Weekly
• Register Radio

Get HALF OFF the Register!

National Catholic Register News https://www.ncregister.com/news/sdg-reviews-calvary

• Synod on Synodality
• Most Popular
• Publisher’s Note
• College Guide
• Commentaries
• Culture of Life
• Arts & Entertainment
• Publisher's Note
• Letters to the Editor
• Support the Register
• Print subscriptions
• E-Newsletter Sign-up
• EWTN Religious Catalogue

SDG Reviews ‘Calvary’

A good priest walks a hard road in a difficult, deeply moving film.

Calvary opens with one the most excruciating lines of dialogue I can recall ever hearing in any film. Spat through a confessional grille, it comes like a stinging slap on the face, both to the audience and to Father James Lavelle. Cautiously, the priest turns the other cheek. In doing so, he implicitly extends an invitation to viewers to do the same.

The opening scene, filmed in a single, static shot, plays as a declaration of war, both by the man behind the grille and by the man behind the camera, writer-director John Michael McDonagh. Where the man behind the grille has trained his sights is clear enough. As a boy, he was horrifically wronged by a priest and his Church; he means to return the favor. And the man behind the camera? Where are his sights set? This is not so readily apparent.

Set in County Sligo on the west coast of Ireland, Calvary confronts the impact of the clerical sex-abuse scandal on the Church in Ireland and the role of the Church in increasingly secular, post-Christian Ireland.

Father James’ antagonist has been deeply wounded by childhood sexual abuse. He has chosen a curious form of revenge: He wants to murder a priest: not a bad priest, he clarifies, but a good one, one who hasn’t harmed him or anyone else. The murder of a bad priest wouldn’t be enough of a statement; it wouldn’t hurt the Church the way he intends to. He will give Father James a week to set his affairs in order, and then kill him the next Sunday. “Killing a priest on a Sunday,” he muses, tickled. “That’s a good one.”

Sometimes misleadingly described as a dark comedy, Calvary is certainly dark, and there are sporadic bits of absurdist humor. In keeping with its title, though, it really is a passion play, with Father James as an innocent victim to be sacrificed for the sins of the Church.

McDonagh has called the film “basically Bresson’s Diary of a Country Priest with a few gags thrown in,” and the film name-checks Catholic novelist Georges Bernanos, whose novel Bresson’s film is based on. Like Diary of a Country Priest , Calvary is about a good priest in a small village where attitudes toward him range from benign indifference to contempt and abuse.

Yet where Bresson’s saintly protagonist was a wan young consumptive who could be wounded by something as minor as a saucy schoolgirl impudently flirting with him, Father James — played by the physically imposing Brendan Gleeson in a grizzled beard and cassock that makes him an even more formidable presence — is a battered Celtic warrior who seems impossible to rattle.

Consider his response to that dreadful opening line: He doesn’t wilt or wither; he doesn’t fall over himself to offer apologies or consolations the man doesn’t want. He recognizes that the man wants to be heard, and he listens.

That, in essence, is how Father James spends what may be his last week: trying to discern in each encounter, in each situation, what is needed, what would be most helpful, or at least what would do the least damage. It is not an easy task, for while many people may need him, almost nobody wants him.

He is a bit of a therapist, constable, assistant, marriage counselor and sounding board. At times, he is even a priest; he is also a literal father, with a troubled adult daughter (Kelly Reilly), for he is a late vocation and a widower.

Making things worse rather than better, Father James shares pastoral duties with a younger priest who is alarmingly negligent with the seal of confession and queasily ingratiating toward a local tycoon who may make a sizable donation to salve his own conscience. Eventually, Father James matter-of-factly slaps his assistant priest with an indictment as blunt and dismissive (though not so dramatic) as Thomas More’s damning line to Richard Rich midway through A Man for All Seasons (“Richard, you couldn’t answer for yourself even so far as tonight”).

Watching Father James, I am reminded at turns of two other tales with clerical protagonists who persevere in the face of apparent ineffectuality: Graham Greene’s The Power and the Glory and Louis Buñuel’s Nazarín . Ah, but those are two stories with two very different morals.

Greene gives us a frail whisky priest whose fragile tenacity in doing the right thing in the absence of any sense of achievement (from the satisfaction of having clearly helped anyone to the consolation of feeling he has pleased God) is the mark of his moral triumph. By contrast, Buñuel offers an upright, charismatic man of the cloth whose ineffectiveness despite his great integrity can be taken as an indictment of the irrelevance of religion.

What about Calvary ? Is Father James more like Greene’s whisky priest or Buñuel’s Padre Nazario? Does his dogged perseverance in the teeth of apathy and hostility bespeak heroic virtue or quixotic futility?

