
Four Letters of Love review
Two young lives unfold in parallel, fated to be brought together. Fionn O'Shea is Nicholas Coughlan, whose civil-servant dad William (Pierce Brosnan) has an epiphany at work one day when a lozenge of sunlight is blazoned on his drab desk and he abandons his job and heads west from Dublin to pursue his new vocation of painting. It is around these parts that Isabel (played by the excellent Ann Skelly, from Joe Lawlor and Christine Molloy's Rose Plays Julie) has been traumatised by her brother's illness and is on the point of being sent away to be schooled by nuns and parted from her kindly parents – poet and schoolteacher Muiris (Gabriel Byrne) and Margaret (Helena Bonham Carter).
A strained and convoluted plot point means that John (Pat Shortt), a concerned colleague of William's, offers to buy one of his paintings to use as the prize in a poetry competition, and this painting winds up in Muiris' and Margaret's home – although the details of Muiris finding out about the competition, his deciding to enter and his presumed excitement at winning aren't made clear. Moreover the audience is not allowed a good look at the painting until the very end, to see how it brings all the cosmic forces into alignment. This top-notch cast gives it their considerable all, but to my taste the syrup content was in the end too high.
Four Letters of Love is in UK and Irish cinemas from 18 July, and Australian cinemas from 24 July.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


BBC News
35 minutes ago
- BBC News
Armoy road races 2025 live on BBC Sport NI
The Armoy road race has become a staple part of the Irish motorcycling calendar since its inception in 2009 and this weekend's event looks set to produce more thrilling racing for the thousands of spectators who an exciting new venture for the event, as a pilot, Saturday's racing will be streamed live on BBC iPlayer and worldwide on the BBC Sport website for the first time, allowing fans from across the globe to enjoy the high-speed action from the three-mile public roads circuit in the county Antrim of the main day of racing, culminating in the feature 'Race of Legends', will begin at 09:30 the meeting prepares to rev into life with qualifying and two scheduled races on Friday, BBC Sport brings you the lowdown on the popular Irish road race. History of Armoy road races In comparison to other road races with a long history in Northern Ireland, the Armoy event is a relatively recent addition to the calendar, having first taken place in meeting is centred on the village of Armoy and staged around a course which is triangular in shape and ridden in an anti-clockwise main feature race is called 'The Race of Legends' in recognition of the Armoy Armada quartet of riders who competed at road racing events from the mid to late Armada was established in 1977 and comprised the late Joey Dunlop, Mervyn Robinson and Frank Kennedy, plus Joey's brother current races are held on the roads that these riders used to test their machines in 'unofficial' practice sessions on open roads prior to race 2018 version of the event saw racing cancelled on the main Saturday race day because of persistent heavy rain, while the 2020 meeting fell victim to the Covid-19 pandemic and the 2021 staging was subject to spectator restrictions because of the coronavirus. Top riders who have competed at Armoy The Armoy races have traditionally attracted a strong field of riders from Northern Ireland, the Republic of Ireland, Great Britain and the big names who have competed are record 33-time Isle of Man TT winner Michael Dunlop, his late brother William, Ryan Farquhar, Jeremy McWilliams, late Manxman Dan Kneen, Dean Harrison, Guy Martin and Davey Dunlop and Yorkshireman Todd have been the dominant forces in recent years, although neither have entered this year's won five races in both 2021 and 2023 and his overall career tally of victories at the event stands at CV include 10 successes in the 'Race of Legends', including nine successive triumphs between 2011 and 2021 and a further win in 2023. The 35-year-old has won 18 Superbike races in made one of his first road race appearances at Armoy back in 2017 and has since excelled by racking up a four-timer in 2022 and a treble in four riders - Michael Dunlop, Todd, Martin and Farquhar - have won 'big bike' races in the history of the event. What of the 2025 races? This year's meeting is being held on Friday 25 July and Saturday 26 July, with roads closing at 10:00 BST on Friday and 09:00 on and qualifying sessions for all classes will take place on Friday, followed by two scheduled races, the first Supertwin and Supersport further races are scheduled for Saturday, including the Open race, further Supersport and Supertwin events, Moto3/125cc, Classic Superbike and the feature 'Race of Legends'.Also on the card are a Supermono class within the Supertwins race, Junior and Senior Support races, Junior and Senior classic races, Supersport 300 and Lightweight SupersportA high quality entry includes Burrows Engineering/RK Racing rider Conor Cummins, KTS Steadplan Racing's Jamie Coward, who was named man-of-the-meeting in 2024, and Northern Ireland's Paul Jordan, who rides for Jackson notable riders are Republic of Ireland challengers Mike Browne, Michael Sweeney and Derek McGee, plus customary English visitors Phil Crowe and Dominic Herbertson, Manx duo Joe Yeardsley and Marcus Simpson and Finland's Erno Kostamo, a regular at the North West 200 and Isle of Man GP rider and North West 200 race winner Jeremy McWilliams returns to compete in the Supersport, Lightweight Supersport and Classic Superbike the list of newcomers are double Southern 100 Supertwins winner Rob Hodson, Republic of Ireland riders Brian McCormack and Kevin Keyes, and former British