Personally, I don't understand why people have said this movie is so bad. It is fair to say that maybe sometimes the things Pig (Cillian Murphy) says are a bit much and put a downside on the movie but I've heard much worse in other, highly rated, movies. The storyline itself is a simple yet interesting and well thought out one which has a fantastic ending. If you do begin to watch this movie and dislike it it is still worth watching to the end and may perhaps change your view of it a little. This is the kind of movie people will usually either love or hate. Some will find it horrible and others will find it somewhat romantic and very good. Rather than reading comments that slate it and taking that view yourself you should definitely watch it and make your own mind up.
55 Reviews
Beautiful
amiratootoonchi14 May 2020
what's the color of the love?
wildstrawbe22 June 2003
That's the question Runt (Elaine Cassidy) asks at the beginning of the film and her eyes throughout the film give you the impression that like an other Einstein the quest for an answer is distracting her from her life. I admit that when I first saw this film I thought it was stupid and some of the scenes really were unnecessary, like the one where Pig describes his fantasies about Runt to the camera. That might have worked well in a play but it doesn't work well in the movie. But after a second viewing and when I started to understand what the actors were saying because of their thick irish accents, I fell in love with this beautiful film. This is an incredibly beautiful love story of two teenagers whose life has been connected from the day they were born. A connection that has almost ruined their short life and the life of everyone around them. As Runt says at some point while she's staring at the sea "I wish the sea would take me out of me and turn me into something else" (or something to that extent). Elaine Cassidy who was so young and innocent in Atom Egoyan's 'Felicia's journey' turns from a sexy bird when she dances in the club and seduces Pig's random victims, to a dreamer when she's staring at the sea or the sun (the most beautiful moment of the film is the one where Elaine says "and the sun really is a big beautiful shining thing"), to a scared little girl when she watches Pig hit someone at the end of the film (I won't say more to avoid giving away the end of the film) or when she's talking with her new friend at the new school. A brilliant performance by this beautiful young actress. Cillian Murphy who I had the chance to see in '28 days later' gives us an excellent performance as the psycho who has given his heart to Runt. The music of the film is also very good. Overall, a film that rewards you if you give it a chance.
The most unapologetic love story ever
harkness7828 September 2003
When I saw this movie for the first time, I liked it a lot, but was still on the fence of "greatness". Lots of good things happened but I wasn't sure if it added up to a full meal of a film.
HOW WRONG I WAS.
I still had questions and popped it back in the next day and I can honestly say that this is the most romantic and touching film I have seen. Ever.
Yes its horrible, ugly, violent, brutal and painful to watch at many points but here is why it hit me like wrecking ball.
The story sets the two leads as friends of the highest caliber, being so close that a sort of hazy psychic bond has formed (although I like to think they don't really seem to notice/care, it just is). They in actuality are two halves of the same person, Pig being the voice, strength, and ego of the person. Runt is the other half consisting of the thought, rational and id. When they become separated, the calmer thinker deals better with others than the brash speaker. I feel that these points are clearly brought forth in the liquor store scenes where Runt literally calls him off the poor clerk, yet until Pig went too far, she was smiling at and enjoying the brutal scene. When something this unifying clashes with puberty, sexuality, society, coming-of-age, and separation they act out only as a person can. Neither of them are acting crazy or differently. This is all they know.
Other comments are very wrong when they say that Runt has feelings for the bartender or her roommate. Her feelings of love and devotion to Pig are always there, NEVER wavering for a moment. But shes learned to cope with the world should it become an issue to them, where as Pig has not.
Were I to be in the same relationship with someone that was that deep, that intense, I know that I would not hesitate to do anything Pig did. I dont believe in violence in any way shape or form either, I just know that what they have isn't temporary of fleeting. Hes not fighting to hurt people, he is literally fighting for his life. This depth of this notion of love is shockingly brilliant and really impressed me.
The end is the only sort of ending that could happen. Their love has become something so passionate and uncontrollable that it cant work in our world. No one would understand.
HOW WRONG I WAS.
I still had questions and popped it back in the next day and I can honestly say that this is the most romantic and touching film I have seen. Ever.
Yes its horrible, ugly, violent, brutal and painful to watch at many points but here is why it hit me like wrecking ball.
The story sets the two leads as friends of the highest caliber, being so close that a sort of hazy psychic bond has formed (although I like to think they don't really seem to notice/care, it just is). They in actuality are two halves of the same person, Pig being the voice, strength, and ego of the person. Runt is the other half consisting of the thought, rational and id. When they become separated, the calmer thinker deals better with others than the brash speaker. I feel that these points are clearly brought forth in the liquor store scenes where Runt literally calls him off the poor clerk, yet until Pig went too far, she was smiling at and enjoying the brutal scene. When something this unifying clashes with puberty, sexuality, society, coming-of-age, and separation they act out only as a person can. Neither of them are acting crazy or differently. This is all they know.
Other comments are very wrong when they say that Runt has feelings for the bartender or her roommate. Her feelings of love and devotion to Pig are always there, NEVER wavering for a moment. But shes learned to cope with the world should it become an issue to them, where as Pig has not.
Were I to be in the same relationship with someone that was that deep, that intense, I know that I would not hesitate to do anything Pig did. I dont believe in violence in any way shape or form either, I just know that what they have isn't temporary of fleeting. Hes not fighting to hurt people, he is literally fighting for his life. This depth of this notion of love is shockingly brilliant and really impressed me.
The end is the only sort of ending that could happen. Their love has become something so passionate and uncontrollable that it cant work in our world. No one would understand.