The question is complicated by a key difference between Calvary and Diary of a Country Priest : the ambiguity of the denouement. Where Bresson’s protagonist emerges at the far side of his dark night of the soul with a profound experience of transcendence and an unambiguous affirmation that “all is grace,” Calvary ends, in a way, with what might be called a question mark.

As the film ends, there are glimpses of people unaware of the climactic confrontation between the priest and his would-be assassin; and then a crucial word that will soon be spoken between two characters, neither Father James — a word that will tell in some way whether the priest’s convictions and principles ultimately made a difference where it counts most — is not related. In that sense, the priest’s triumph or failure is left open.

Yet it is Father James, alone among the cast, who offers a persuasive, integral, authentic example of what a human being should look like: too honest for cant, too jaded for naiveté, too self-aware for illusions, too solicitous for self-absorption, too fallen for self-righteousness, too down-to-earth for self-importance. I’d have bet money  Deliver Us From Evil had a lock on the best movie priest of the year, but Calvary proved me wrong.

His observations are not just orthodox; they are wise. Some of the wisest are also the tersest and simplest. His daughter struggles with clinical depression and has attempted suicide. When he asks her at one point if she thought about those she would have left behind, she replies defiantly, “I belong only to myself.”

“True,” he admits candidly; then, with equal conviction, “False.”

Although he rarely loses his temper or raises his voice, he is pushed too far ministering to a young serial killer (Gleeson’s son Domhnall Gleeson, Bill Weasley from the last two Harry Potter films ) by the killer’s rhapsodic remark about “becoming God” while watching the light go out in a victim’s eyes. “No!” the priest barks sharply. “You don’t.”

Surrounded by eccentric, often perverse, caricatures who put the priest through a grueling gauntlet of abuse and humiliation, Father James is the target of considerable authorial harassment. Yet, despite a lapse or two, he retains his dignity, credibility and even, crucially, his sense of humor.

Along the way, he extends to the people of his community, not what he wants for them or thinks they need, but what would actually benefit them. An essay at First Things went so far as to suggest that Calvary made “a case for the necessity of the institutional priesthood.” That’s probably going too far, but certainly the film proposes that a religious vocation lived with integrity offers not only a viable path for a life well lived, but one that can be of genuine service to others if they are open to it.

Why, then, the ambiguous denouement? Shouldn’t a film as obviously allegorical as Calvary have the courage to end with a definite statement?

Perhaps it makes more sense to regard the film not as an allegory, but as a parable.

Consider the Parable of the Prodigal Son — or, as it has more aptly been called, the Parable of the Two Sons. The parable ends with the younger son’s journey complete, but the elder son is left up in the air, for what happens next is up to those to whom the parable was told, who are in the position of the elder brother.

“We have too much talk about sins, to be honest, and not enough about virtues,” Father James remarks in a moment of high duress. “I think forgiveness has been highly underrated.”

This is the word we hope will win out in the denouement. To the extent that we have been wronged, as characters in the film have been wronged, is this the word that will win out in our lives?

Steven D. Greydanus is the Register’s film critic and creator of Decent Films . He is studying for the permanent diaconate for the Archdiocese of Newark, New Jersey. Follow him   on Twitter .

Caveat Spectator: Graphic sexual dialogue; heavy obscene language; some disturbing and graphic violent imagery; a depiction of cocaine use. Adults.

Steven D. Greydanus

• Related Stories
• Latest News

‘Irena’s Vow’ — Faith and Courage at the Crossroads

This is the story of a heroine who believes that every choice we make for good or evil matters to God and to his plan.

New Idaho law Aims to Protect Against Forced Use of Incorrect Pronouns, Names

The Idaho bill comes in response to a number of cases throughout the country in recent years of teachers and students facing disciplinary action for expressing Christian beliefs about gender.

Japanese Company’s Pivot to Adult Diapers Underscores Crashing Fertility Rates Worldwide

Global fertility has been falling for decades, though the problem is often most acute in industrialized nations with high standards of living.

Totality or Nothing: What the Solar Eclipse Revealed About God

God simply never tires of ways of delighting us.

Heavenly Drama Unfolds: Solar Eclipse Marks Annunciation With Divine Beauty

A solar event on the solemnity: Catholic minds offer their best takes on what was witnessed from celestial skies above ...