Superbike and National Superstock competitor Franco Bourne. Lap records and most wins Most wins - Michael Dunlop 29, Barry Davidson 16, Ryan Farquhar 12, William Dunlop 11, Davey Todd 7, Richard Ford 7, Jamie Coward 4, Derek McGee 4, Christian Elkin 4, Robert McCrum 4, Guy Martin 3, Neil Kernohan 3, Dean Harrison 2Lap records - Superbike and absolute course record - Davey Todd (BMW) 109.325mph (2024)Supersport - Michael Dunlop (Yamaha) 105.179 (Yamaha) 2023Supertwin - Jamie Coward (Kawasaki) 100.536 (Kawasaki) 2024Moto3 - Mike Browne (Honda) 90.755mph (2023)Classic Superbike - Jamie Coward 97.410mph (2022) 2024 results Race of Legends - 1 Davey Todd; 2 Phil Crowe; 3 Dominic Herbertson; 4 Jamie CowardOpen race - 1 Davey Todd; 2 Phil Crowe; 3 Jamie Coward; 4 Dominic HerbertsonSupersport one - 1 Mike Browne; 2 Davey Todd; 3 Paul JordanSupersport two - 1 Davey Todd; 2 Mike Browne; 3 Jamie CowardSupertwins one - 1 Jamie Coward; 2 Mike Browne; 3 Michael SweeneySupertwins two - 1 Jamie Coward; 2 Mike Browne; 3 Paul Jordan


The Guardian
an hour ago
- The Guardian
Fiddle-laden fake trailer reignites debate about Hollywood's Irish stereotypes
A man in a bar with a flat cap, bloodied knuckles and a dreamy look lays down his whiskey and writes a letter. 'Dear Erin,' he begins, and a soundtrack of fiddles swells as he yearns for his lost love in the distant land of America. The trailer for the upcoming film – tagline: 'she was the Irish goodbye he never forgot' – ran in recent weeks in cinemas and online and was accompanied by a poster showing green mountains, shamrocks and a rainbow. For many, it was Hollywood's latest affront to Ireland. 'What did we Irish people ever do to you to deserve this?' said one social media post. 'Christ could they not find a leprechaun to complete cliche bingo,' said another. Some sought solace in sarcasm: 'I think they nailed it. I'm always in the pub in the 1910s writing love letters to American girls with my big dirty fingernails. Finally I feel seen.' Last week came the twist: Epic, the Irish emigration museum in Dublin, revealed it had made the trailer and that the film, titled Dear Erin, did not exist. The trailer was a stunt to lampoon the stereotyping of Ireland in Hollywood romcoms such as Wild Mountain Thyme, Irish Wish, Leap Year and PS I Love You. 'It was time to call it out,' the museum said in a statement. 'We created a trailer for a film that we hope never gets made, and filled it with all of the tired, cliched portrayals of Irish people often seen in Hollywood movies.' Colonial-era stereotypes of the Irish as fist-fighting drunks or hopeless romantics persisted in contemporary films, warping perceptions of a complex, multilayered society, Aileesh Carew, the museum's director and chief executive, said in an interview. 'If you don't know anyone from Ireland then these films may be your only reference point.' The trailer features the actor Peter Coonan sporting shamrocks on his lapel and surrounded by empty beer glasses as his voiceover reminisces about meeting Erin: 'I have played that night over in my head more times than the Finnegans fought the O'Malleys.' The goal was to mimic a studio publicity campaign while cramming in every conceivable cliche, said Carew, adding: 'Potatoes, we forgot the potatoes.' Hundreds of thousands of views on TikTok and LadBible, along with the response on Instagram, Reddit and other platforms, showed the campaign had hit a chord, said Carew. Before the reveal, some commenters guessed that the trailer was a spoof, while others begged that it be so. 'Must be a joke here somewhere,' said one. 'Sweet Jesus no please. This should be called Dear God No! not Dear Erin.' The Hollywood stereotypes dated from the 1930s when gangster films featured Irish characters who were menacing thugs or comic relief drunks, but invariably seedy, said Dr Sian Barber, a film studies lecturer at Queen's University Belfast. 'Irishness was something foreign but also comforting. It was not done with any malice but it quickly became embedded in Hollywood consciousness.' Sign up to This is Europe The most pressing stories and debates for Europeans – from identity to economics to the environment after newsletter promotion Irish people, and tourism authorities, at times colluded in this romanticisation, said Barber. 'It offers this beautiful image of unreality which is welcoming and friendly. It's playing to this tourist idea of what Ireland can offer – the landscape, the loveable rogue.' John Ford's 1952 film The Quiet Man set a template of sorts by sending John Wayne's character back to his homeland to find a wife, whom he ends up dragging through fields, but its rural setting reflected much of Irish life at that time, unlike more recent fare that suggests society still revolves around sheep, donkeys and Guinness. Irish critics howled – in mirth and agony – at the whimsy and dodgy accents in the likes of Wild Mountain Thyme, a 2020 romcom starring Jamie Dornan and Emily Blunt, and Irish Wish, a 2024 vehicle for Lindsay Lohan. The main problem was not inaccuracy but lack of context, said Paudie Holly, a storyteller at Dublin's National Leprechaun Museum. Folklore can and should be celebrated, and there was no reason to feel shame about Ireland's rural past, but modern Ireland was different, he said. 'It's ridiculous to suggest our culture has been frozen in place for a hundred years.' Lance Daly, the Dublin-based director of Black 47, said Ireland had aggravated the phenomenon by luring foreign productions for the jobs they would bring rather than the stories they would tell. 'What you have then is a director who is not Irish directing actors who are not Irish … We have a weird tolerance for it. We have to be careful that we're not sponsoring foreign film-makers to make fools of us.'


