Let's be realistic.

what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

The film never slows down or bores, plunging from one harrowing sequence to the next.

I've seen this movie because I saw another of the director, The room, and how I loved it, because I thought that why not repeat, but unfortunately, they do not always do good jobs. It's disappointing because it does not count at all. Why it takes a long time to start. Why is lost in planes that say nothing. There are sequences that you do not know what they are for because you already know what you want to tell them. And the end does not add anything.The actors are very well, yes, it's true, they do it very well. The problem is that they do not have much narrative arc.He has a very independent film photograph, that is, he does not have a photograph. It is not used to count anything. It's white and that's it.The address, I do not understand how someone who makes this movie can then make another one so good. In this he does not know what bores. He does not know that he is not going anywhere. He does not know how to put the camera in a place that is not general or close-up.It happens to many directors, who make a great movie in their career and neither the previous nor the following are worth anything. Hopefully that is not the case and have great movies to come.

An Irish film about the life of gas-station caretaker, Josie, a simple-minded good-hearted man, craving for social and love interaction, but somewhat autistic or slightly mentally challenged, and of his life in an isolated town in rural Ireland.The story has many good points and thought-provoking elements of exploration: The nature of friendship -and its limits-, the contradictions of modern Law and old ways of socializing, pace and change in rural areas, the thin limits existing between success and fracas in such an environment, and the depiction of rural life.I think that the movie success at doing well the latter, and the viewer witnesses the lives of the town's apparently happy but deeply dissatisfied dwellers, their miseries and broken dreams, their monotonous social interaction, their role and social hierarchy, and their latent immobility and frustration. In fact, this is a movie about sad frustrated people unwilling to change living in an isolate place that feeds those frustrations.The premise is interesting, no matter how boring life can be in any town, not even in one like this. The problem is the overall dullness of the movie, which is too slow in pace but too schematic in the depiction of the actions and character of the main characters. In fact, if the characters had been drawn with a little bit more of psychological depth and in a less descriptive way, the movie would have had benefited enormously from it. Pat Shortt, the leading actor, is inexpressive in his performance, and I don't think it is his fault, but the director and the script's.The conversations of Josie with the horse, his interaction with some of the teens in town, his sexual frustration and the depiction of his poor personal house and life are the things I liked the most, and also how some fellow-town man and woman change their attitude to Josie when he tries to change. I also liked the end, which is both factual and metaphorical, and very moving, as it shows the repercussions that a little drama can have in the life of a dweller of a narrow-minded town.To me, the dull performances by most actors, the tempo of the movie, and, above all, the poor direction killed a story that had many possibilities.

From the team that brought us the wonderful "Adam and Paul" comes the slower and less comedic story of Josey, (Pat Shortt) a simple minded Garage worker in a changing rural town. The plot is not a 'high concept' one, and unfolds slowly with lot's of attention to character. However, it is never boring and has such a spellbinding atmosphere that one feels in the hand's of artists. The script is a sparse and economic masterclass in storytelling and the direction is of unforced confidence. The acting is flawless and the visuals again unfussy but beautiful. This all ties up to a very interesting end which will have you thinking for a long time to come.

Melancholy.In the film Garage, directed by Leonard Abrahamson, we see a good example of the melancholy of a man who is alone, appreciated by many people, but this people do not go a step further in their relationship with him.We can see in Josie's life (Pat Shortt) the happiness of the person that is not literate and does not know anything about real life, and thinks that everything is OK and that everybody takes care of him, as a childish thought about the society, but some events are going to change his mind.This sense of melancholy is given also, apart from the performance of Shortt, by the type of shots appearing in the film, mainly by extremely long shots, covering as much images as possible, even if there are people inside the frame. This type of shots give us the feeling of loneliness that Josie feels, although he does not realize of it, and transfer us the loneliness of the Irish countryside, sad, rainy and plain. We can see that the camera is just a witness of what is happening, it is not a watcher of the action, as an example there are not counter shots or over-the-shoulder shots, everything is just like a photography, where the director wants to have as much visual information as possible. The lack of conversation is solved by this use of the camera, and the absence of a real action is not the important characteristic of this film, but something that aims us to think about the film, not just to see it.Darío Metola Rodríguez.