Solemnity of the Annunciation: ‘The Angel of the Lord Declared Unto Mary’

ROSARY & ART: The First Joyful Mystery is the Annunciation (Luke 1:26-38)

13-Year-Old Filipina Who Loved the Eucharist Is Officially on Path to Sainthood

Jessica hanna, catholic mother who chose life over treatment, dies after cancer battle, ‘dignitas infinita’: new vatican document on human dignity condemns gender transition, surrogacy, abortion, vatican’s ‘dignitas infinita’ draws ‘clear line’ on gender theory, receives widespread praise, ‘dignitas infinita’ and the roots of human dignity, spiritual eclipse and the darkness of sin, woman born of surrogacy shares why she supports pope francis’ call for a global ban, the catholic church by the numbers: more catholics but fewer vocations, biden campaign: trump ‘scrambling’ on abortion amid policy announcement, subscription options.

Subscriber Service Center Already a subscriber? Renew or manage your subscription here .

Subscribe and Save HALF OFF! Start your Register subscription today.

Give a Gift Subscription Bless friends, family or clergy with a gift of the Register.

Order Bulk Subscriptions Get a discount on 6 or more copies sent to your parish, organization or school.

Sign-up for E-Newsletter Get Register Updates sent daily or weeklyto your inbox.

• Become a Critical Movie Critic
• Movie Review Archives

Movie Review: Calvary (2014)

• Howard Schumann
• Movie Reviews
• 3 responses
• --> August 11, 2014

A troubled priest.

In a world grown cynical, decency stands out, but often only to be mocked and abused. In Georges Bernanos’ novel The Diary of a Country Priest , a sickly, humble, and idealistic young priest pays the ultimate price for the spiritual lethargy of his parish, while Father James Lavelle (Brendan Gleeson) in John Michael McDonagh’s brilliant Calvary is vulnerable to the malicious cynicism of his community. Unlike the Curé d’Ambricourt, however, Father James is a physically strong and robust man with a tough skin born of adversity, but is betrayed by those who have lost faith, not only in the secular and religious institutions of man, but in themselves and humanity.

One of the more thoughtful and intelligent films of the year, Calvary is billed as a comedy/drama, but the drama is bleak and the comedy is of the mean-spirited variety. Set in County Sligo in Ireland, the remote village is a microcosm of a world in which victimization has replaced responsibility. Though Father James is a good man, McDonagh makes it clear that the church’s sorry record of ignoring sexual abuse among its clergy will and should exact a heavy price. As the film opens, the burly priest sits alone in his confessional box listening to the voice of an obviously disturbed man telling him how he was sexually abused by a priest for five years beginning at the age of seven.

The deeply resentful man tells the priest that he plans to murder him the following Sunday at a specific time and place to atone for his mistreatment. Since the man who molested him is dead, he reasons that killing an innocent priest will make an impactful statement. Father James recognizes the voice and talks to the Bishop (David McSavage) about it, but does not contact the police, even when there is a violent attack on the church property. Although he faces an uncertain future, like the Curé in Bernanos’ novel, he regularly visits the homes of his parishioners in the village, counseling a local butcher (Chris O’Dowd) who was thought to have abused his wife (Orla O’Rourke), until it is discovered that her part-time lover (Isaach De Bankolé) was responsible.

He also talks with a suicidal writer (M. Emmet Walsh) about life and death, a young man (Domhnall Gleeson) in prison for murder and cannibalism, and a wealthy financier (Dylan Moran) who no longer cares about anything and shows that by urinating on an expensive painting. The string of misfits doesn’t end there. The father visits a staunchly atheistic doctor (Aidan Gillen) who quips that a group of teenagers who were killed in a car accident and a tourist from France are in the morgue “where they belong,” a police inspector (Gary Lydon) whose sexual tastes lean towards boy prostitutes such as his “regular” (Owen Sharpe), and an unhappy young man (Killian Scott) who wants to express his violent tendencies by joining the army.

As Father James, Brendan Gleeson delivers a powerfully authentic performance that captures the nuance of the character in all his complexities, especially apparent in a scene of exquisite gentleness with a woman (Marie-Josée Croze) who has just lost her husband but maintains her faith, and with a conversation with Fiona, his troubled daughter (a terrific Kelly Reilly) as they stroll along the beach. At one point, he says to his daughter that we talk about sin much too often and not enough about virtue. When his daughter asks what his favorite virtue is, he says that it is “forgiveness.” Like Jesus, Father James may ask for forgiveness for others, saying that they know not what they do. The only problem is that they know not what they do once too often and those that attempt to tell them are crucified.

Tagged: church , murder , priest

I am a retired father of two living with my wife in Vancouver, B.C. who has had a lifelong interest in the arts.

Movie Review: Hit the Road (2021) Movie Review: Happening (2021) Movie Review: Playground (2021) Movie Review: The Power of the Dog (2021) Movie Review: After Yang (2021) Movie Review: The Tragedy of Macbeth (2021) Movie Review: The Worst Person in the World (2021)

'Movie Review: Calvary (2014)' have 3 comments

August 11, 2014 @ 4:01 am Jiro

Brendan Gleeson doesn’t get enough credit for being an actor of exceptional talent.

