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Rob Roy is an old-fashioned swashbuckler that benefits greatly from fine performances by Liam Neeson, Jessica Lange, and Tim Roth.

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Suraj’s 'Roy' review: An exploration of the mind with a thriller hue

A woman goes missing. Her husband files a complaint with the police. However, they face some unusual hurdles while trying to solve the case. Despite the theme, Suraj Venjaramoodu-starrer 'Roy', which premiered on SonyLiv on December 9, is not purely an investigation thriller.

Rather, it is a sneak peek into the mind of a man who is on a quest to find his wife with the help of the police.Teenu, played by Sija Philip, is a journalist-cum-writer who is on the verge of completing a controversial book. She spends most of her time at her office in the city and returns to her loving husband Roy (Suraj) at the night. However, one day she leaves after informing her husband she is on an important mission and becomes incommunicado.

In the meantime, we learn that Roy is on medication for sleep hallucinations. Can the police believe him? Or is he a mentally challenged person? 'Roy' is director Sunil Ibrahim's latest venture after 'Y' and 'Orikil Oraal', both movies, which delved deeply into the human mind.

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With 'Roy' too, Sunil attempts to explore the challenges of a man, who cannot differentiate between the real and the unreal.

This attempt perhaps slows down the pace of the movie. Also, if you are looking for some grand twists, you will be disappointed that there is none. Even the climax is predictable. But the director has to be credited for attempting a fresh storyline, while also keeping a bit of suspense throughout the movie.

Suraj Venjaramoodu's Roy is a one-dimensional character. His wife is his world. We don't know much about him, his family or his line of work. Despite these, we can understand his trauma. The award-winning actor has done justice to his role as Roy. Sija Jose, who has worked in movies like 'Annayum Rasoolum' and 'Traffic', is impressive.

We have been seeing Shine Tom Chacko in several police roles. In Roy too, he is a cop, albeit a character with constraints, unlike his usual roles.Jins Baker also does his role well. Munna PM's music gels with the mood of the film.

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Roy Movie Review

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Our overall critic’s rating is not an average of the sub scores below.

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Home » Review » Roy review: Suraj Venjaramoodu starrer mystery thriller’s interesting premise is let down by poor execution, directionless writing »

Roy review: Suraj Venjaramoodu starrer mystery thriller’s interesting premise is let down by poor execution, directionless writing

Despite its 2 hour long runtime, Roy ends on a note that leaves a lot of open ends in its story, which moves at an excruciatingly slow pace.

Last Updated: 10.22 AM, Dec 09, 2022

Teena, a skilled and daring journalist, is married to Roy, a mild mannered and eccentric man whose only friend seems to be his wife. Roy’s world is turned upside down when his wife goes missing, while on the trail of a missing novelist. When the police refuse to take Roy’s complaints seriously, he decides to investigate his wife’s disappearance on his own.

A journalist goes missing while in the middle of investigating the mysterious disappearance of a writer, and her husband decides to investigate following the apathy of the police- the basic premise of Roy is nothing new. But Sunil Ibrahim decides to take a different route with his fourth directorial, in a way that makes Roy stand apart from the rest of his filmography. The titular protagonist is no ordinary distraught husband, but someone who is in possession of a special gift, which comes in the form of visions or ‘dreams’ he has that help him know things which no ordinary person in his position can.

One would think that the inherent intrigue in such a rarely explored subject would help the film rise above your usual run of the mill mystery thrillers. But banal writing and poor storytelling squanders every bit of promise the story had, leading to a dragging and directionless film that moves at an excruciatingly long pace.

The first strike definitely comes in the form of the lead couple, Roy and Teena, essayed by Suraj Venjaramoodu and Sija Rose. Although the duo’s strong bond and devotion to each other forms the driving point of the story, it hardly translates onto the screen in an authentic way. Instead of painting a convincing portrait of a loving couple who understand and uplift each other, the duo’s chemistry comes off looking forced and inorganic, and there are few moments where their relationship comes off as genuine. Granted, the huge age difference between the two have been written into the story, but the several moments of Teena’s instant, yet inexplicably deep connection to Roy, which borders on obsession even, come off as problematic and even dodgy. The interactions between the couple look incredibly contrived, made all the more worse by the cliched lines the script has them feed each other.

