Barry Keoghan Network | Grand Opening

Welcome to the grand opening of Barry Keoghan Network, your most comprehensive resource for Irish actor Barry Keoghan. He has appeared in the films Dunkirk along with Mark Rylance, Cillian Murphy, and Tom Glynn-Carney; The Killing of a Sacred Deer with Nicole Kidman, Colin Farrell and Alicia Silverstone; and Trespass Against Us with Michael Fassbender and Brendan Gleeson. He has also played the “Heartless Cat Killer” Wayne in the RTÉ drama Love/Hate. We currently have more than 100 photos up in the gallery will be constantly growing with our updates!

Paula Malcomson, Barry Keoghan to Be Honored at Oscar Wilde Awards

The ‘Ray Donovan’ actress and ‘Dunkirk’ and ‘American Animals’ actor are the pride of Belfast and Dublin, respectively.
Paula Malcomson, late of Showtime’s Ray Donovan, and Barry Keoghan of Dunkirk and Sundance competition entry American Animals are joining Mark Hamill as honorees at the 13th annual Oscar Wilde Awards.

The young Irish band The Academic has been booked to perform at the casual event, set for March 1 — three days before the Academy Awards — at J.J. Abrams’ Bad Robot offices in Santa Monica. Abrams will emcee as usual.

The always entertaining soiree was launched by the nonprofit US-Ireland Alliance to laud those from Ireland who contribute to the worlds of film, television and music. Hamill, a naive of Oakland, California, is the latest in a line of “honorary Irishmen” that often are saluted.

Malcomson, born and raised in Belfast, Northern Ireland, last year completed her fifth year on Liev Schreiber’s Ray Donovan as the cancer-stricken wife and mother Abby Donovan.

The 47-year-old actress “held nothing back in this fifth season,” Trina Vargo, founder of the US-Ireland Alliance, said in a statement. “In a recent interview, Paula said, ‘I hope that I ended my tenure on the series on a high note. I did my best. I wanted to get this right.’ She did, she did, and she did. We’re honored to honor her.”

Malcomson recently worked in the U.K. for the first time, starring with Sean Bean on Jimmy McGovern’s new U.K. drama Broken, and she just completed a stint on the BBC series Come Home opposite Christopher Eccleston.

Dublin native Keoghan, 25, will be honored as the “Wilde Card,” presented to an up-and-coming Irish talent. (Saoirse Ronan was a recipient of this award in 2010).

Keoghan’s American Animals is based on the true story of four college students who stole valuable manuscripts from a university library in Kentucky. The Orchard and MoviePass on Wednesday acquired North American rights to the film, directed by Bart Layton.

Keoghan sailed with Mark Rylance in Christopher Nolan’s best picture Oscar nominee Dunkirk, and he’s up for an Independent Spirit Award for his turn in Yorgos Lanthimos’ Killing of a Sacred Deer opposite Colin Farrell and Nicole Kidman.

The Academic — Craig Fitzgerald (vox/guitar), Dean Gavin (drums) and brothers Matt (lead guitar) and Stephen Murtagh (bass) — recently released their debut album, Tales From the Backseat. The rockers have toured with Twenty One Pilots, Noel Gallagher and The Kooks and opened for the likes of The Strokes and Pixies.

Source: The Hollywood Reporter

‘American Animals’: Film Review | Sundance 2018

Bart Layton’s first narrative film is a 2003-set true-crime thriller starring Evan Peters, Barry Keoghan, Blake Jenner and Jared Abrahamson.
One of the most esoteric and far-fetched crimes in 21st century annals is recounted in dazzling fashion in American Animals. Borrowing from the best but, at the same time, forging a bold style all his own, British filmmaker Bart Layton, known for his highly successful, U.S.-set 2012 documentary The Imposter, again turns to the history of bizarre American crimes to relate a story that would be hard to invent. While bowing to modern stalwarts of the genre like Michael Mann, Oliver Stone and, above all, Quentin Tarantino, Layton employs the contents of his own large bag of tricks to tell a tale both engrossing and grotesque. This is an indie that could go places.

Layton impudently signals from the outset that he’s not playing the game by the conventional rules when alternating titles announce that “This Is” and “This Is Not Based on a True Story.” Striking opening moments devoted to illustrations of birds of prey and young guys disguising themselves to look older further suggest something unusual is in the works.