Log in to Reply

August 11, 2014 @ 10:59 am Isaac

I loved The Guard so I’m glad to see the McDonagh-Gleeson partnership wasn’t a one hit wonder.

August 11, 2014 @ 7:47 pm Barcalounger

I didn’t find anything darkly funny about it. Rather it’s deeply depressing.

Privacy Policy | About Us

 |  Log in

Brendan Gleeson, left, and Chris O'Dowd star in writer-director John Michael Macdonagh's 'Calvary. (Fox Searchlight)

• Copy article link

Brendan Gleeson is an Irish priest doing his best to lead his flock despite the darkest of circumstances in writer-director John Michael Macdonagh's 'Calvary.' (Fox Searchlight)

Brendan Gleeson and Kelly Reilly star in writer-director John Michael Macdonagh's 'Calvary. (Fox Searchlight)

'Calvary' movie review: Brendan Gleeson lends weight to powerful, and dark, drama

• Mike Scott, NOLA.com | The Times-Picayune
• Aug 15, 2014
• Aug 15, 2014 Updated Jul 19, 2019
• 3 min to read

"Calvary" is the latest collaboration between as-Irish-as-they-come actor Brendan Gleeson and as-Irish-as-they-come writer-director John Michael McDonagh. As with their previous shared outing, 2011's " The Guard ," it is being described as a black comedy. Also as with "The Guard," that description is misleading.

"Calvary" is most assuredly not a comedy. It is a weighty, powerful drama -- albeit one with comic moments -- that dabbles in weighty, powerful themes. We are talking sacrifice, redemption and salvation here. We are talking forgiveness, religion, existentialism. We are not talking rimshots and punchlines and slippery banana skins.

The films of McDonagh's more famous brother, Martin, are truer black comedies -- films like " In Bruges " (which also starred Gleeson) and " Seven Psychopaths ." But the films of John Michael? Hardly. There are snatches of dark humor here, but the emphasis is more on the dark than the humor, as each chuckle is undercut by a pervading bleak weight.

That's not a bad thing, though. At its root, "Calvary" wants to move you emotionally and still you as the closing credits soberly roll. It succeeds on both counts.

The story is set entirely in Ireland -- not at the titular mount outside Jerusalem where Christ hung on the cross -- but the title is a fitting one nonetheless.

In it, Gleeson plays a cassock-wearing Irish priest, and a good one at that. That's not to say he's perfect. He is human, after all, and he doesn't try to hide that. But he does try his darndest to lead a Christian life while also leading his decidedly quirky flock in his out-of-the-way Irish parish.

Alas, they don't make it easy for him. His sheep, it would seem, are all black sheep. More than a few are blackhearts as well.

It's one of those very blackhearts who set the film in motion, in fact, when, in its opening scene, Gleeson's Father James is hearing confession from an anonymous villager. That villager isn't there to confess a sin he has already committed, though. He's there to confess one he is going to commit.

"I'm going to kill you, Father," he hisses. Those words are made even more venomous by the sense of perverse pleasure they contain.

The catch is, he's not going to do it for anything Father James has done. He's going to do it for what other priests have done. Why? Because killing a bad priest doesn't get anyone's attention, he's told. Killing a good priest, though? Now, that will make people take notice.

And so "Calvary" becomes not so much a whodunnit as it does a who's-gonna-do it, as Father James opts to continue to minister to his colorful flock of sinners -- whom we meet one by one -- and hope that when the appointed hour arrives, he'll be able to save the man who needs saving the most.

The parallels to the Passion of Christ are obvious. Not only do we have a man who has dedicated his life to ministering to others, but he finds himself in a position where he might die for the sins of those others. Still, "Calvary" is more thoughtful than it is preachy, and so it becomes far more compelling than some run-of-the-mill cinematic sermon.

As Father James walks the road to his potential Calvary, McDonagh doesn't give us a traditional narrative. His story isn't built so much around the occurrence of major events as it is around the introduction of a parade of Father James' deeply flawed and emotionally tortured parishioners.

While that costs the film a sense of narrative momentum, they are at least a well cast lot, lending the film an impressively deep bench that includes such actors as Chris O'Dowd ("Bridesmaids"), Aidan Gillen ("Game of Thrones"), Kelly Reilly ("Sherlock Holmes"), M. Emmet Walsh ("Blade Runner") and Domhnall Gleeson ("About Time") among them.