The characterisations of the lead characters also leave a lot to be desired. Roy’s characterisation of a tortured man cursed with a gift he did not ask for, and Teena’s faultless dedication and understanding of her husband’s darkness, as well as her righteousness, comes off as very one dimensional.

The sluggish pace of the film is yet another element that brings the film down, and a huge chunk of the film seems to consist of nothing but filler sequences which seem to serve no purpose at all. The elements of Roy’s special gift, which offered a lot of promise as his visions blur the lines between what is real and not, fall short of becoming impactful due to the poor execution, as well as half hearted performances by a cast who the script gives little to work with. The way Roy’s specialty is incorporated into the story lacks nuance, with his visions haphazardly inserted into the story to roughly move it along. The way the film's story unfolds in the third act leaves a number of open ends, with many questions remaining unanswered, and lacks closure.

Although Roy’s unique concept held promise to be spun into a taut thriller, directionless writing and poor execution lead to a dawdling thriller with barely any bite, made worse by half hearted performances by the lead cast.

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Rob Roy (United States, 1995)

Ultimately, it's of minor import how much of Rob Roy is based upon historical fact and how much has been embellished by the pen of screenwriter Alan Sharp. As a hero of 18th century Scotland, Robert Roy MacGregor is known to have walked through the mists of the Highlands, living by the code that made his name a legend. This film takes the skeletal myth and builds a real person around those bones. As embodied by Liam Neeson, Rob Roy is a tremendous protagonist -- a naive man whose belief in honor and whose love for a woman, family, and clan make him a figure to cheer for.

Rob Roy has great villains as well. Tim Roth, one of today's finest character actors, takes on a role so different from that in Pulp Fiction that it's only his distinctive face that identifies him. Roth plays Cunningham, a fop with effete mannerisms and a deadly blade. He's a sociopath who kills and rapes without compunction or remorse, and whose primary goal in life is to make the best out of a tormented existence in Scotland. Hunting down Rob Roy gives him something to do -- something he enjoys.

Veteran actor John Hurt plays Cunningham's "keeper", the Marquis of Montrose, a Scottish lord who has become so used to a pampered life that he can't imagine things not going his way. Like his henchman, his sole objective is amassing wealth. He doesn't care who gets hurt in the process, and is willing to turn a blind eye to Cunningham's immoral actions as long as the net result is his own profit.

The fourth major player is Rob's wife Mary (Jessica Lange). Her relationship with her husband is one of the cornerstones upon which Rob Roy is founded, and her inner strength makes her a character to be reckoned with. This is no mere "stand by your man" role -- in many ways, Mary is as important to the story as Rob himself.

It's the forcefulness of the characters and the talents of the actors who play them that give Rob Roy its soul. After all, almost everyone loves a movie with admirable heros and detestable villains. But there is more to this film than that. The story is well-developed, exciting, and visceral, and works equally well as an epic drama or an historical adventure. Those who enjoyed The Last of the Mohicans and Legends of the Fall will almost certainly find Rob Roy to their taste. By almost any standard of film making, this motion picture is in the same league.

Director Michael Caton-Jones, who has helmed such films as Scandal, Memphis Belle , and This Boy's Life , adds another impressive credit to his resume. This movie, like his previous efforts, capably blends diverse motion picture elements into a satisfying whole. It's the depth of character development and uncompromising devotion to an intelligent narrative that mark Rob Roy as a standout of its genre. It's refreshing to find a movie that makes the effort to set up things before entering the meat of the tale. Too often, background is given by a quick voice-over at the film's outset. Not so here.

The picture is well-crafted, with expert editing, impressive camerawork, and an atmospheric musical score. Composer Carter Burwell has combined traditional Scottish folk songs with original material to form an audio tapestry that compliments the lens work of Karl Walter Lindenlaub (whose last job as a cinematographer came on Stargate ). With all the elements coming together so flawlessly, Caton-Jones can be justifiably proud of Rob Roy , sure to be one of 1995's most absorbing and exhilarating epic adventures.