Dangerous desire.
michaelRokeefe14 April 2010
Warning: Spoilers
Two babies are born in the same small Irish community hospital only moments apart. From the very beginning it seemed that Darren(Cillian Murphy)and Sinead(Elaine Cassidy) had a special uncanny relationship. Growing up next door Darren was nicknamed Pig and Sinead Runt and the two shared the same make-believe world and created their own language. Inseparable fondness grew into dangerous obsession. When the two turned 16 it seemed that their relationship was stronger than ever, but there was the developing taste for violence. The attachment grows more intense and when Runt moves away Pig is destined to search for her relentlessly.
The thick Irish accent makes it a bit hard to understand at times; but then again it could have been mistaken for their own created mumbled language. They drop the F-bomb like there is no tomorrow. Kudos to director Kirsten Sheridan on her first feature. Its in her blood for her father is the veteran filmmaker Jim Sheridan. Supporting cast includes: Brian F. O'Byrne, Elanor Methven, Tara O'Neil and Geraldine O'Rawe.
The thick Irish accent makes it a bit hard to understand at times; but then again it could have been mistaken for their own created mumbled language. They drop the F-bomb like there is no tomorrow. Kudos to director Kirsten Sheridan on her first feature. Its in her blood for her father is the veteran filmmaker Jim Sheridan. Supporting cast includes: Brian F. O'Byrne, Elanor Methven, Tara O'Neil and Geraldine O'Rawe.
Exceptional but tragic
bellapussycat130 March 2005
This film was absolutely spectacular. It was well acted, shot and wrote and the mix of innocence and anger were well represented.
This film was one that i had eagerly anticipated watching and i was not disappointed by it. At times it was painful to watch but was compelling all the same as it really drew the audience in. Cillian Murphy was excellent as the mentally challenged Pig as even in his madness you are drawn to him and his obvious similarity to a confused child. Elaine Cassidy was equally well cast as the introverted Runt.
I would recommend this film although admittedly it will not be to everyones tastes.
This film was one that i had eagerly anticipated watching and i was not disappointed by it. At times it was painful to watch but was compelling all the same as it really drew the audience in. Cillian Murphy was excellent as the mentally challenged Pig as even in his madness you are drawn to him and his obvious similarity to a confused child. Elaine Cassidy was equally well cast as the introverted Runt.
I would recommend this film although admittedly it will not be to everyones tastes.
Cillian Murphy's career's beginning
lee_eisenberg3 June 2023
In the past twenty years, Cillian Murphy has become one of the most renowned Irish actors, to the point where he plays the title role in Christopher Nolan's upcoming "Oppenheimer".
What you might not know is that Murphy's film debut was in Kirsten Sheridan's "Disco Pigs". He plays a man in a relationship with a woman (Elaine Cassidy), only the relationship turns aggressive on his part. The movie turns unpleasant in some scenes as Murphy's character proves jealous in a manner rarely seen outside Jake LaMotta in "Raging Bull". Nonetheless, it remains a complex story and holds the viewer's interest all the way through. I guess that the Irish really ARE the best storytellers!
I doubt that this movie will be easy to find, so you'll have to check your neighborhood video store (yes, they still exist).
PS: Kirsten Sheridan's father is Jim Sheridan, who directed "My Left Foot", "In the Name of the Father" and "In America".
What you might not know is that Murphy's film debut was in Kirsten Sheridan's "Disco Pigs". He plays a man in a relationship with a woman (Elaine Cassidy), only the relationship turns aggressive on his part. The movie turns unpleasant in some scenes as Murphy's character proves jealous in a manner rarely seen outside Jake LaMotta in "Raging Bull". Nonetheless, it remains a complex story and holds the viewer's interest all the way through. I guess that the Irish really ARE the best storytellers!
I doubt that this movie will be easy to find, so you'll have to check your neighborhood video store (yes, they still exist).
PS: Kirsten Sheridan's father is Jim Sheridan, who directed "My Left Foot", "In the Name of the Father" and "In America".
Oh god.
i-am-a-lesbian17 November 2011
Up until the first nightclub scene, this movie was superb. Flawless opening, beautiful relationship between the two main characters and most importantly, the dialog was understandable and interesting. Pig and Runt, childhood friends are trouble-making teenagers who are experiencing issues during adolescence. Pig is insane and destructive and probably has a mental disorder of some sort and Runt is rational, calm, tolerates Pig's violence and stands there smiling as he smashes bottles in a liquor store with an iron pole and proceeds to pulverize the cashier's head with a bottle. Only THEN does she say anything at all. I REALLY liked the opening. I had high hopes for Disco Pigs when the holding- hands sequence was shown when the pair were infants up until the present, when they held hands at night through a hole in the wall(?). But from there it just starts getting worse and spirals into making me feel really embarrassed for the main characters because of how bad it was.
Firstly, Cillian Murphy has a TERRIBLE accent. Half the time I couldn't understand it and it didn't sound Irish at all which was strange because he IS Irish. It seems like he overacted a lot in this movie and I was really trying to like it because Cillian Murphy is one of my favorite actors. However I simply couldn't like this because of his awful accent and him acting like a angry retarded (in its most accurate sense) child.
Secondly, well, the dialog gets really bad. The lines "You and me! Pig and Runt! Runt and Pig! King and Queen! You and me BABES!" Were used at least 5 times in the movie. Jesus Christ. And there's more. The sparkling dialog includes hilariously bad lines like:
Runt:"Where are we going Pig?" Pig:"(bad accent)DIS PLACE."
Pig:"Happy birthday Runt!" (1 minute later) Pig: "Happy birthday Runt!"