But if they are the wind in the sails of McDonagh's film, then Gleeson is its keel -- the thing that keeps it upright and pointed forward. Part of that is because he is a walking, talking incarnation of Ireland, particularly when he is sporting a floor-length cassock and a brushy, gray-and-ginger beard, as he is here.

Also though, there's a weight to Gleeson -- and I'm not talking about his Blarney Stone physique. Rather, he's got a wide-open face and a contagious smile that endear him to audiences. In addition, though, there's a gravity behind his eyes -- at times a sadness -- that gives him an equal ability to wordlessly suggest a man who is doing his best to overcome unspoken difficulties from his past.

"Calvary" wouldn't be the same movie without Gleeson. With him, though, it is smart, it is thought provoking, and, yes, it is at times funny. But a comedy? Don't make me laugh.

3 stars, out of 5

Snapshot : A drama with darkly comic tones about an Irish priest who is given seven days to live by an anonymous parishioner who declares his intent to kill him in cold blood.

What works : Brendan Gleeson is brilliant in the leading role, carrying what ends up being a powerful film with a pitch-perfect blend of heft, humor and heart.

What doesn't : Writer-director John Michael McDonagh betrays his narrative by forgoing its whodunnit elements in favor of squeezing in as many colorful Irish villagers as possible.

Cast : Brendan Gleeson, Chris O'Dowd, Aiden Gillen, M. Emmett Walsh, Kelly Reilly, Domnhall Gleeson, Dylan Moran. Director : McDonagh. Rating : R, for sexual references, language, brief strong violence and some drug use.  Running time : 1 hour 40 minutes. Where : Find New Orleans and Baton Rouge showtimes .

• Always Forward Newsletter
• LA Catholics
• Events Calendar
• Saint of the Day
• Sunday Readings
• Archbishop José H. Gomez
• Father Ronald Rolheiser, OMI
• Bishop Robert Barron
• Heather King
• Charles Camosy
• Grazie Pozo Christie
• John L. Allen, Jr.
• Greg Erlandson
• Robert Brennan
• Russell Shaw
• Arts & Culture
• Photo & Video
• Our Mission
• Letters to the Editor
• Archdiocese of Los Angeles
• Angelus en Español

Movie reviews: ‘Calvary,’ ‘Guardians’

Calvary (Fox Searchlight)

Set in rural Ireland, this bleak but powerful seriocomedy kicks off with a startling premise. In the confessional, a grown victim of childhood sex abuse by a priest tells Father James Lavelle (Brendan Gleeson), the dedicated pastor of the County Sligo parish where he now lives, that in a week's time he intends to avenge himself by killing the innocent clergyman.

With the perpetrator of the crimes against him dead, and despairing of being healed by therapy, Father James' unseen interlocutor reasons that it would be a futile gesture to slay a bad priest. But to take the life of a good cleric, that would certainly be an act that would draw people's attention.

This opening scene, which establishes the kind of extreme situation that such Catholic authors as Graham Greene or Flannery O'Connor might once have played on, also makes it clear, through the sufferer's harshly candid description of his experiences, that this is not a film for the summer popcorn set.

Mature viewers prepared for rugged material, on the other hand, will likely consider their investment of time and attention well rewarded.

As writer-director John Michael McDonagh chronicles the seven days that follow Father James' life-threatening encounter, we learn that this thoroughly decent but otherwise ordinary man of the cloth is a widower and father ordained after his wife's death. This aspect of his past is revealed when his emotionally fragile, Dublin-based daughter comes to town, looking for his support in the wake of a romantic crisis.

Father James also tends to the varied needs of the errant or eccentric souls who make up his small flock. They're a challenging lot, but Father James does his best with each. Less laudable is his response to the plight of socially awkward, sexually frustrated bachelor Milo, whom Father James advises to move to a city where he'll probably find the girls more open to his casual advances.

As with an exchange in which Father James and his weasel-like curate discuss the content of a parishioner's recent confession far too openly, this off-kilter interaction with Milo may raise the hackles of Catholic moviegoers. At least in the case of the penitent, however, there are extenuating pastoral circumstances.

Such incidental flaws notwithstanding, McDonagh is mostly respectful, if unsparing, in his treatment of the contemporary church as he ably explores a range of hefty themes — faith, moral failure, reconciliation and sacrifice among them.

He's sustained by Gleeson's memorable performance during which we watch Father James display understandable uncertainty about how to respond to the existential threat confronting him. Should he arm himself? Involve the police? Flee the vicinity? Or should he offer himself in Christ-like expiation for the sins of others?

Watching him decide makes for thoughtful drama, though the demands of the process mean that the appropriate audience for "Calvary" remains a narrow one.