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Roy movie review

First thing first, roy isn't an easy flick to grasp and it demands your intelligence to solve the puzzle in the end. debutant vikramjit singh brings in a fresh tale uninspired from any other flick and.

Debutant Vikramjit Singh brings in a fresh tale uninspired from any other flick and delivers it with a strong cast, which everyone has been talking about ever since its conceptualization. 

Filmmaker Kabir (Arjun Rampal) is enjoying the super success of his two flicks inspired by the real life of a con Roy ( Ranbir Kapoor ) who never got caught. Now Kabir is geared up for the third part of the con series and chooses Malaysia as its shooting destination. Here he meets Ayesha Aamir ( Jacqueline Fernandez ), another filmmaker who is from London. Romance blooms between the two but due to Kabir's conning approach for writing his flick's story Ayesha leaves him. Following this Kabir loses his confidence in writing. So, will Ayesha return to Kabir? And what it Roy's story all about?

Ratings- ***

Stars- Ranbir Kapoor, Arjun Rampal and Jacqueline Fernandez Director- Vikramjit Singh Music director- Ankit Tiwari, Amaal Mallik, Meet Bros Anjjan

Arjun Rampal plays a maverick filmmaker Kabir with zeal. He is flamboyant director who has dated 22 girls and for that he carries that flirtatious attitude with him. He presents the tension which a filmmaker faces when his flick isn't able to take off at box office. The raw expressions have been his USP and undoubtedly he carries it throughout.

Ranbir Kapoor as Roy is at ease. He is cool and calm and never unnecessarily shows his vigorous side unless required. There is an action sequence featuring him, however, was not required but he excels in it. He speaks from his eyes and utter lesser dialogues to convey. Although, he has limited scenes or rather say has an extended cameo appearance. We wish debutant director Vikramjit Singh could have utilized him more.

One has to admit that Jacqueline Fernandez gives her best act till date. In twin roles- as a movie director Ayesha Aamir and as art enthusiast Tia- Fernandez gives a compelling display of performance unlike her earlier ones. Her love tale with Ranbir is as sizzling as with Arjun. Fernandez accent has improved post Kick and her dialogues are well-timed.

Songs by Mithoon have already been in buzz and here they come as a saving grace since movie is too slow and fails to hold your attention. The energy only builds when the brilliant numbers like ‘Sooraj Dooba Hai', ‘Chitiya Kalaiya' and ‘Tu Hai Ki Nahi' among others hit the screens. While they are beautifully picturized, the timing is abrupt of couple of songs. Also hitting back to back disrupts the flow of the flick. The back ground score too takes our praise. It isn't loud and just gels well with the scenes.

Although the movie doesn't entirely comes out as a suspense drama but we keep guessing the link joining Arjun and Ranbir. Scenes which we find erroneous are kept deliberately. Director at times confuses us in scenes where Ranbir and Arjun interact giving us no clear idea about how and why they happened.

Jacquline's look alike who is an art enthusiast too adds mystification thereby appearing as loose threads hanging. We take Ranbir's askme.com advertisement as a big blunder however, on its and other activities' comprehension in the end a smile comes on our face for director's tricky way of implicating them smartly. He gives no crystal clear answer and leaves for the audience to figure out by itself.

Undoubtedly, Roy is visually rich. Thanks to cinematographer Himman Dhamija, Malaysia settings look breath-taking. It's beautifully shot and each frame deserves to be in your drawing room. The silent forest, the grey clouds, the rivers and the roads, everything is picture-perfect. Beaches occupy special place where the romance between Arjun-Jacqueline and Ranbir-Jacqueline blooms. The background score and the surroundings together make up for a beautiful slideshow too.

Roy is extremely slow and it demands your patience and devotion. There are moments which bring a big yawn on your face. It's really hard to understand the two parallel stories of Roy and Kabir conjoining together.  

Three stars for Roy that makes up for a perfect Valentine's Day treat to lovers. It's slow but not shoddy.