I know Pig and Runt are supposed to be intense, reckless, us-against- the-world romantic madmen types but its hard to appreciate their screwed up relationship when you have no idea what's going on.
Firstly, Cillian Murphy has a TERRIBLE accent. Half the time I couldn't understand it and it didn't sound Irish at all which was strange because he IS Irish. It seems like he overacted a lot in this movie and I was really trying to like it because Cillian Murphy is one of my favorite actors. However I simply couldn't like this because of his awful accent and him acting like a angry retarded (in its most accurate sense) child.
Secondly, well, the dialog gets really bad. The lines "You and me! Pig and Runt! Runt and Pig! King and Queen! You and me BABES!" Were used at least 5 times in the movie. Jesus Christ. And there's more. The sparkling dialog includes hilariously bad lines like:
Runt:"Where are we going Pig?" Pig:"(bad accent)DIS PLACE."
Pig:"Happy birthday Runt!" (1 minute later) Pig: "Happy birthday Runt!"
I know Pig and Runt are supposed to be intense, reckless, us-against- the-world romantic madmen types but its hard to appreciate their screwed up relationship when you have no idea what's going on.
A film that doesn't have enough words to describe its greatness
timelord-31 August 2001
Two 16-year-olds share a birthday, a love, a language of their own and a uniquely violent world view. Disco Pigs is an electric, disturbing and violent sprint through the unique world of Pig and Runt, two 17 year old kids who were born with a special, almost psychic affinity for one another.
It's a gentle and tender story about a pure, innocent love between two inseparable people who 'want for something different' out of life, lashing out at 'the sameness of it all'. When this invisible thread between Pig and Runt is stretched to breaking point, the inseparable are about to separate and which one will survive depends on which one can break free.
I'll stick my neck out here and say that Disco Pigs has a real Clockwork Orange feel about it - its use of a lyrical communication between our two leads - a combination of baby talk and Shakespeare monologue gave me that strong impression. The lead roles also exist in their own world, oblivious and unbound by the rules that govern us all.
Pig and Runt are two kids that really don't want to grow up, but despite their enforced isolation from common reality the pressures bear upon them to change. Pig wants the relationship to move to the 'next level', but innocent Runt either doesn't understand or doesn't want that right now. She seems more interested in experiencing other boys - finding a local bartender particularly intriguing. He is frustrated that their relationship, while deep, is not deeper, and she is perhaps seeing the blinkers removed from her eyes a bit, allowing the outside world a peek in.
I've made mention of the language that is used throughout the film used by Pig and Runt; the dialogue between the two is at times heart breakingly beautiful; witness Pig's love expressed in words as he talks to himself about the beautiful passion they would both share when they would make love for the first time. It nearly made this hardened critic cry.
Disco Pigs is nothing short of a masterpiece. It is unconventional, yes, but that is the stuff of greatness. The incredible soundtrack complements the visuals perfectly and is nearly a character in its own right. My only gripe is `REMOVE THE SUBTITLES!'
If this film gets a local Australian distribution, see it. It's that simple. 10 out of 10.
It's a gentle and tender story about a pure, innocent love between two inseparable people who 'want for something different' out of life, lashing out at 'the sameness of it all'. When this invisible thread between Pig and Runt is stretched to breaking point, the inseparable are about to separate and which one will survive depends on which one can break free.
I'll stick my neck out here and say that Disco Pigs has a real Clockwork Orange feel about it - its use of a lyrical communication between our two leads - a combination of baby talk and Shakespeare monologue gave me that strong impression. The lead roles also exist in their own world, oblivious and unbound by the rules that govern us all.
Pig and Runt are two kids that really don't want to grow up, but despite their enforced isolation from common reality the pressures bear upon them to change. Pig wants the relationship to move to the 'next level', but innocent Runt either doesn't understand or doesn't want that right now. She seems more interested in experiencing other boys - finding a local bartender particularly intriguing. He is frustrated that their relationship, while deep, is not deeper, and she is perhaps seeing the blinkers removed from her eyes a bit, allowing the outside world a peek in.
I've made mention of the language that is used throughout the film used by Pig and Runt; the dialogue between the two is at times heart breakingly beautiful; witness Pig's love expressed in words as he talks to himself about the beautiful passion they would both share when they would make love for the first time. It nearly made this hardened critic cry.
Disco Pigs is nothing short of a masterpiece. It is unconventional, yes, but that is the stuff of greatness. The incredible soundtrack complements the visuals perfectly and is nearly a character in its own right. My only gripe is `REMOVE THE SUBTITLES!'
If this film gets a local Australian distribution, see it. It's that simple. 10 out of 10.
Go Team Walsh!
pangipingu21 October 2021
A nasty piece of Irish blarney
stellar-113 November 2001
The title of this film mislead me into thinking it would be an Irish 'Human Traffic' or 'SW7' but after the first ten minutes I realised I was sadly mistaken. Disco Pigs is a cross between an angst ridden, student film and a self indulgent fringe play that I had to force myself to sit through. It opens well, with a nicely photographed sequence in which real babies appear to act. The cast are promising and the young director has done a reasonable job given Enda Walsh's ill concieved script. But at the end of the day to a paying audience that want to be entertained, Disco Pigs is an ordeal to watch and I was surprised to see it was made by established producers Stephen Evans and Angus Finney and financed by the flush Rennaisance Films. How wrong headed can the establishment be to waste money on dross like this when there are plenty of other scripts and film-makers out there far more worthy . Films of a similar theme, but also successful are Sean Penn's 'She's So Lovely' , Peter Jackson's 'Beautiful Creatures' and Suri Krishnamma's 'New Years Day'.