The film contains brief but extremely gory violence, drug use, mature themes, including clergy sexual abuse, homosexual prostitution and suicide, a few uses of profanity and much rough and crude language. (L, R)

Guardians of the Galaxy (Disney)

Self-sacrificing, morally elevating love as well as dedicated camaraderie are showcased in this crackerjack sci-fi adventure. While not suitable for young moviegoers, this rollicking adaptation of a series of Marvel comic books offers their elders top-flight escapist entertainment.

As lead character Peter, Christopher Pratt successfully embodies the movie's saucy but good-hearted spirit — which is, in the end, far more important than the ins and outs of its plot. A freebooting, lovable rogue, Peter is also a sentimentalist whose most prized possession is a mix tape his mother made for him comprising her favorite pop tunes.

One of the songs Mom favored, Elvin Bishop's "Fooled Around and Fell in Love," accurately predicts her son's destined transformation from interstellar ladies' man (at least according to his own boastful account) to altruistic, forsaking-all-others potential spouse. Following a similar arc to those of his opponents-turned-friends, moreover, Peter transcends his thieving past to become an unlikely, but thoroughly selfless, hero.

The positive ethical direction in which Peter and his comrades move — together with the sheer fun of observing their humor-filled exploits — makes it a shame that the elements listed below prevent endorsement of "Guardians of the Galaxy" for a wider audience.

The film contains much action and martial arts-style violence, brief shadowy rear nudity, occasional rough and crude language and an obscene gesture. (A-III, PG-13.)

—CNS/USCCB

CNS classifications: A-I — general patronage. A-II — adults and adolescents. A-III — adults. A-IV — adults, with reservations. L — limited adult audiences, films whose problematic content many adults would find troubling. O — morally offensive.

Article Tags

Angelus news.

RELATED ARTICLES

• 29th Sunday in Ordinary Time: We must lift our eyes to Calvary by Scott Hahn October 14, 2022
• The fight for family movie night by Sophia Martinson July 26, 2021
• Hollywood director, Catholic internet host take on Eucharist miracles movie by Catholic News Agency August 9, 2021

Start your day with Always Forward!

• Enter your email address here
• By submitting this form, you agree to the terms of our Privacy Policy .

Turn autoplay off

Turn autoplay on

Please activate cookies in order to turn autoplay off

• Jump to content [s]
• Jump to site navigation [0]
• Jump to search [4]
• Terms and conditions [8]
• Your activity
• Email subscriptions
• Account details
• Linked services
• Press office
• Guardian Print Centre
• Guardian readers' editor
• Observer readers' editor
• Terms of service
• Privacy policy
• Advertising guide
• Digital archive
• Digital edition
• Guardian Weekly
• Buy Guardian and Observer photos

Today's paper

• Main section
• G2 features
• Comment and debate
• Editorials, letters and corrections
• Other lives
• SocietyGuardian
• Life & style
• Environment

This week's films

Reviews in chronological order (Total 0 reviews)

There are no reviews yet for this film.

Today's best video

The week in tv, 'get your arse out, mate', spanish football player's stunning solo goal, whitewater kayaking: 'i wanted to spend every day on the river'.

• Most viewed

Last 24 hours

• 2. The Amazing Spider-Man 2 review: 'so savvy, punchy and dashing that it won't be denied'
• 3. Quiz: Can you match each of these Bond villains with their own evil plot?
• 4. After Gremlins and The Goonies, what other 80s films need a remake?
• 5. Brendan Gleeson: sins of the fathers
• More most viewed
• 3. My guilty pleasure: Kindergarten Cop
• 4. Mickey Rooney cuts family out of will
• All today's stories

Film search

Latest reviews.

The Amazing Spider-Man 2 review: 'so savvy, punchy and dashing that it won't be denied'

Marc Webb's superhero sequel is savvy, punchy and dashing enough to stir the blood of even the most jaded adult, writes Xan Brooks

Noah review – 'a preposterous but endearingly unhinged epic'

The Double review – Richard Ayoade's dark doppelganger drama

Divergent review – lacks lustre and grit

A Story of Children and Film review – Mark Cousins's 'spine-tingling' visual essay

Sponsored feature

• Across the site
• Film reviews
• Film trailers
• Video interviews
• License/buy our content
• Terms & conditions
• Accessibility
• Inside the Guardian blog
• Work for us
• Join our dating site today
• © 2014 Guardian News and Media Limited or its affiliated companies. All rights reserved.

• What To Watch Next?

Calvary sees Brendan Gleeson team up with director John Michael McDonagh to create a truly great film about a priest who is told that he will be killed in one week.