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Roy Malayalam Movie

Writer-director Sunil Ibrahim's Roy is both a thriller and psychological drama. In the film, Suraj Venjaramoodu plays a man with a mental disorder characterized by an inability to tell his dreams and reality apart. The movie does not explain this condition, but the premise is interesting up to a point. Whenever Roy has a specific experience, we are told whether it is a dream or real-life situation. Things become complicated for Roy and those in and around his life when his condition blurs the lines between fact and fiction.

Roy's wife Teena (Sija Rose) goes missing after she goes in search of writer Rajagopal (Sreeraman). Roy plays a big part in Teena's decision to follow the path of the missing writer. But when Teena goes missing, Roy becomes sort of an unreliable narrator for the cops, due to his mental health condition.

Director Sunil Ibrahim presents Roy's dreams in a way that makes these events seem like figments of his imagination. Like a slow-burn novel, we get small pieces of information scene by scene, and the level of intrigue in the script makes us want to watch the whole thing. However, the climax is really illogical. Roy is one of those thrillers with a lot of promise and a great build-up that fizzles out. Given the lack of explanation for Roy's health condition and behavior, the director should have taken a more mysterious approach to storytelling. In other words, he should not have revealed that Roy is dreaming whenever he is doing so.

There is also a good cop and a bad cop in the movie. The bad cop makes fun of Roy's mental health condition for no apparent reason. The good cop tells Roy that the bad cop has a lot of investigation expertise, but there is no action to substantiate this trait. It is what it is.

The movie also makes a mistake by terming Roy a lucid dreamer. Roy does not meet any of psychologist Paul Tholey's conditions that constitute a lucid dream. How can a psychology department regard Roy as a lucid dreamer when he fails to satisfy all of those conditions? The movie asks us to suspend our disbelief a bit too much.

Notwithstanding the aforementioned flaws, the movie keeps us somewhat invested in the proceedings with an intriguing build-up to the events in the climax, a haunting background score, and a couple of good performances. Sija Rose is confident in the role of a journalist and really good as an empathetic wife. Few actors in Malayalam cinema can play a troubled man as well as Suraj Venjaramoodu does. Suraj's measured, controlled performance is the glue that somewhat holds this uneven thriller together. Some of his scenes with Sija are really nice.

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Roy review 3.5/5 & rating. watch roy official trailer video, listen songs, movie news updates, movie review and checkout public movie reviews soon., roy review {3.5/5} & review rating.

Suspense-thrillers have always been one of the favourite genres of Bollywood lovers. Add to that some melodious music and you have a winner. This week's release ROY starring Arjun Rampal, Ranbir Kapoor and Jacqueline Fernandez have promised the above elements. Will ROY make the cut and become a match winner for its makers and the B-O windows... let's analyse. The film starts off with an interview of the film maker Kabir Grewal (Arjun Rampal), the very man who, has to his credit, the successful film series 'Guns' (which is based on a mysterious art thief Roy (Ranbir Kapoor). The irony of Kabir's life is that he is in the news for his short-lived flings than his hit movies... so much so that, even the media 'remembers' his flings by numbers and not names! Roy is a smooth-operator thief who makes a living out of stealing arts (read 'priceless paintings'). And in one such heist, he lands up in Malaysia, which also happens to be the domain of the wealthy Tia (Jacqueline). Simultaneously, suffering from a 'writer's block', Kabir too lands up in Malaysia in order to shoot an incomplete screenplay of his third instalment of 'Guns'. That's when he lands up meeting a London based filmmaker Ayesha Aamir (Jacqueline Fernandez, in a double role). Ayesha, who is in Malaysia to film her new documentary, also happens to check into the same hotel as Kabir. In no time, she lands up becoming his 'Girlfriend No.23', as the media reports. Kabir, who is in search of inspiration for his film lands up falling head over heels in love with Ayesha Aamir, so much so that he becomes crestfallen when Ayesha leaves him. At the same time, Kabir's father cum confidante (Anupam Kher) also passes away, thus making Kabir's life more miserable. On the other hand, Roy, who realizes his love for Tia, wants to leave the bad criminal life behind him and start fresh. Will the 'self-confessed-thief' Roy become successful in leaving his past behind and start a clean life with Tia, will Kabir manage to complete the third instalment of Guns, and do Roy and Kabir get the respective love of their lives... is what forms the rest of the film. As far as the film is concerned, debutante Vikramjit Singh steps into Bollywood with a film that is slow paced and long. His sense of storytelling needs to be more polished than this one. Brownie points to Singh for having captured the luscious beauty of Malaysia in its raw essence. He should have made some attempts to differentiate between the two characters which Jacqueline plays, as it might confuse the viewer between the two parallel stories. As far as the performances are concerned, as the name suggests, its Ranbir Kapoor who steals the thunder. In all fairness, he is indeed the draw of the film. He is adept and totally at ease when handling intense scenes. Even though he lends a fair share of mystery to 'Roy', he never allows himself to go off-guard. As far as Arjun Rampal is concerned, he delivers a very restrained and a very believable performance. At the same time, knowing his acting prowess, one also feels that, he definitely could have handled the film with furthermore intently than this one. Even though Jacqueline Fernandez, who looks stunning in a couple of songs, is a 'newcomer' when it comes to double roles, she does manage to deliver a decent performance in both the roles. Anupam Kher excels in the role that seems to be tailor-made for him. While Cyrus Broacha and Rajit Kapoor are average, the eye-candy Mandana Karimi makes her presence felt in a short lived cameo. The film scores heavily on its music (Amal Mallik). The songs ' Sooraj dooba hai', Tu hai ke nahin', 'Chittiyaan kalaiyaan ' are already a rage everywhere and it stays with you for a long time even after the film is over. The film's background music (Sanjay Chaudhary) adds some more additional spice. The film's choreography (Ahmed Khan) is good. Despite the film's genre, there are no over-the-top dialogues (Vikramjit Singh, Hussain Dalal). Cinematography (Himman Dhamija) is very classy. Screenplay (Vikramjit Singh) on the other hand definitely could have been better. On the whole, ROY is a film to be watched if you are a fan of thriller movies with some soul-stirring music.