Still shaking my head but powerful
Melrosemiss28 October 2019
Warning: Spoilers
I like timelord-3s comments, which pretty much sum up what I would have said. However, as someone who is now a senior citizen, I was extremely grateful for the subtitles and wish all movies came with them. I have seen Disco Pigs twice now. The first time, I basically dismissed it as one of Cillian's early ventures before he fully developed his craft. How wrong I was to think so. He is masterful, especially when one considers the language between the two. Runt is definitely more able to relate to the ever-intruding world but Pig is not. Runt is his whole world and he does not manage well without her. After my second viewing, it reminds me a bit of the shy and innocent couple in Mozart and the Whale, if one of them had gone mad. I must have forgotten the ending because on second viewing, I was crying at the tragic choice Pig made, as if some clarity had grasped him for a moment over the severity of things he had done.
This is a heart-breaking film and I am so grateful I gave it a second viewing. I had never seen the actress who played Runt before, but Cillian was familiar to me from The Wind that Shakes the Barley (brilliant) and of course, Peaky Blinders. He is one of the most versatile and amazing actors I have ever seen. I felt that way after seeing The Wind that Shakes the Barley for the first time and my second viewing of Disco Pigs has just brought me to the full extent of his genius, no matter the role. He seems to choose works that really grab you and make you think, and he succeeds. My only regret is that I am unlikely to ever be able to see him perform this role live as I live in the US.
If you do not like it on one viewing, but like him, come back later and give it another chance. Well worth it. I came away with questions as to the "why" of the way they are. Are they on the Autism spectrum, or have they just been so close for so long that they need no one else? Definitely an art-type film that may not appeal on first viewing, not even for devoted Cillian fans.
This is a heart-breaking film and I am so grateful I gave it a second viewing. I had never seen the actress who played Runt before, but Cillian was familiar to me from The Wind that Shakes the Barley (brilliant) and of course, Peaky Blinders. He is one of the most versatile and amazing actors I have ever seen. I felt that way after seeing The Wind that Shakes the Barley for the first time and my second viewing of Disco Pigs has just brought me to the full extent of his genius, no matter the role. He seems to choose works that really grab you and make you think, and he succeeds. My only regret is that I am unlikely to ever be able to see him perform this role live as I live in the US.
If you do not like it on one viewing, but like him, come back later and give it another chance. Well worth it. I came away with questions as to the "why" of the way they are. Are they on the Autism spectrum, or have they just been so close for so long that they need no one else? Definitely an art-type film that may not appeal on first viewing, not even for devoted Cillian fans.
Hectic sophistication elevated by fine performances
BeneCumb9 April 2015
Ambivalent and unpredictable characters in the environment of norms and rules have always attracted attention, teens are additionally vulnerable and seeking their place in the world, some with success, others with fear and anger. The latter applies to the leading characters Darren/"Pig" and Sinéad/"Runt", who have known each other from the day they were born, living as neighbours, attending the same school...
Both have odd insights about life and surroundings, paving the way for criminal and tragic events. Thus, the plot has twists, but the course of them was hard to believe - are there no cops in Ireland and/or all wrongdoings remain unpunished? The ending was generally anticipated as well, but, thanks to wonderful performances by Elaine Cassidy and Cillian Murphy, the 1 hour 25 minutes film is catchy to follow.
A twisted Romeo and Juliet in a contemporary closed community... Distinct, but not particularly flimsy. Still a must for fans of Murphy and Cassidy.
Both have odd insights about life and surroundings, paving the way for criminal and tragic events. Thus, the plot has twists, but the course of them was hard to believe - are there no cops in Ireland and/or all wrongdoings remain unpunished? The ending was generally anticipated as well, but, thanks to wonderful performances by Elaine Cassidy and Cillian Murphy, the 1 hour 25 minutes film is catchy to follow.
A twisted Romeo and Juliet in a contemporary closed community... Distinct, but not particularly flimsy. Still a must for fans of Murphy and Cassidy.
Not for the discerning film watcher
BigGoon23 November 2006
When making your decision to view Disco Pigs, keep in mind that the 6.3 rating is high for a movie of this quality--check the demographic breakdown! The people who enjoy this movie are teenagers who are just discovering "deep" material (and I certainly credit them for trying rather than wasting their time with The Grudge 2), but the more mature viewer will see that the filmmakers were trying to make a movie with depth, but failed miserably in their task. The overall plot has great potential, but many of the scenes make no sense whatsoever and are poorly conceived. Whether you can understand the characters' accents or not, most of the time you'll be wondering what they're talking about. The wannabe Shakespearean monologues are laughable. I can see the appeal of this movie to teenagers who are starting to watch or read more complex material, but for those who have been enjoying complex works for some time, leave this one alone.
the future of irish film
ch7717 October 2001
Its amazing how some of the comments here have completely missed the point of this film. If you haven't seen it yet, I should warn that these comments may give away some plot points.
The facile answers that one user suggest this film offers to the question of "what is love?" don't really deserve aknowledgement. But lets do so anyway.
It would be hard to find a more poignant and complex depiction of the strive for 'pure' love in the face of an ever intruding reality. Pig's love for Runt is the one thing that is whole and real in his life. Yet life, and the fact of their growing up, is slowly taking her away from him. Without her, he himself has no real existence. Therefore his love takes on a growing desperation as he feels her slip away from him.
A commenter questions why runt never "takes to" Pig. Why she is attracted to the bartender.