Calvary tells the story of a Catholic priest, Father James Lavelle (Brendan Gleeson), who is living in a small isolated community in Ireland.

On a random Sunday, one confession suddenly includes a threat to kill him in a week's time. The reason? A matter of principle.

Despite being a good priest, it seems that the wrongdoings of the Catholic church are being laid at his feet and conflicted about how to respond, Father James tries to go on as normal.

Any attempt to figure out who wants to kill him proves difficult as a number of other challenges present themselves.

His parishioners are a very eclectic bunch and with his estranged daughter (Kelly Reilly) back in town Father James' life begins to fall apart as he faces his own personal Calvary.

Directed by John Michael McDonagh, Calvary was his second directorial feature after the critically acclaimed film The Guard (2011) .

Despite writing incredible screenplays for both movies, Calvary is considerably more polished and tackles weighty issues with great sensitivity.

But it's not all doom and gloom, it's actually a darkly comic tale with Brendan Gleeson putting in a brilliant performance. It's a treat to watch him effortlessly play this role.

Is Calvary Worth Watching?

Calvary is a tense character drama that has a beautifully blended cast. Gleeson, as mentioned, is superb so much so that he was nominated over ten times at various Award ceremonies around the world.

Overall, Calvary is a brutally honest story that keeps the audience second-guessing.

Thankfully the finale does not leave you hanging for answers in any way. I was totally engrossed in this film, and can not wait for Gleeson and McDonagh to work together again.

A brilliant dark comedy that is a must-watch for everyone.

Where To Watch Calvary?

Calvary used to be on Netflix however, it is no longer available. Instead, you can either rent it on Amazon Prime or watch it for free if you subscribe to Disney+ .

As an alternative, check out Calm With Horses which is similar in style and equally as good.

The Cast Of Calvary

The rest of the cast all give exceptional portrayals of their complex characters. Kelly Reilly plays the tragic suicidal daughter of Father James, giving a suitably fragile performance.

Chris O'Dowd as Jack Brennan and Dylan Moran as Michael Fitzgerald are brilliant, tackling roles very different from their usual styles. Plus Aiden Gillen as Dr. Frank Harte has a number of great scenes with Gleeson in the pub.

There's even a small role for Gleeson's real-life son, Domhnall Gleeson who plays Freddie Joyce.

But which one of these multi-layered difficult characters is the potential killer of Father James Lavelle?

Brendan Gleeson ( The Guard ) as Father James

Chris O'Dowd as Jack Brennan

Kelly Reilly as Fiona

Aidan Gillen as Dr. Frank Harte

Dylan Moran as Michael Fitzgerald

Isaach de Bankolé as Simon

M. Emmet Walsh as The Writer, Gerald Ryan

Marie-Josée Croze as Teresa

Domhnall Gleeson as Freddie Joyce

David Wilmot as Father Leary

Pat Shortt as Brendan Lynch

Get ready for non-stop entertainment with access to thousands of popular movies and TV shows, including award-winning Amazon Originals. Plus, enjoy the convenience of FREE One-Day Delivery on millions of items. With the ability to watch anywhere and cancel anytime, you'll never have to worry about being tied down. So why wait? – Join Now

30-day free trial available.

• Apple TV brings you the future of television, right at your fingertips. Immerse yourself in the world of laughter, inspiration, and heartwarming moments with the critically acclaimed show, Ted Lasso, and a plethora of other captivating content.
• Star studded, award winning series and films.

• Welcome to a world of boundless entertainment, where thrilling stories come to life at your convenience. Amazon Prime Video invites you to explore a universe of gripping narratives, including the adrenaline-pumping series, "Reacher," and an extensive selection of captivating content that will keep you on the edge of your seat.
• Additional benefits of Prime Membership: Music Streaming Service, Amazon Photos and Exclusive Offers

• Delve into a world of original storytelling, where Disney's creativity knows no bounds. With Disney+ Originals like "The Mandalorian," "WandaVision," and "Loki," you'll witness new narratives and characters that expand the enchanting tapestry of the Disney universe.
• Great collection of Kids series and movies.

• Amazing Screenplay
• Brilliant Brendan Gleeson
• Excellent Cinematography

Related Items

Leave a Reply Cancel Reply

Your email address will not be published.

You may use these HTML tags and attributes: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <s> <strike> <strong>

WE VALUE YOUR PRIVACY

Privacy overview.

Sundance 2014: CALVARY Review

Calvary review. At Sundance 2014, Matt reviews John Michael McDonagh's Calvary starring Brendan Gleeson, Chris O'Dowd, Kelly Reilly, and Aidan Gillen.

