Intro

From minute one, Kneecap is an unapologetically Irish film, starting with the bold proclamation that “every story in Belfast starts like this.” This purposeful declaration of the forthcoming film’s irreverent and fierce tone immediately captures the essence of a post-Troubles London precisely. Another great example is when a character flips off a British chopper-- a gesture so iconic that it would’ve been at home on the film’s poster.

Story

Kneecap tells the story of the Irish language hip-hop group of the same name as Belfast schoolteacher JJ is pulled into the orbit of self-proclaimed “low life scum” Naois & Liam Og as they navigate the oppression of their Irish identities in the harsh streets of Belfast. It is in these very streets that so elegantly capture the Irish struggle and spirit with moments of raw humor and poignant commentary. Memorable lines like “It’s not the fucking Potato Famine. Don’t joke about the Famine. Too soon?” and “Do I look like I want to read fuckin’ subtitles? If you could read, you wouldn’t be a fucking peeler, would you?” balance the film’s irreverent humor with an undercurrent of cultural critique, making the film much more specific by osmosis. It may sound small, but as someone with Irish heritage, I had to look up terms like“Fenian”, an Irish political organization. It’s the little things that make Kneecap so wonderful to watch.

Cast

A big part of why this film is so specific and meaningful is that bandmates Naoise Ó Cairealláin, Liam Óg Ó Hannaidh, and JJ Ó Dochartaigh play themselves and get a “story by” credit in the end credits of the film. This makes the movie feel more natural and immersive whenever the bandmates are together. They’re just three friends hanging out together, and anytime they are on screen, I am immediately leaning forward to see what happens next, whether they’re recording a new song together, going on the best drug trip of their lives, or running for their lives.

On the supporting side of things, Michael Fassbender plays Naoise’s father and a former republican paramilitary, Simone Kirby plays Naoise’s mother, Josie Walker plays Detective Ellis, Fionnuala Flaherty plays Caitlin, Jessica Reynolds plays Georgie, and Adam Best plays Doyle. All of these performers are amazing, though their characters feel overly neat and one-dimensional. Despite this, their roles serve the narrative well, adding depth to the story’s cultural and personal identity.

Direction

Rich Peppiatt’s direction, building on his work with the band’s “Guilty Conscience” music video, is masterful, with seamless transitions and a specific and clear vision that captures the heart of Belfast. Peppiatt’s vision of Belfast and modern Ireland, whether it’s the Sergio Leon-style alleyway confrontation with a marching band, graffiti adorning just about every wall we see, or simply letting the bandmates riff about the state of the music industry and hang out. On that note, I particularly enjoyed the Irish-language scenes, adding an authentic and specific touch to the film. Using Kneecap’s music to drive the score is pure genius.

Writing

The script by Peppiatt and Kneecap is sharp and witty, filled with memorable lines that deliver equal bits of humor and cultural insight. The film’s clever dialogue and rant about radio plays versus streaming services offer a pointed commentary on the modern music industry. Despite its crude humor (which I loved) and over-the-top moments, the film has heart, especially when it shows how Kneecap’s music resonates with English and Irish speakers.

Music

Kneecap’s music, along with some original compositions by Michael “Mikey J” Asante, is one of the many standout elements of the film and perfectly complements the band’s music. Standout musical moments include the first recording session of Kneecap and the Sergio Leone-inspired score during the alleyway confrontation I mentioned earlier. Both moments immerse you in the world of music that Kneecap grew up with and the world that surrounds them.

Sound

Production sound mixer Chris Woodcock does a spectacular job with the audio mix, whether in stereo or 5.1 surround sound. The mix is impressive and immediately immersive, making it feel as if the bandmates are right there with you during their recording sessions and performances. It truly is unlike anything I’ve heard before. If your theater has a good sound system, I highly recommend you see this in theaters for the sound mixing alone.

Cinematography

Director of Photography Ryan Kernaghan vividly captures Belfast’s gritty and vibrant nature. The graffiti-stained walls and dense urban landscape capture the atmosphere and reflect the film’s commitment to authentically capturing Kneecap’s story, the Irish people, and Belfast. The film oozes style in every frame, utilizing nearly every lens a DP might own.

Editing

That style extends to the editing by Julian Ulrichs and Chris Gill, featuring lovely transitions that maintain the film’space and energy, along with motion graphics to add extra flair. For example, an early police station scene depicts certain words of the police officer in scrawled text, almost like scribblings in a notebook. These editors understood the mission, creating an experience reminiscent of Scott Pilgrim vs. the World.

Wrap-up

As crude and silly as Kneecap can be, it has tons of heart. The film’s commentary on the music industry, cultural insights into Belfast and the larger United Kingdom, and its unapologetically Irish identity make it a standout. Although the supporting roles may feel overly simplistic, the film’s charm and energy are undeniable. The film’s unique blend of humor, heart, and social commentary make it a refreshing addition to the music biopic genre.

Rating

Final Rating: ★★★★★ out of 5 stars

Kneecap is a refreshingly unique music biopic that combines humor, heart, and sharp social commentary. It's a must-watch for anyone looking for a film that is both entertaining and thought-provoking.

Availability

Kneecap is currently available in select theaters, courtesy of Sony Pictures Classics, who will likely expand the film, given the film was recently announced as Ireland’s entry in the International Feature Film category at the 97th Oscars.

Until next time!