And so it is, as the film charges out of the gate in 2003 to expose the roots of a heist unusual both by its very nature and by the characters and motives that lay behind it. Best buds Spencer (Barry Keoghan) and Warren (Evan Peters) have remained in hometown Lexington, Kentucky, to attend Transylvania University. They seem both bright and restless, unsure what they want to do with their lives but certainly equipped with enough smarts and advantages to make a go at whatever they might choose to pursue.

One of the prides of the school is the special collections library, which notably includes original editions of John James Audubon’s extraordinary Birds of America as well as a unique Darwin volume. For no particular reason, it dawns on the boys that it probably wouldn’t be too difficult to steal these books from under the nose of the archive’s librarian (Ann Dowd) and make a small fortune from their sale.

These amateur would-be criminals hatch their plan, deciding they need to recruit two accomplices and soon find them in fellow students Chas (Blake Jenner) and Eric (Jared Abrahamson). They then work out the logistics, which don’t look too daunting. Indeed, for professional criminals, the minimally guarded archive would likely not pose much of a challenge at all, if they would ever think to bother with it.

The basic story is bizarre enough to arrest one’s interest from the outset — well-off kids deciding to become criminals out of no pressing need — but Layton shrewdly adds another layer by gradually introducing present-day on-camera commentary from the actual foursome who schemed to pull off the heist. Perhaps it took a documentary filmmaker to cook up such a dual-perspective narrative. In the event, the device adds a great deal to the film’s impact, as the distance of time provides a more thoughtful consideration of the men’s youthful indiscretions as well as a rueful assessment that adds an almost absurdist comic edge to their increasingly amateurish behavior.

Layton displays an expert’s hand at slowly turning up the heat on the band of amateurs as they try to hatch their plot. They go to New York and beyond to line up a fence (Udo Kier, in briefly), work out disguises, the ideal timing (during finals), their escape plan and so on. But there are also plenty of exigencies they fail to consider, and when you think back on the multitude of classic heist films through the ages (The Asphalt Jungle, The Killing, Rififi, Odds Against Tomorrow, GoodFellas, Reservoir Dogs, et al.), you realize how unprepared and out of their depth this foursome is.

Some of the boys realize this, or have last-minute misgivings for other reasons, but they go ahead, adorning themselves with gray hair and beards, donning heavy coats and hats and, in a sweat, invading the special collections library. But to be sure, what can go wrong does go wrong, and Layton smartly stages the extended robbery and getaway with a combination of visceral excitement, personal panic and absurdist slapstick.

At the same time, the inclusion of on-camera commentary from the real culprits, now 14 years removed from the crime, adds a perspective unique to the genre, endowing the film with a more mature view of youthful misdeeds — as well as forcing the viewer to ponder the question of why these relatively well-off and intelligent students would voluntarily brand themselves as criminals for the rest of their lives for no reason at all.

Both as a writer and director, Layton delivers the dramatic goods here with the skill of a pro at the top of his game while adding the rueful perspective of time’s reassessment of youthful indiscretions; this has to rate among the most accomplished and fully realized big-screen debuts of recent times.

The young actors, the only immediately recognizable one being the off-beat-looking Keoghan (The Killing of a Sacred Deer) as the nominal lead among rough equals, deliver with bristling, edgy work. Craft contributions, notably the editing by Nick Fenton and Chris Gill and the score by Anne Nikitin, are aces.

Source: The Hollywood Reporter

The Irish Times | Barry Keoghan: Ireland’s next superstar actor

He first came to prominence in TV crime drama Love/Hate. Now he’s making movies with Christopher Nolan, Nicole Kidman and Colin Farrell. But in his heart he’s still a lad from inner-city Dublin

Barry Keoghan has come a long way, but one formative professional controversy won’t leave him alone.

It is May and we are on the roof of the Palais des Festivals in Cannes. Helicopters land over his left shoulder. The Mediterranean gleams behind mine. Yorgos Lanthimos’s The Killing of a Sacred Deer has received raves after its early-morning press screening. Keoghan, stunning as a malign, passively aggressive presence, is entertaining the fourth estate before the red-carpet premiere later in the evening. Everything is going smoothly until we are interrupted by what sounds like a cat trying to escape from a barrel.

“What is that?” he says.

“I think it has to be a bird.”

A fierce maritime creature out of Coleridge lands on a nearby wall and eyes us malevolently. Is that it? The noise continues.

