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Resurrection Man

Resurrection Man

1998

Director

Marc Evans

Runtime

102 minutes

Average Rating

No ratings yet

Synopsis

Belfast, in 1970s. Victor Kelly is a young protestant man who hates the Catholics so much that one night he begins to brutally murder them. A reporter soon tries to uncover the murder and obtained prestige for himself, while Victor sinks deeper into madness.

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Diversity & Representation

Overall Score

4.4/10

Fair


Category Breakdown

LGBTQ+ Representation

Limited

The film focuses entirely on sectarian religious conflict. There is no indication of LGBTQ+ characters or non-heteronormative narratives within the story.

Gender Representation

Fair

The narrative centers on male-driven arcs, specifically a descent into madness and a pursuit of professional prestige. Female roles are not explicitly detailed.

Racial & Ethnic Diversity

Fair

Set in 1970s Belfast, the film explores religious and political division rather than multi-ethnic diversity. The conflict is rooted in local sectarianism.

Religious & Cultural Diversity

Good

The film critiques traditional religious and social structures. It portrays religious fervor as a source of systemic dysfunction and communal instability.

Disability Representation

Minimal

There is no specific evidence regarding physical disability. The protagonist's descent into madness may touch on mental health through a criminal lens.

Strengths

  • Provides a complex critique of religious institutions and social structures.
  • Offers a deep exploration of sectarianism and the 'othering' of religious groups.

Areas for Improvement

  • Lacks LGBTQ+ representation and non-heteronormative narratives.
  • Focuses heavily on male-driven perspectives, limiting gender diversity.
  • The setting lacks multi-ethnic or racial diversity beyond local sectarianism.

AI Analysis

Resurrection Man is a localized psychological study of sectarianism in 1970s Belfast. It prioritizes the study of religious hatred and individual pathology over broad intersectional representation. The film succeeds in deconstructing traditional communal identities by showing the destructive nature of religious tribalism. However, the narrative remains narrow, focusing on masculine violence and religious-political identity. Ultimately, the work lacks the diverse casting and intersectional breadth found in more progressive cinema, functioning instead as a gritty, period-specific crime thriller.

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