The point of the film is that she can live in and relate to an outer world beyond her relationship with Pig, while Pig cannot. This world is represented by the barman she dances with, by the roomate she slowly begins to open up to. It is this ability that enables her to survive whilst Pig is spiralling into an ever more violent self-destruction. She loves Pig but realises that the insulated world thay have cocooned themselves within must fall apart. She ultimately saves him from a world that he cannot live in and that she knows he must.
The real triumph of this film is how it completely trancends its stage bound roots. The action is opened out and incorporates a range of characters which, if never fully rounded, likewise are never mere cliches. There is in fact only one speech lifted directly from the play, where Pig expresses his growing frustration as sexuality begins to enter their relationship. The ending soliloquay which one commenter feels betrayed the stage origins was in fact completely new to the film, and indeed the ending itself is completely rewritten.
The direction of this film is lively and interesting. Veering between the hyper-kinetic disco scenes and the peaceful fairy tale world of Pig and Runt's fantasies without jarring. It manages to take Pig on a road trip without ever losing pace and leaves us with a truly heartwrenching scene of sacrifice and beauty.
This is the future of Irish cinema; fresh, exciting directors and a depiction of Ireland that manages to be both free from stereotypical depictions of Irishness whilst maintaining a distinct storytelling style. Go see it.
The facile answers that one user suggest this film offers to the question of "what is love?" don't really deserve aknowledgement. But lets do so anyway.
It would be hard to find a more poignant and complex depiction of the strive for 'pure' love in the face of an ever intruding reality. Pig's love for Runt is the one thing that is whole and real in his life. Yet life, and the fact of their growing up, is slowly taking her away from him. Without her, he himself has no real existence. Therefore his love takes on a growing desperation as he feels her slip away from him.
A commenter questions why runt never "takes to" Pig. Why she is attracted to the bartender.
The point of the film is that she can live in and relate to an outer world beyond her relationship with Pig, while Pig cannot. This world is represented by the barman she dances with, by the roomate she slowly begins to open up to. It is this ability that enables her to survive whilst Pig is spiralling into an ever more violent self-destruction. She loves Pig but realises that the insulated world thay have cocooned themselves within must fall apart. She ultimately saves him from a world that he cannot live in and that she knows he must.
The real triumph of this film is how it completely trancends its stage bound roots. The action is opened out and incorporates a range of characters which, if never fully rounded, likewise are never mere cliches. There is in fact only one speech lifted directly from the play, where Pig expresses his growing frustration as sexuality begins to enter their relationship. The ending soliloquay which one commenter feels betrayed the stage origins was in fact completely new to the film, and indeed the ending itself is completely rewritten.
The direction of this film is lively and interesting. Veering between the hyper-kinetic disco scenes and the peaceful fairy tale world of Pig and Runt's fantasies without jarring. It manages to take Pig on a road trip without ever losing pace and leaves us with a truly heartwrenching scene of sacrifice and beauty.
This is the future of Irish cinema; fresh, exciting directors and a depiction of Ireland that manages to be both free from stereotypical depictions of Irishness whilst maintaining a distinct storytelling style. Go see it.
"So New"... I had no idea what I was watching?
dugfmjamul9 September 2019
Warning: Spoilers
1. Pig and Runt are born in the same Irish hospital sleeping side by side in very sterile cubie beds where they form a very strong emotional bond.
2. Pig and Runt grow up living next door to each other in a very close quartered brick townhouse and seem normal with the exception they feellllllllllllll a lot of emotions for each other but not so much for the other people around them.
3. Pig and Runt are reaching their 17th Birthdays and strange things are happening to the boy. Pig isn't coping with his emerging sexual feelings and emotions about the girl very well and is acting out in violent destructive ways to students around him. Runt doesn't know what she can do to change Pig's destructive behavior while being very much attached to him emotionally.
4. Irish Public Progressive School Teachers are very worried about the Pig's violent behavior towards other boys who show the slightest affection towards Runt which leads to a meeting with Runt's parents about having her removed to other school far away from Pig.
5. Runt is hurried away to a boarding school and when Pig finds out he loses his mind and goes nuts, he has to find Runt at any cost.
6. Pig hunts down Runt and makes a scene on top of some school cafeteria tables during lunch. Runt seems befuddled but not really upset, she ushers him out of the school where they both go out to celebrate their 17th Birthdays.
7. Pig and Runt go into a liquor store where Pig demands that the clerk give him some free booze for their 17th birthdays and when the clerk refuses he starts to smash up the place. Pig attacks the clerk with some sort of long stick to the head causing a lot of bleeding. Pig takes some booze out of the store and goes his merry way with Runt in tow. Surprisingly no Police are called to the scene to arrest Pig?
8. Pig and Runt enter a DISCO where Pig runs to the stage, grabs the mic out of one of the band members hands and belts out "She Really Got You Now".. which after a few minutes the large crowd tries to boo him off the stage.
9. A female patron in the crowd demands Runt pull Pig off the stage, she refuses which ends up in a girly fight and Runt getting smashed in the head with a bottle... a lot of blood oozing out but not gushing..
10. Pig notices Runt's head injury, but she is worried about him being totally insane. Surprisingly once again no Police are called to the scene to arrest Pig?
11. Pig and Runt get into a car and head to the Beach where they have sex and then later she takes a sweater puts it over Pigs face and mouth, then smothers him to death.
12. Runt ponders her life with Pig and believes she did the right thing by Pig.
13. The Film fades to the end credits while Cillian Murphy sings "So New"
The soundtrack and background music were very good, enjoyed listening to the music. Did I like the film, yes, was it weird and thought provoking, hell yes, will I watch it again... hell no. Most people go to see a "Movie", only a few people go to see a "Film". Disco Pigs is a film.
