Kneecap is a wild surprise for someone unfamiliar with the recent story of the fight within Ireland to allow the likes of the Irish language to be used freely. It’s a triumphant story of rebellion through the power of lyrics, unlike the members of the past resorting in violence and destruction to depict their message. Somehow the importance and prominence of music overpowers the unfavorable depictions of violence to merely prove equality among the fellow Irish in their chosen language speak. A charming, important film about rebellion in all the right places with mixed notes from the likes of Sing Street and Trainspotting to take it to the next level. 

 

The film is ripe with visionary filmmaking that helps provide an extra burst of speed to the film’s pace. Kneecap, the same name as the musical group within, never takes a moment to breathe, it’s got a lot on its mind at all times and it’s not afraid to let them out. The very few moments of quiet are devoured by somber emotion, such as a powerful scene within two phone booths that shares more emotion with no dialogue than any with could ever attempt. 

 

Kneecap stars the members of the real band: Móglaí Bap, Mo Chara, DJ Próvai and they are damn good at representing the life they lived; not turning in wonky or phony performances and allowing themselves an almost therapeutic release. The film does have some English audio but it is purposefully prominently in the Irish and that’s something you don’t see very often in the states. Supported by the likes of two members of Kneecap’s criminal father, Arlo played by Michael Fassbender, whose death and continuing actions haunt them throughout. Fassbender is terrific in his limited time on screen and shows that having someone of his caliber merely heightens the experience, not distracts. 

 

Alongside Fassbender’s Arlo, we have the “love” interest of Georgia (Jessica Reynolds) who gives a delightful turn as one of the only things Mo cares about outside of the band. Detective Ellis (Josie Walker) as a detective that takes her line of work a little too seriously and at times possibly illegally. Dolores, the boy's mother (Simone Kirby) who’s lost herself ever since Arlo died. Not to mention numerous other supporting individuals who are there to support or foul the band’s plans of rebellion. 

 

The trailer itself pales in comparison to the film itself, not showcasing the massive amount of alcohol and drug use utilized to perform and make the rebellious music. Not to mention an active drug trade the police are simultaneously trying to crack down on. These moments of drug use and the consequences strike the chord of one of the greatest films of all time, Trainspotting; where the rest of the film is a greater depiction of Sing Street in terms of discovering yourself through the music.

 

Rich Peppiatt’s Kneecap is snappy, quick-witted and catchy beyond all means. It’s a film that will easily build an audience over time and gain more popularity into the band itself in strides. As a film, this is one of the year's best and easily one of the most addicting watching experiences as well. Take a history lesson, get hyped on some serious bangers throughout and just have a f’n blast of a good time as the members of Kneecap fight for what’s right.