“Bring Them Down” is a careful small-town drama about Irish sheep farmers. The film stars Christopher Abbott as Michael after his acclaimed performance as the villain in “Poor Things,” and titular role in “Wolf Man.”  Barry Keoghan plays opposite as Jack, the son of neighboring farmers. Keoghan also made his mark in a Yorgos Lanthimos film, “Killing of a Sacred Deer.” He is as up-and-coming as an actor can be, set to star in the highly anticipated Beatles biopic.  The film is mostly a showpiece for the two talented leads to luxuriate in the acting moments that the revenge plot affords them. Abbott builds a character suspended in tension between his guilt over his mother’s passing, his deference to his strong-willed father, his honor, and his self-sufficiency. Keoghan has a slightly more complicated job, as he needs to find the motivation to start the feud inside a character that is juvenile and slight. As a showcase, the film is a success. Not many people will see it, but it will certainly help burnish the reputations of Abbot and Keoghan as formidable actors. And the plot is good enough to serve that purpose. Caroline, Michael’s ex-girlfriend, and Jack’s mother, has decided to leave Jack’s father because of their financial problem. A bridge is out, and Michael’s father is reluctant to let Jack’s family cross his property. So Jack hatches a plan to steal two prized rams from Michael’s family. When Jack’s dad catches him, he makes him kill the ram and get rid of it. The woman they sell it to offers them good money for sheep legs, offering what Jack sees as a solution to his family’s problems. But rather than tell the story in a forthright way, the edit tells the story twice, first from Michael’s point of view, and then from Jack’s. So during the first half of the film things move so fast and with so little context, you struggle to know what’s going on. Then when it restarts, the audience doesn’t know the device yet, and doesn’t figure it out for about twenty minutes when plot points begin to repeat themselves.  Once we figure it out, the idea isn’t terrible. When we were strictly in Michael’s perspective the feud seems meaningless and is cast in strictly moralistic terms. When we revisit it through Jack’s perspective, we can begin to appreciate the complicated factors that led to Jack’s decision.  But the edit doesn’t tell the story clearly enough. So the main emotion I felt while watching the film was confusion. I’m certain that the film would improve on a rewatch, but the ultimate story that a feud develops because Jack steals Michael’s sheep to keep his parents together doesn’t have enough heft to draw me back. It’s a pastoral film, and it does a good job of capturing the place. Colm Meaney, who plays Michael’s father, Ray, does a particularly notable job speaking Irish at length. First-time director Chris Andrews has some interesting ideas. He is clearly capable of letting talented actors do what they do best, a skill that will serve him well in his directing career. The film is also shot in a subdued way that highlights the natural light and natural beauty of the setting, but without ever drawing attention to itself.  The use of fire in the film’s back half is particularly notable.  “Bring Them Down” is R-rated for its violence and language. The domestic violence where Jack’s mother beats Jack’s father is particularly harrowing. But I found the film’s moral message to be largely in the right place. Jack’s theft leads to nothing but suffering. And revenge is shown as almost entirely futile. The film even offers a glimpse at honest redemption. Still, I wouldn’t watch this with my kids, at least until they were adults.  Two and a half out of five stars. “Bring Them Down” releases in theaters nationwide February 7, 2025.

As the last bulwark for the rule of law in our nation, I’ve been discouraged to see the attacks on the Supreme Court from all corners in light of the recently leaked decision in the Dobbs abortion case. We’ll likely be looking at this issue in greater depth in Public Square soon. But for now, I wanted to highlight just how pervasive anti-institutionalism has become across our country. We’re All Postmodernists Now John Stonestreet and G.S. Morris write for the Stream about how “We’re all Postmodernists Now.” They are focusing on a loss of trust primarily from the political right. Which is why the sudden return of this trend to the left is so noteworthy. Post-modernism is not a sustainable framework, but it is increasingly used as a temporary tool to pursue specific political or cultural goals. As Latter-day Saints, we agree with their statement that, “Truth is knowable and that it doesn’t depend on the source but a reality external to ourselves.”  These trends are certainly worthy of continued concern.