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Frequently Asked Questions (FAQs) About Roy

In this Roy film, Ranbir Kapoor , Jacqueline Fernandez played the primary leads.

The Roy was released in theaters on 13 Feb 2015.

The Roy was directed by Vikramjit Singh

Movies like Chhaava , Deva , Bad Newz and others in a similar vein had the same genre but quite different stories.

The soundtracks and background music were composed by Ankit Tiwari, Meet Bros Anjan Ankit, Amaal Mallik for the movie Roy.

The movie Roy belonged to the Romance,Thriller, genre.

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MUHAMMAD SAQLAIN 3485 Days Ago

bakwas.slow, boring

MoviezAdda 3486 Days Ago

Expectations: In our Hindi films its often seen that superstars are added to a film to increase it's star value. There have been many such examples where a superstar was roped in for a special appearance, but ended up doing an extended special ap..

rajesh 3486 Days Ago

good movie..

aanchal 3486 Days Ago

its a one time watch only.. not so good as i expected

supriya 3486 Days Ago

if u want to enjoy this weekend.. go for roy.. you will love the movie..

vaibhav 3486 Days Ago

superb movie..i already booked tickets of tommorrow's show..

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Roy: Movie Review

Release Date: 13th February 2015

Starring: Ranbir Kapoor, Arjun Rampal, Jacqueline Fernandes

Directed by: Vikramjit Singh

Music: Ankit Tiwari, Meet Bros Anjjan, Amaal Mallik

Duration: 2 hours 36 minutes

Only if our filmmakers could understand that excess of everything and anything is bad for all, the Indian film industry would have been on different level altogether! But here we are, loaded with films that go overboard with excessive drama and intensity. Pseudo mystery can sometimes be so incomprehensible that the whole idea of invoking interest goes for a toss. This is exactly what happens with Vikramjit Singh’s Roy ! One of the most awaited films of the year, Roy is a slow-paced love story imbued with fanatical philosophies of self-realization.

Plot: A well-known filmmaker and womanizer, Kabir discovers the muse for his new film in Ayesha. The dazzling chemistry between them ends up in a short-lived love story as Ayesha discovers Kabir’s intentions. Will Kabir be able to complete the story of his film without her or is there something else in store for them, is what Roy stretches upon!

