You'll like it, but there's some weird anachronisms. Like, it's 1985, and it's Dublin, and everybody's caught up in an economic decline that is mirrored in a decline of the family, the culture, the church, and all sorts of societal institutions. And that reads as authentic. And escaping the economic trap generally means escaping to England or points beyond. And that's authentic too. But ... it's 1985. In Dublin. And U2 isn't mentioned once. And if nothing else was preserving Ireland's cultural identity in 1985, especially among youth, it was the message from U2 and others that music was happening right then and there among them. Musicians were the ones that didn't need to go abroad to find a future. Hell, with the Waterboys and the Pogues and even Bob Fucking Dylan, musicians were coming to Ireland to make music. And record labels were scouting the hell out of the country looking for native talent. In Tua Nua! Something Happens! I salute John Carney and the vein of gold he has found, but he seems to have a bit of a stick up his ass. Maybe he hates U2—and he wouldn't be the first—but they are unavoidably part of his story, and somehow he avoids them. Not only does he fail to give them even a mealy-mouthed acknowledgement, but he throws a minor hissy whenever somebody makes a comparison between his film and The Commitments. He himself was a member of The Frames in the early nineties, and I get the notion that he was one of the thousand Dublin musicians who auditioned for The Commitments and still holds a grudge because he didn't get cast. But The Commitments clearly remains as an obvious reference point for the film, as does a handful of eighties school torment films like My Bodyguard and Heaven Help Us, among others. Good films.