The soundtrack and background music were very good, enjoyed listening to the music. Did I like the film, yes, was it weird and thought provoking, hell yes, will I watch it again... hell no. Most people go to see a "Movie", only a few people go to see a "Film". Disco Pigs is a film.
Much better than the title would suggest
shneur14 May 2005
There's a large psychiatric literature on the "twinning effect," which is often a beautiful thing, but in its pathologic manifestation shows up as what's called "symbiotic psychosis." In plain language, although not biological twins, the two main characters here grew up so closely intertwined that their private world disallowed the intrusion of mundane reality. "Private language" is often a characteristic of this clinical syndrome, and in the movie the heavy Cork dialect accentuated (at least for non-Irish) the barrier between the characters and the viewer. Does anyone remember Melanie's song, "We were so close, there was no room/ We bled inside each other's wounds"? Quite apropos. Also, I felt reflections of "David & Lisa," but updated and sort of run in reverse. As with much Irish literature, one has to be prepared for a view of humanity that never crawls out from under Original Sin, but nevertheless this is a serious work, very much worth watching, and deserved a better title.
Violent and over acted
spartacrust19 January 2010
Warning: Spoilers
OK if you as the viewer live 24/7 in some sort of fantasy land.
Also to claim this film as some sort of ground breaking form of realistic acting is preposterous.
A seriously flawed storyline too, not even in the real local in which it is set would you find two supposedly clever 17 yr old kids, with such a childish sense of humour. I'd put their behavioural age at around 8.
On the whole 2 totally unbelievable characters who wouldn't have lasted 5 minutes in the real world.
I was waiting for some diagnosis of mental illness, or ADHD and bi-polar disorder at the very least. Total nutters the pair of them.
And as for the bar scene at the end, do large beefy Irish adults just stand around whilst a scrawny pathetic weakling of a child bashes some poor innocent (knocked out cold lying helpless on the floor,) with an iron bar for 5 minutes, 2 blows would have been enough to kill the average human. Overdone and very well overrated by the viewers, most of whom on this site must surely be under 25.
Also to claim this film as some sort of ground breaking form of realistic acting is preposterous.
A seriously flawed storyline too, not even in the real local in which it is set would you find two supposedly clever 17 yr old kids, with such a childish sense of humour. I'd put their behavioural age at around 8.
On the whole 2 totally unbelievable characters who wouldn't have lasted 5 minutes in the real world.
I was waiting for some diagnosis of mental illness, or ADHD and bi-polar disorder at the very least. Total nutters the pair of them.
And as for the bar scene at the end, do large beefy Irish adults just stand around whilst a scrawny pathetic weakling of a child bashes some poor innocent (knocked out cold lying helpless on the floor,) with an iron bar for 5 minutes, 2 blows would have been enough to kill the average human. Overdone and very well overrated by the viewers, most of whom on this site must surely be under 25.
A deep and arty film.
ma_14618 January 2005
I happened to perceive Disco Pigs as a deep and arty film. It managed to portray a priceless and rare love between two people and the consequences of such an emotional love. It's not a 'go happy' film and this is what I found was one of its more original components of which there was many. A 'happy' film doesn't make a good film.
The acting was beautiful by the two main characters who seemed to have reached deep with-in themselves to act parts like these.
The dark and murky scenes gave an overall dark atmosphere however the dark yet picturesque scenes created a personal sense of awe at the film. The script, acting and background all combined together to make a deep interpretation of this apparent intuitive love that I found manages to grip you inside.
The high use of dialect made a little of the film hard to understand but this also gave it a sense of culture.
It was seen by me late at night on national TV. Perhaps not a sociable film I might not have enjoyed it so much if I were with someone. The portrayal of the extreme love between the two main characters almost made me feel jealous about missing out on a strong friendship like that with someone.
Even though the ending wasn't what I expected it or even what I wanted it to be it was still enough to make me want to purchase the film and research reviews and information about it.
The acting was beautiful by the two main characters who seemed to have reached deep with-in themselves to act parts like these.
The dark and murky scenes gave an overall dark atmosphere however the dark yet picturesque scenes created a personal sense of awe at the film. The script, acting and background all combined together to make a deep interpretation of this apparent intuitive love that I found manages to grip you inside.
The high use of dialect made a little of the film hard to understand but this also gave it a sense of culture.
It was seen by me late at night on national TV. Perhaps not a sociable film I might not have enjoyed it so much if I were with someone. The portrayal of the extreme love between the two main characters almost made me feel jealous about missing out on a strong friendship like that with someone.
Even though the ending wasn't what I expected it or even what I wanted it to be it was still enough to make me want to purchase the film and research reviews and information about it.
Supremely awful!!!
paulkim1614 December 2004
I consider myself an open-minded film-goer, but this flick is just annoyingly awful. In fact, there just isn't anything I can recommend regarding it: the acting, I thought, was just over the top (Cillian Murphy especially just irritates me), I want to say that the directing was style over substance, but even the stylistic look of the film was weak and unconvincing, and of course the story....just ridiculous. I was squirming and wincing the whole time I was watching this.
Of the 200+ films I've voted on here on IMDb so far, this is one of maybe 2 that I gave a 1/10 to. It's just one of those rare cinematic supreme flops.
Of the 200+ films I've voted on here on IMDb so far, this is one of maybe 2 that I gave a 1/10 to. It's just one of those rare cinematic supreme flops.