At this point, a senior British PR professional trots past and gives Keoghan a wink.

“You killing a cat again?” she says.

It’s four years since Keoghan’s character shot that poor cat in Love/Hate. In the interim, he’s had decent roles in Yann Demange’s ’71, Rebecca Daly’s Mammal and, most conspicuously, Christopher Nolan’s Dunkirk. The air around him is alive with expectation. Yet even the English can’t seem to shake off the blasted cat.

“Oh Jesus yeah. We’re in France and they know about it,” he says.

Now 25, Keoghan is friendly, but cautious. You get the sense that, after a difficult childhood, the Dubliner has learned to measure every word. Dressed in a big white shirt that glows in the exhausting sun, he is never too far from an uncertain, crooked smile. We saw that at the press conference earlier this morning. Settling in beside Nicole Kidman and Colin Farrell, his co-stars in The Killing of a Sacred Deer, he joshed on a prematurely live mic with the publicity people. The name is “Keoghan”, he explained, It means “wolf”.

“Not a lot of people know that,” he says with a laugh. “I used to post Instagram pictures of wolves. I was doing a picture called Black 47 with Stephen Rea. And it was him that wondered what it was in Irish and he looked it up on a database. Wolf cub? I did not know that. They’re my favourite animals.”

Keoghan may still be a young fellow, but it’s a surprise to hear he has never acted beside Farrell before. Farrell is everywhere. Keoghan is in most places. You would imagine they’d have rubbed against one another. At any rate, he says all the right things. Farrell is, after all, now of an age to be a mentor.

“The first time I saw him he gave me a big hug,” Keoghan says. “He is like a lad from down the road. He is a very caring man. He looked after me a lot. I learned a lot from him. And I don’t mean just being an actor. You learn manners. You see him talking to people and you realise that’s how that should be done. You learn life lessons.”

That’s interesting. When Farrell was breaking through there were few Irish superstars to offer guidance or provide warnings. The country was still coming to terms with its newfound vogue.

“Hollywood came to Colin when he was really young,” Keoghan agrees. “He was Hollywood. And he’s just a remarkable guy. I grew up watching him. Intermission was my favourite film. I looked up to him and Cillian Murphy. ”

Keoghan grew up in and around the Summerhill quarter of central Dublin. Those were grim years. “Heroin came into Dublin, and it caught every family. My mother was one of the unlucky ones,” he told the Hollywood Reporter recently. He spent a while in care before moving in with his indomitable grandmother.

“My mother passed,” he says soberly. “She passed when I was 10 or 11.”

He remains fiercely proud of where he came from and knows he had fewer advantages than most of his contemporaries in the business. Acting crept up on him. Keoghan was a good footballer and still is a very good boxer. Those seemed like more obvious routes to success. Then an audition for Mark O’Connor’s 2011 film Between the Canals opened up fresh possibilities.

“Acting wasn’t the top thing,” he says. “To try and finish school was a big thing. I went to an open audition for Between the Canals and that was a big thing. I suddenly thought: Ah, yeah! Then I started getting brought away to do roles. That’s when I got taken seriously.”

Keoghan has a presence and an intensity that drags all energy to his corner of the screen. Nobody else can collapse into mischievous laughter with such enthusiasm. But he is also capable of the terrible calmness that stirs such horrid undercurrents in The Killing of a Sacred Deer. He takes the business very seriously. He wants others to do the same.

“I am trying to create a space for people who don’t have a lot of opportunities too,” he says. “That’s true in the countryside as well. They don’t have these opportunities. If you’re from the upper or middle class and you want to do it you can do it. I’m here in Cannes now and I really have to check myself. Is this real? But you can’t let that stuff hold you back.”

The role in Love/Hate really changed things for him domestically. There have been very few drama series in Ireland’s history – The Riordans was another – that caught the collective imagination so vigorously. Tabloids reported the hoodlums’ appalling antics with the same assiduousness they brought to real news featuring real people. There were, after his most notorious scene, fears of (ahem) copycat killings.

That coverage brought the actors proper celebrity. That can change a person.

“I was always a fan of the show. I watched it every Sunday. It was great,” he says. “Love/Hate was weird. They say you change. But you don’t. People change towards you. They don’t know how to deal with you. That’s because they put you on this platform in their heads. That opened a lot of doors. Then ’71 came along and that was the one for me. That introduced me to English film-makers.”

