Citadel

Trailer 2
Drama / Horror / Thriller / Mystery
Ireland / UK, 2012, 85 min

Directed by:

Ciarán Foy

Screenplay:

Ciarán Foy

Cinematography:

Tim Fleming

Composer:

tomandandy
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Plots(1)

Tommy Cowley (Aneurin Barnard) lives a quiet life in a decaying apartment complex with his very pregnant wife. The couple is attacked one day by a group of hooded young thugs, and after a shocking act of violence, Tommy is left to raise his newborn daughter alone - forever traumatised by the attack. Suffering from extreme agoraphobia, Tommy alternates his days hiding out from imagined threats in his new apartment and intense therapy sessions aimed at bringing him back to normalcy. But when the same hooded gang returns to terrorise Tommy again, he's torn between his paralysing fear and protective parental instinct. With the help of a vigilante priest (James Cosmo) who has uncovered the genesis of this ruthless, potentially supernatural gang, Tommy must overcome his fears and venture into the heart of the abandoned tower block known as the 'Citadel' to save his family. (Umbrella Entertainment)

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Reviews (2)

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J*A*S*M 

all reviews of this user

English Brilliant social horror. Citadel is a dirty and depressive story drawing from 1970s David Cronenberg (The Brood, Shivers). It’s not something you see much these days, so I’m very satisfied, though it’s lacking something to go all the way to the top. For instance, I would do away with the secondary characters: the black nurse and the weird parson – it could have been only about Tommy. But there’s no reason to complain, few horror flicks have a better atmosphere. ()

JFL 

all reviews of this user

English Through its film industry, British society has found itself in a Catch-22 situation. On the one hand, it has films for young viewers that mislead their audience with images of suburban youth that reinforce a poseur lifestyle, a tough life on the edge of the law and violent opposition to the conservatism of the older generation. On the other hand, it gives older viewers films like Eden Lake and Harry Brown, which exploit fears of uncontrollable youths for whom nothing is sacred. Citadel seemingly falls into the latter category described above, but even though it adopts some elements of that category, it rather reflects the impacts of exploitation films on society. It doesn’t merely reinforce prejudices against young people, but directly thematises fear, which these formulaic images intensify in viewers. The film F previously attempted to give a horror veneer to the phenomenon of violence and the uncontrollability of youths from socially disadvantaged families, but it wasn’t until Citadel that filmmakers made fear of the horrors lurking beyond the safety of home the central theme of a film. The film’s sinister, loutish characters dressed in their iconic hoodies represent not only a direct physical threat to the protagonist, but also an indestructible evil that threatens to strike at his core by pulling what is most dear to him, his child, over to its side. This level of sophistication, as well as the ability to capture the oppressive atmosphere of almost paranoid, permanent fear, makes Citadel an exceptional work not only in the context of British horror movies. ()