Performances: Arjun Rampal looks like the perfect choice for this film. His raw and sturdy look quite brings out the intense side of an artist. But this is really not the kind of films we expect from him.

Ranbir Kapoor looks mysteriously lost in the film. Both his role and his performance are too vague to understand!

Jacqueline Fernandes plays a double role in the film and looks absolutely breath-taking in both of them. But for a performance, there is nothing exceptional to watch out for this time.

Music: The music score of Roy is one of the best ones this year. Each and every song is not only beautiful in its writing but also in the rhythm. The compositions are impressive enough to stay on your mind for a very long time. Best one? All of them!

What’s Good: The cinematography of the film is one thing grabs your attention in the first place. The locations have been chosen keeping in mind the subtleness of the love story. Jacqueline Fernandes looks drop-dead gorgeous in all the frames.

What’s Bad: The bizarre script that gets excessively confusing and goes over the head. The plot has been too intricately woven with intensity which eventually becomes clumsy. The duration is very long for a plot that already runs on a slow pace.

Vikramjit Singh’s Roy turns out to be a puzzling story inflated with erratic concepts. Had the director been a little easy on the mystery element, it could have worked beautifully well. But on the contrary, Roy leaves the audience with a fiddling suspense that has no outcome. A film that could have lighted up the Valentine ’s Day eve, unfortunately goes for trash instead!

Verdict: Do not watch Roy if you really want your Valentine to stay!

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FILM REVIEW: ROB ROY

FILM REVIEW: ROB ROY; Liam Neeson: Man in Kilts

By Janet Maslin

• April 7, 1995

HONEST clansmen and corrupt aristocrats lock horns across the windswept Scottish terrain during "Rob Roy," but for now let's talk about kilts. Liam Neeson, sporting the tartan of the MacGregors, swaggers so nobly and manfully across the landscape that he shows off the kilt as the legitimate power suit of the Highlands. While ushering in a spring fashion trendlet that will also feature Mel Gibson (whose "Braveheart" is on the horizon), Mr. Neeson brings to mind another Mel. It's Brooks, and he's out of luck: at least "Rob Roy" is no "Men in Tights" in the making.

Instead, "Rob Roy" gives Mr. Neeson his first cinematic opportunity to show off the robust physicality that made his performance on stage in "Anna Christie" such a sensation. Along with the presence of Jessica Lange, who plays the sauciest mate in all Scotland, that charisma partly compensates for long, dry stretches of "Rob Roy" and a plot too ponderous and uninteresting for the film's visual sweep. So "Rob Roy" is best watched for local color and for its hearty, hot-blooded stars. Speaking of which, Ms. Lange may be the screen's first actress to slide her hand under the kilt of a leading man.

"You know how fine ye are to me, Robert MacGregor?" asks Mary (Ms. Lange), showing off the lilting dialogue that is one of the film's incidental charms. After a Brooks-worthy prologue during which the MacGregor men scare off snaggle-toothed livestock thieves, "Rob Roy" settles in for a rosy section that highlights such domestic bliss. The MacGregors are presented as simple country clansmen who extol honor, pay their debts in rabbits, dance jigs and roast their dinner on open fires. There's time for Rob and Mary to make love on a hilltop, and for Mr. Neeson to visit the local Loch and generate a discreet skinny-dipping scene.

All this is a far cry from the dour-looking Scottish drover who was the real Rob Roy, immortalized by Sir Walter Scott in a dense, dialect-heavy volume that makes the movie look effervescent by comparison. A legend in his own land, with a nickname referring to his red hair, Rob Roy became an outlaw after failing to repay his debt to the Marquis of Montrose.

He was celebrated for his bravado and his heroics in eluding capture. But the film doesn't convey much sense of why he should matter to modern viewers, who may know less about Rob Roy the folk hero than Rob Roy the drink. Which is why it's handy that Mr. Neeson strides so impressively, acts so forcefully and towers over every other man in sight.