The Killing of a Sacred Deer will open further doors. Aside from anything else, it proves that Keoghan can effectively play an American.

Some time after our interview, I encounter the fine young US actor Charlie Plummer, star of the upcoming Lean on Pete. Keoghan had admired his performance in an underrated film called King Jack and got in touch. They ended up becoming close friends.

“When he was doing Killing of a Sacred Deer I was doing Lean on Pete,” Plummer tells me. “He reached out to me and asked me to record my accent. He used that to work on for Killing of a Sacred Deer. Isn’t that funny? And his accent is really good.”

It is good. Better still is the menace he brings to the kid who has some mysterious hold on Colin Farrell’s arrogant surgeon. “He plays a lot of baddies,” Plummer says.

He will play more. He will also play softer characters. He will win the biggest awards. There seems, however, little chance that Keoghan will lose sight of where he came from. He returns frequently to the importance of Ireland.

“I talked to my brother a few years ago,” he says. “And I told him, this is going to happen. That Conor McGregor thing is important: the law of attraction. Conor has been a huge help to us Irish people. He really inspires us. He has been like a god to me. It’s the way he goes on. He gives us all confidence.”

I suppose Keoghan does radiate a kind of confidence. But he has none of the McGregor swagger. You have to chip away to get at his inner strength. Like McGregor, he works hard. And he knows how to handle himself inside the ring.

“I always do boxing whenever I go away,” he says. “I join a boxing club wherever I go. I train for eight weeks. I do that wherever I go. You have the gloves. You can spar. I am doing that since I was 15. I am going to fully commit and get my boxer’s license and go for it.”

Really? That demonstrates an impressive level of commitment. Any duffer can spar. It takes focus to properly commit. “Oh, yeah. They say: ‘Be careful with the face.’ Look at this face! Be careful with that? Ha ha! It’ll give me a bit of character. Right?”

Keoghan has had quite a year. Christopher Nolan’s Dunkirk was celebrated as cinema of effect: the combat noise, the rushing camera, the surging score. But, at the film’s heart, Keoghan, Mark Rylance and Cillian Murphy – together on one small boat – got to act out a neat chamber piece. They provided the emotional ballast. That shoot took him to various watery bits of England and France. Much of Lance Daly’s intriguing Black 47, a tale of the Famine, was shot in Luxembourg. This is how the business works. Everything is now a little global.

“Yeah. It’s great. And I become more Irish when I go away,” he says laughing. “I kick myself that I don’t speak Irish. Ah man, I’d love to. I am going to learn. We are fighters. We are storytellers. We are musicians. We are a nation of unreal talent and magic. You don’t feel that when you’re growing up. You don’t see that until you go away and you hear how much respect people have for Ireland.”

Just a hint of exile brings out the patriot?

“I start loving my country. I sing ballads to myself in my room. It’s just amazing.”

As we speak, there is Cannes to be dealt with. The Killing of a Sacred Deer will go on to share the best screenplay award with Lynne Ramsay’s You Were Never Really Here. Keoghan will appear on every other journalist’s “one-to-watch” list. He has passed through the fires with reputation enhanced.

“It’s been . . . Look at it,” he says, momentarily wordless, as he gestures to the yachts below. “I’ve seen pictures of this place and saw the movie stars that went through here. Paul Newman and that. Amazing.”

That red carpet is still to come. Does he have his dinner jacket?

“I do. Armani gave it to me. They gave it to me!”

He wags his head in astonishment.

We never did discover what sounded so like a dying cat.

Source: The Irish Times

The Killing of a Sacred Deer | Official Trailer #2

From writer/director Yorgos Lanthimos and starring Colin Farrell, Nicole Kidman, Barry Keoghan, and Alicia Silverstone. The Killing of a Sacred Deer – Now Playing.

RELEASE DATE: October 20, 2017
DIRECTOR: Yorgos Lanthimos
CAST: Colin Farrell, Nicole Kidman, Barry Keoghan, and Alicia Silverstone

The Killing of a Sacred Deer | Official Trailer #1

From writer/director Yorgos Lanthimos and starring Colin Farrell, Nicole Kidman, Barry Keoghan, and Alicia Silverstone. The Killing of a Sacred Deer – Now Playing.

RELEASE DATE: October 20, 2017
DIRECTOR: Yorgos Lanthimos
CAST: Colin Farrell, Nicole Kidman, Barry Keoghan, and Alicia Silverstone