‘The emotion you get from the game is insane’: the Roy Keane bust-up film leading a new type of football movie

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Saipan, about Keane’s infamous World Cup row with manager Mick McCarthy, has become a hit film in its native Ireland – as it opens in the UK screenwriter Paul Frasier explains how he aimed to avoid the mistakes of the past The best bit of football action in Saipan happens on a tennis court. The forthcoming movie about the schism between Mick McCarthy and Roy Keane that led to the latter departing the 2002 World Cup before it started does not attempt to recreate any of the action from the tournament. In fact, it largely takes place in a decrepit hotel. But we do get one exception: Keane, played by Éanna Hardwicke, practising alone in the grounds. At the back of a court, the sullen, spartan athlete stands as a ball is fired up and over the net towards him. He tracks it with his eyes, opens up his right foot, takes the ball on his instep and kills it dead. And with that, his sporting bona fides are confirmed. Saipan is a movie about masculinity, about men and their egos. It’s also about...
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The Animal Kingdom review – Romain Duris leads post-Covid fantasy of virus-triggered mutants

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Duris stars as a father protecting his son, who may or may not be mutating, in Thomas Cailley’s well-crafted thriller

Thomas Cailley’s sci-fi fantasy has too much sensitivity and good taste to be the proper horror-thriller or creature feature that it almost resembles. It’s a drama of emotions and ideas about post-Covid society – which is welcome enough – but with a dash of prosthetics and CGI and some scares. I felt something very similar about Bong Joon-ho’s monster film The Host back in 2006: the worthiness operates against the excitement and I found myself wanting something more gleefully crass and shocking, something more ironic or thrillingly callous. The Animal Kingdom seems squeamish about going for the jugular in the way a proper genre movie would – or a Marvel movie.

The scene is a France of the near future in which there has been an outbreak of some disease which has caused humans to mutate into animals. The government is just about on top of the situation, having established high-security clinical holding units to confine the “bestioles” (“critters”) as local people heartlessly call them. François (Romain Duris) is a stressed guy keeping his emotions in check since his wife became a “bestiole” and now has to be a single-dad to his tricky teen son Émile, in which role Paul Kircher indicates that he might be succumbing to the disease with unnervingly subtle bovine and simian mannerisms, camouflaged within classic adolescent sulkiness. Adèle Exarchopoulos rather phones in the role of a uniformed female cop who appears to have a tendresse for François.

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