This film describes the words soul mates perfectly (well, almost!)
k-middlemiss11 January 2005
I saw this film a few weeks ago and was totally fascinated by it from the beginning. The characters are so sweet. The story is about how two people are bound to each other from when they were little. They will let nothing come between them. Soul mates from the start. The film takes you on a journey through their lives and follows the relationship as they grow older. My favourite bit was where the little boy just waited, waited so long for his friend to come home. It was perfect, summing up the whole film. Some of the film is a bit violent so brace yourself if you are going to watch it, but don't let that put you off because the film as a whole is what i can only describe as beautiful. This movie is a must for every one, just watch it once and you'll probably be thinking about it forever.
Worst Irish film of all time!
h-holstine25 August 2005
I have on tape or on DVD, almost every full-length Irish film ever made that is available to purchase, and some were not very good, but this one is by far the worst. The only one that comes close is The Butcher Boy, or I have to add this clunker - Ordinary Decent Criminal, the Kevin Spacey rip off of The General.
The sad part is that it could have been a very good, if not brilliant film! It's all in the screenplay. The writer could have changed a few major parts to make it more realistic and heart-warming, and what most movie goers want to see.
One of the reviewers wrote that it should receive wider distribution. It never made it to the States, and for good reason! The same reason Ordinary Decent Criminal didn't make it - they weren't good enough! I agree with Jack from Cork, whose review said it like it is - and he should know, coming from Cork! My wife is from Ireland, and even she had a hard time trying to figure out what was said. Some of the language between Pig and Runt was something that only they would understand. We could only guess.
We saw this on Netflix, so it didn't cost anything to see, and THAT'S what it is worth!
The sad part is that it could have been a very good, if not brilliant film! It's all in the screenplay. The writer could have changed a few major parts to make it more realistic and heart-warming, and what most movie goers want to see.
One of the reviewers wrote that it should receive wider distribution. It never made it to the States, and for good reason! The same reason Ordinary Decent Criminal didn't make it - they weren't good enough! I agree with Jack from Cork, whose review said it like it is - and he should know, coming from Cork! My wife is from Ireland, and even she had a hard time trying to figure out what was said. Some of the language between Pig and Runt was something that only they would understand. We could only guess.
We saw this on Netflix, so it didn't cost anything to see, and THAT'S what it is worth!
bizarre and brilliant
barend33 March 2004
A film that creates a fine line between sweet and scary, 'Disco Pigs' takes you on a strange journey into a private little fairy tale world of two people who've never been separated who create chaos for everyone around them where ever they go until they're separated by their parents and school. However when reunited they find themselves drifting apart as one's behavior moves from the playfully anti-social to the dangerously psychotic.
Great performances by some of Irelands great new talents.
This films an interesting watch, as it seems to create a new genre: Romantic Thriller.
7.5/10
Great performances by some of Irelands great new talents.
This films an interesting watch, as it seems to create a new genre: Romantic Thriller.
7.5/10
Flawed but absorbing
galensaysyes18 April 2008
Warning: Spoilers
Apparently I'm one of the immature teens mentioned in another comment, because I enjoyed this film very much--as did the dozen reviewers, doubtless shallow teens also, cited on the DVD case as having rated it at four stars. It reminded me of early Jane Campion and Vincent Ward in the insular, almost hermetically sealed world it portrays; and I wonder if it's only coincidence that it too comes from an island culture.
The story is a variation on Les Enfants Terribles in which two young people, telepathically bonded from birth, create a secret society--which in essence constitutes their entire life--consisting of only the two of them. They communicate in a strange private argot which I assume is taken from the novel (it sounds like the product of a novel writer rather than a scriptwriter), vernacular speech elevated into near-poetry. The characters' monologues are quite remarkable, as delivered by the two principal actors. So are the actors themselves: Cillian Murphy, who has the looks to make his fortune as a soap-opera antihero, shows he's much better than that portends, and Elaine Cassidy, who has made rather a line of playing Miranda-like heroines sidetracked into unfortunate attachments, can clearly do more, too: some day I'd like to see her as an equally single-minded Lady Macbeth.
The film is strikingly shot, uniquely scored, and held me absorbed all the way through. It has only one large fault, which is the flip side of its biggest asset: its simplified, clarified style, which is much like that of The Piano or Vigil, and in this case parallels the simplified reality of the leading characters. It has this inherent drawback, however: it leads the film away from more complex, messier motives and situations lest they disturb the neatness of the pattern. In a story like this they necessarily arise, and increasingly so as the story goes on, because the subject ultimately is the characters' emergence, kicking and screaming, into the larger world. And so in some respects the transition confuses.
For instance, in the early scenes the bonded characters are shown as living in identical houses side by side and coming and going symmetrically, in the Peter Greenaway manner; but this kind of fairy-tale fantasy disappears as the film progresses. True, in the course of things the characters move from a private reality to one more generally shared; but their houses are part of the latter, something they have no control over, and should be pictured in the same way as the rest of the outside world. Or, if the houses were meant to be seen from the point of view of the film itself, everything should have been shown as equally fantastical.
Similarly, the script is clear as long as the characters confine themselves to their two-person bubble, from which everybody else is excluded, but then, after they're separated, it never clarifies what exactly happens to their telepathic bond. Does it snap as soon as they're parted? does it weaken with distance? Since it's been the dominant force in their lives, the one secure thing that they've never been without--and the thing the film has been presenting to us for an hour--we should have seen clearly the moment at which each of them lost it and what that loss did to him or her.
Following the separation, the structure of the story makes it clear that the girl escapes the boy's influence, so that when they reunite she's no longer a willing partner in what he does; but her turning point isn't shown and her changed attitude isn't defined or explored.