The Guardian
2 hours ago
- The Guardian
Fiddle-laden fake trailer reignites debate about Hollywood's Irish stereotypes
A man in a bar with a flat cap, bloodied knuckles and a dreamy look lays down his whiskey and writes a letter. 'Dear Erin,' he begins, and a soundtrack of fiddles swells as he yearns for his lost love in the distant land of America. The trailer for the upcoming film – tagline: 'she was the Irish goodbye he never forgot' – ran in recent weeks in cinemas and online and was accompanied by a poster showing green mountains, shamrocks and a rainbow. For many, it was Hollywood's latest affront to Ireland. 'What did we Irish people ever do to you to deserve this?' said one social media post. 'Christ could they not find a leprechaun to complete cliche bingo,' said another. Some sought solace in sarcasm: 'I think they nailed it. I'm always in the pub in the 1910s writing love letters to American girls with my big dirty fingernails. Finally I feel seen.' Last week came the twist: Epic, the Irish emigration museum in Dublin, revealed it had made the trailer and that the film, titled Dear Erin, did not exist. The trailer was a stunt to lampoon the stereotyping of Ireland in Hollywood romcoms such as Wild Mountain Thyme, Irish Wish, Leap Year and PS I Love You. 'It was time to call it out,' the museum said in a statement. 'We created a trailer for a film that we hope never gets made, and filled it with all of the tired, cliched portrayals of Irish people often seen in Hollywood movies.' Colonial-era stereotypes of the Irish as fist-fighting drunks or hopeless romantics persisted in contemporary films, warping perceptions of a complex, multilayered society, Aileesh Carew, the museum's director and chief executive, said in an interview. 'If you don't know anyone from Ireland then these films may be your only reference point.' The trailer features the actor Peter Coonan sporting shamrocks on his lapel and surrounded by empty beer glasses as his voiceover reminisces about meeting Erin: 'I have played that night over in my head more times than the Finnegans fought the O'Malleys.' The goal was to mimic a studio publicity campaign while cramming in every conceivable cliche, said Carew, adding: 'Potatoes, we forgot the potatoes.' Hundreds of thousands of views on TikTok and LadBible, along with the response on Instagram, Reddit and other platforms, showed the campaign had hit a chord, said Carew. Before the reveal, some commenters guessed that the trailer was a spoof, while others begged that it be so. 'Must be a joke here somewhere,' said one. 'Sweet Jesus no please. This should be called Dear God No! not Dear Erin.' The Hollywood stereotypes dated from the 1930s when gangster films featured Irish characters who were menacing thugs or comic relief drunks, but invariably seedy, said Dr Sian Barber, a film studies lecturer at Queen's University Belfast. 'Irishness was something foreign but also comforting. It was not done with any malice but it quickly became embedded in Hollywood consciousness.' Sign up to This is Europe The most pressing stories and debates for Europeans – from identity to economics to the environment after newsletter promotion Irish people, and tourism authorities, at times colluded in this romanticisation, said Barber. 'It offers this beautiful image of unreality which is welcoming and friendly. It's playing to this tourist idea of what Ireland can offer – the landscape, the loveable rogue.' John Ford's 1952 film The Quiet Man set a template of sorts by sending John Wayne's character back to his homeland to find a wife, whom he ends up dragging through fields, but its rural setting reflected much of Irish life at that time, unlike more recent fare that suggests society still revolves around sheep, donkeys and Guinness. Irish critics howled – in mirth and agony – at the whimsy and dodgy accents in the likes of Wild Mountain Thyme, a 2020 romcom starring Jamie Dornan and Emily Blunt, and Irish Wish, a 2024 vehicle for Lindsay Lohan. The main problem was not inaccuracy but lack of context, said Paudie Holly, a storyteller at Dublin's National Leprechaun Museum. Folklore can and should be celebrated, and there was no reason to feel shame about Ireland's rural past, but modern Ireland was different, he said. 'It's ridiculous to suggest our culture has been frozen in place for a hundred years.' Lance Daly, the Dublin-based director of Black 47, said Ireland had aggravated the phenomenon by luring foreign productions for the jobs they would bring rather than the stories they would tell. 'What you have then is a director who is not Irish directing actors who are not Irish … We have a weird tolerance for it. We have to be careful that we're not sponsoring foreign film-makers to make fools of us.'