9 November 2017. A fascinating, compelling interpersonal drama. In one of his last movies, John Hurt, portrays as a person who conspires, during the 2006 Northern Ireland peace talks, to have Sinn Fein leader Martin McGuiness (played by Colm Meaney) and Democratic Party leader Ian Paisley (played by Timothy Spall) to travel by car together to attend Paisley's 50th Anniversary in this speculative and imaginative movie. In the spirit of Frost/Nixon (2008) and Grace of Monaco (2014),this high-stakes psychological political thriller is filled with moments of tension, parley, and fumbling humor and dry, dry humor and then a blast of emotional wrenching anger and sadness in a forest. It is a movie about fear, curiosity, and courage. It's about compassion, hurt, and empathic understanding.

Using one of the most difficult to shoot screenplays, the movie almost exclusively centers on two primary characters with a scheming British government backstory whose attempt at bringing the two men together seemingly go awry. The script and dialogue, the acting permit this movie to retain its compelling human-interest story as the non-verbal, covert human performances attach to the verbal tug of war going on. This is no simple, straightforward story with its typical stereotypes, but a layered personality profile with surprising personal defenses and retorts, attacks and open offers all particularly relevant during this Country's (United States) precarious state of civil division and political turmoil, with mass murders and domestic violence along with ethnic bigotry that threatens to tear the Country apart something that Ireland experienced in its own way for 30 years. Even the possibly made up dramatic scenes have been couched in a personal and situational context which makes them practically believable and enhancing the totality of the whole movie. The movie builds in psychological suspense even to the tune of thundering drums as the movie races towards a climax that would impact the future lives of thousands. A vibrant and compelling drama to experience.

It's 2006. Tony Blair and Bertie Ahern have gathered both sides of the Northern Ireland conflict to negotiate the eventual Good Friday Agreement. Ian Paisley (Timothy Spall) is the rigid firebrand loyalist preacher. Martin McGuinness (Colm Meaney) is the public face of the IRA. They represent the far sides of the conflict and have never spoken with each other. Ian needs to return home for his 50th wedding anniversary. Martin insists on joining him as protocol and more importantly, as the last chance to talk to him man-to-man with the only hope to get a yes to the agreement. Jack (Freddie Highmore) is their talkative driver. In reality, he's a British agent operating under Harry Patterson (John Hurt).

This story imagines that journey. That's the opening text and it's a mistake. Essentially, it's saying that it's fictional which is fine but it doesn't need to be proclaimed on screen. It takes some of the tension right out of the movie and the ending is already known. As for the story, it has some good turns but I almost wish for a simple inside-the-car three hander. It's the actors and it would be interesting to do My Dinner with Andre in the back seat. Spall and Meaney are great. Even Highmore is fine in doing a bumbling driver. It's a compelling what-if story for the politically-minded.

Very nicely shot, written, directed and acted, this is almost a one-of-a-kind treatment of an imagined journey - involving two of modern English/Irish histories most controversial political & personal opposites. It's an almost Shakespearian interaction between two powerful men of contemporary social influence - heading on a crash course that will either ignite or defuse a shockingly long running bloody civil war. Is it treated too lightly? (as some might suggest) or is it safe to assume that both these aging men knew it was now or never - the time had come! Stop the bloodshed, stop the negative destruction of their country, begin to heal and live again, united. Great Irish locations (standing in for Scotland) and music score add much to this entertaining tour de force-musing on what might have happened.

I may also go so far to say that prolific british composer, Steve Warbeck's rather potent & melodious score, was actually worthy of a larger project than this (as was his 2001 'Captain Corelli's Mandolin') Some composers don't seem to get the right commissions to grace their above average work. At least he's added handsomely to this thoroughly entertaining venture.