Finally, though less importantly, the climax of the story is incredible the way it's staged. Let it pass that seventeen-year-olds are able to buy drinks without question (perhaps on the Irish club scene they can); in the big club to which the couple ultimately find their way, the boy commits an act of battery, probably of murder, and then leaves, with nobody but the girl trying to stop him. I would imagine that in the novel it was described as happening briefly, on a crowded floor where nobody could see quite what was going on; but in the film it's the show in the center ring, it goes on for a very long time, and there are no bouncers anywhere--or, failing bouncers, a few sturdy lads of the type in which Irish stories abound--or for that matter, a single sturdy lad armed with a blunt object in hand. I can't think why the director would have done something to incur disbelief so strongly so near the end of the film: this is it like, eh?
Still, in spite of a few missed notes, Disco Pigs is the most interesting film I've seen in a while, and probably the most interesting Irish film ever (though I confess I've not seen many).
The story is a variation on Les Enfants Terribles in which two young people, telepathically bonded from birth, create a secret society--which in essence constitutes their entire life--consisting of only the two of them. They communicate in a strange private argot which I assume is taken from the novel (it sounds like the product of a novel writer rather than a scriptwriter), vernacular speech elevated into near-poetry. The characters' monologues are quite remarkable, as delivered by the two principal actors. So are the actors themselves: Cillian Murphy, who has the looks to make his fortune as a soap-opera antihero, shows he's much better than that portends, and Elaine Cassidy, who has made rather a line of playing Miranda-like heroines sidetracked into unfortunate attachments, can clearly do more, too: some day I'd like to see her as an equally single-minded Lady Macbeth.
The film is strikingly shot, uniquely scored, and held me absorbed all the way through. It has only one large fault, which is the flip side of its biggest asset: its simplified, clarified style, which is much like that of The Piano or Vigil, and in this case parallels the simplified reality of the leading characters. It has this inherent drawback, however: it leads the film away from more complex, messier motives and situations lest they disturb the neatness of the pattern. In a story like this they necessarily arise, and increasingly so as the story goes on, because the subject ultimately is the characters' emergence, kicking and screaming, into the larger world. And so in some respects the transition confuses.
For instance, in the early scenes the bonded characters are shown as living in identical houses side by side and coming and going symmetrically, in the Peter Greenaway manner; but this kind of fairy-tale fantasy disappears as the film progresses. True, in the course of things the characters move from a private reality to one more generally shared; but their houses are part of the latter, something they have no control over, and should be pictured in the same way as the rest of the outside world. Or, if the houses were meant to be seen from the point of view of the film itself, everything should have been shown as equally fantastical.
Similarly, the script is clear as long as the characters confine themselves to their two-person bubble, from which everybody else is excluded, but then, after they're separated, it never clarifies what exactly happens to their telepathic bond. Does it snap as soon as they're parted? does it weaken with distance? Since it's been the dominant force in their lives, the one secure thing that they've never been without--and the thing the film has been presenting to us for an hour--we should have seen clearly the moment at which each of them lost it and what that loss did to him or her.
Following the separation, the structure of the story makes it clear that the girl escapes the boy's influence, so that when they reunite she's no longer a willing partner in what he does; but her turning point isn't shown and her changed attitude isn't defined or explored.
Finally, though less importantly, the climax of the story is incredible the way it's staged. Let it pass that seventeen-year-olds are able to buy drinks without question (perhaps on the Irish club scene they can); in the big club to which the couple ultimately find their way, the boy commits an act of battery, probably of murder, and then leaves, with nobody but the girl trying to stop him. I would imagine that in the novel it was described as happening briefly, on a crowded floor where nobody could see quite what was going on; but in the film it's the show in the center ring, it goes on for a very long time, and there are no bouncers anywhere--or, failing bouncers, a few sturdy lads of the type in which Irish stories abound--or for that matter, a single sturdy lad armed with a blunt object in hand. I can't think why the director would have done something to incur disbelief so strongly so near the end of the film: this is it like, eh?
Still, in spite of a few missed notes, Disco Pigs is the most interesting film I've seen in a while, and probably the most interesting Irish film ever (though I confess I've not seen many).
Meandering, Pretentious, and Boring
ejwells-27 January 2007
Warning: Spoilers
I guess like Jessica Lynch, Kirsten Sheridan figured she could ride daddy's coat tails to the status of instant-auteur. Well...not in my book. I'd be shocked if this massive dud gets any attention whatsoever, aside from the usual "we love anything that sucks" crowd of nose-in-the-air art-house frequenting naval-gazing clods, who wouldn't know quality cinema if it bit them on the arse. Runt and Pig. Pig and Runt. I love you Pig. Happy birthday Runt. Good God.
The actors themselves do what they can with the crappy material, and are both fairly talented. But even GREATt actors couldn't come close to saving this terribly dull (and amateurishly lensed) bore-o-rama from it's current status...a film that gets rented maybe once a year from the maybe 10 video stores that actually have it, and only because the title itself would lead one to believe this film would have something going for it...like a small amount of humor amidst the meandering, pretentious, and boring goings on. No such luck. Do yourself a favor and skip it.
The actors themselves do what they can with the crappy material, and are both fairly talented. But even GREATt actors couldn't come close to saving this terribly dull (and amateurishly lensed) bore-o-rama from it's current status...a film that gets rented maybe once a year from the maybe 10 video stores that actually have it, and only because the title itself would lead one to believe this film would have something going for it...like a small amount of humor amidst the meandering, pretentious, and boring goings on. No such luck. Do yourself a favor and skip it.
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