The Catholic Church can give absolution to sinners who feel true repentance.  The Church is a vessel for God’s forgiveness.  But their cover-up of sex abuse was, by the morals of any civilized human being, unforgivable.  John Michael McDonagh ’s Calvary is a dark, complex, and demanding meditation on faith, the limits of forgiveness, the necessity of compassion, the possibility of absolution, and inevitable reckonings.  Anchored by yet another incredible performance from Brendan Gleeson , Calvary is the rare film that shows the intricacies of religion without becoming pedantic in the process.

Father James (Gleeson) is taking confession on a Sunday when a confessor says that he was sexually abused by a priest for years.  The priest is now dead, and the confessor explains that killing an evil priest wouldn’t get anyone’s attention anyway, but killing a good priest will make people sit up and take notice.  The confessor gives Father James one week “to get his affairs in order”, and then he’ll be killed.  Rather than prepare for the end, Father James goes about his daily business of attending to his rural community, also bringing comfort and counsel to his daughter ( Kelly Reilly ), who has recently attempted suicide.

Whether Father James knows his confessor or not is unclear.  We know that these priests can see the confessors (a fellow priest at the parish talks about a specific congregant’s unusual sins), but there’s also the possibility that Father James didn’t look through the confessional window (I’ve never been to confession, so I don’t know how transparent the windows are), doesn’t want to out the congregant (even though his superior says that the conversation doesn’t qualify as an official confession, so it doesn’t have to be kept confidential), and/or he believes that the confessor will change his mind.

I like that last explanation because it is a true test of faith.  Rather than bring in the police, Father James refuses to let his life be completely upended by this threat, not because he’s tough or thinks the threat is idle, but because he is responsible to his parish, not to his self-preservation.  Thankfully, the film never overtly states that Father James is behaving Christ-like, and he certainly doesn’t have the attitude one would expect from someone demonstrating that behavior.  As we see throughout the picture, actions are more important than appearances.

Going through his congregants, Father James meets with people tiptoeing around repentance, but looking for a shortcut.  They want the absolution without the reckoning.  Father James meets with a serial killer who half-jokingly says he can’t remember where he buried one of his victims; he tries to reason with an adulterous couple who brush him off completely; he barely tolerates a wealthy man who thinks he can buy his way into heaven even though the last time this service was offered, it led to the Protestant Reformation.

While these conversations could have been incredibly dry and (forgive the pun) preachy, McDonagh always plays to the characters’ feelings.  There are no lectures or open meditations on the nature of faith.  The emotions give weight to the themes because faith is incredibly personal.  It relates to the soul, to salvation, and to damnation.  Watching the characters grapple with their fate and the role of God in their lives is powerful when handled correctly, and McDonagh has the maturity and intellect to handle this topic respectfully without being stodgy or dogmatic.

The entire cast is terrific, but like his previous collaboration with McDonagh, The Guard , Gleeson is at his best.  The range of emotions he has to play is astounding, but Gleeson is never showy even when the character is at his most fragile and frustrated.  It a performance that is equal parts warmth and weariness, and that combination is key to understanding the character.  With hardly any exposition, Gleeson’s performance lets us know his beliefs and his experience working at a parish where people attend church, but rarely follows its teachings.  It is a life of futility as people come in for Father James’ approval instead of demonstrating true repentance.  He’s trying to provide more than a function, but no one is willing to do the work, and what good would the “work” do anyway?

When the confessor tells Father James to get his affairs in order, it’s an impossible task.  The movie asks if anyone can ever get right with God.  If the only way to get right is through forgiveness, and the institution designed to provide forgiveness does something that any right-thinking person believe is unforgivable, then is salvation even possible?  Calvary doesn’t opt for an atheistic approach where the solution is to turn one’s back on religion, although it does let the village’s atheist ( Aidan Turner ) have his say.  Rather, McDonagh is interested in forcing the audience to seriously wrestle with the nature of forgiveness and the limits of faith, which is far more rewarding than an angry screed against God and the Catholic Church.

Calvary is not an easy movie, but it’s not a punishingly harsh one either.  It has moments of wry humor, people who genuinely want Father James’ help, the constant mystery of the confessor’s identity, and it’s all contained in the gorgeous Irish landscape.  The beauty of the world never fades away even when faith begins to waiver, and it’s a reminder that damnation isn’t inevitable even when repentance seems impossible.

Click here for all of our Sundance 2014 coverage, and click on the corresponding links for my reviews:

• The Babadook
• Cold in July
• God’s Pocket
• Ivory Tower
• Love Is Strange

And click on the corresponding links for Adam’s reviews:

• Dinosaur 13
• Life Itself
• A Most Wanted Man
• The Skeleton Twins
• Wish I Was Here