As directed by Michael Caton-Jones, whose diverse earlier films ("Doc Hollywood," "Scandal," "Memphis Belle," "This Boy's Life") have virtually no links to this one, "Rob Roy" seems to have envisioned its villains with Mr. Neeson's imposing machismo in mind. They are small, fussy and fey, and when all three of them confront Rob Roy in a formal garden, he's a head taller than everyone. Unlike his adversaries, he also has the good grace not to be wearing a curled wig or (in one case) baby-blue breeches.

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Róise & Frank

A widow believes that a stray dog is inhabited by the spirit of her late husband in “Róise & Frank,” a gentle Irish Gaelic-language story set in a small coastal village. It is delicately told, sweet but never sugary. Peter Robertson ’s cinematography includes judicious aerial shots to complement the more intimate images of the village, giving us a perspective that just could be heaven along with modest, lived-in settings. The exceptionally evocative score from Colm Mac Con Iomaire gently expands the storyline, with just a couple of simple ascending notes shifting the tone at the first significant encounter between the title characters. 

Róise ( Bríd Ní Neachtain ) was married to her husband, Frank, for 40 years. She still feels lost two years after his death. Every day, she listens to his old voicemail message, just to hear his voice say, “I can’t take your call.” She barely speaks to anyone and cannot see that her neighbor Donncha ( Lorcan Cranitch ) would like to spend time with her. 

At first, she shoos away the stray dog that follows her. But when he seems to connect to some of the touchstones of their life together, she remembers her husband’s last words: “Our story isn’t over yet, my love.” She calls the dog “ Frank ” and tells her son Alan ( Cillian O'Gairbhi ) that the dog is his father. Her world begins to open up. She shares her meals with Frank, sitting companionably together at her kitchen table. 

Alan is a doctor. He is certain there is no such thing as life after death or reincarnation in any form. But others are comfortable with the idea, and it is endearing to see how the dog Frank becomes a valued member of the community. The human Frank loved the Irish sport of hurling. Frank the dog seems to love it, too, not just retrieving the ball but guiding Róise’s neighbor Mikey ( Ruadhán de Faoite ), a boy who is the youngest in his grade and often picked on by his classmates. When the kids on the school bus see Frank and Mikey practicing, two boys decide they will test their hurling skills with Frank, too. Soon Mikey has joined the team and Frank is an indispensable part of every match, encouraging them from the sidelines. The coaches add two words to the “No Dogs Allowed” sign: “Except Frank.”

Ní Neachtain gives a gem of a performance, the light returning to Róise’s face as Frank re-connects her to her memories and to what is going on around her. De Faoite is terrific, whether he is acting as his own announcer calling his practice shots or trying to hold it together when he is feeling shy but longing to be included. O’Gairbhi subtly shows us Alan’s difficulty with his own grief, and his scenes with Alan’s baby daughter and with Frank the dog are lovely. Cranitch deftly handles what may be the film’s most challenging character. The small roles are filled with memorable moments, including a stirring locker room speech when the team is behind in a crucial game. Two highlights are Róise getting stopped by a policeman because Frank is not properly harnessed in the car and the same cop stopping Alan for the same reason. And the dog is a charmer.

Writer/directors Rachael Moriarty and Peter Murphy understand that grief is not just about what we remember about the person we miss but what we fear forgetting. When she first confides in Frank the dog, Róise says for some reason the memory that keeps coming back to her is of an unimportant day, a trip to buy a lawnmower. But she feels she is losing memories of times that must have been much more important. Frank the dog brings her back into the present.

As in “ Truly, Madly, Deeply ,” it is up to us to decide what is real and what is a metaphor for how people process loss. What is real is the authenticity of the characters and the way the dog, whoever he is, helps them to connect to each other and to us. 

Now playing in theaters. 

Nell Minow is the Contributing Editor at RogerEbert.com.

• Bríd Ní Neachtain as Róise
• Cillian O’Gairbhi as Alan
• Lorcan Cranitch as Donncha
• Ruadhán de Faoite as Maidhcí
• Michelle Beamish as Anna
• Claire O’Connor as Sinéad
• Peadar Cox as Sonnaí
• Deaglan de Paor as Cormac
• Colm Mac Con Iomaire
• Mary Crumlish
• Peter Murphy
• Rachael Moriarty

Cinematographer

• Peter Robertson

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