B+

Gritty ensemble movies with interlocking stories have become commonplace in recent years, and most of them have been at best tolerable. But “interMission” is a different matter altogether. This debut feature from writer Mark O’Rowe and director John Crowley is a fast-moving, wonderfully rowdy, terrifically entertaining collage of stories involving low-class denizens of contemporary Dublin. The narrative is intricate but clear, boasting some witty surprises on the way to a satisfying conclusion and showcasing a bundle of remarkable performances. (It also employs occasional shocking bursts of violence to underscore the pain that simmers beneath the surface, while featuring a good deal of rough language–though the thick accents make words that might otherwise be offensive curiously palatable.) Despite the coyly capitalized title, “interMission,” while by no means a profound film, is a hugely enjoyable one–so good that you’re even willing to overlook the major coincidences needed to tie all the plot threads together.

The character who ultimately proves the major link among the others is Lehiff (Colin Farrell, looking like the skin-head ruffian he briefly essayed in “Veronica Guerin”), a petty crook whom we meet as he first sweet-talks, then brutally robs a clerk in a convenience store. He escapes, but is later hassled by vain, too-tough police detective Jerry Lynch (Colm Meaney), who’s approached by TV journalist Ben (Tom O’Sullivan) to become the subject of a “Cops”-like documentary. Meanwhile John (Cillian Murphy) and best buddy Oscar (David Wilmot) are stuck as stock boys in a huge supermarket presided over by pompous martinet Henderson (Owen Roe). John’s unhappiness is exacerbated by his recent breakup with long-time girlfriend Deidre (Kelly Macdonald), who’s taken up with married banker Sam (Michael McElhatton), who abandons his wife Noeleen (Deidre O’Kane) to move in with her. This arrangement troubles Deidre’s mom Maura (Ger Ryan), but really angers her sloppy sister Sally (Shirley Henderson), who was brutalized by her last boyfriend and hasn’t gotten over the experience. These two make headlines of their own when they help passengers out of a bus driven by Mick (Brian F. O’Byrne) that overturns after a kid (Taylor Molloy) tosses a rock through its windshield, costing Mick his job.

These are the main figures in the script, but O’Rowe surrounds them with other colorful types, especially in the pub and dance-hall sequences. What’s important, though, are the links he draws among the major players. Lehiff plots a robbery that uses Deidre to target Sam and enlists John, Oscar and Mick as his partners. John pines after Deidre while Oscar has a fling with the despairing Noeleen before linking up haltingly with Sally. And Jerry takes aim at Lehiff with Ben in tow. Clearly the level of accidental connection is enormous, which would sink a lesser film; but here the sharp writing, deft direction and quick pacing make it not just palatable but curiously comforting. And the cast seize every opportunity the writing offers. Farrell is ferocious, occasionally funny and at times almost pathetic, and so is Meaney. Murphy, meanwhile, makes a charmingly lovesick swain, well paired with the dim but likable Wilmot. On the distaff side, Henderson is a glum riot (the running joke about her moustache is perfect), and O’Kane is a convincing fury. Everybody else is solid, too, as is the production, with Ryszard Lenczewski’s apparently hand-held cinematography giving the picture considerable intensity and the pulsating soundtrack a definite plus as well.

“InterMission” isn’t a deep movie; it’s a grubby, complicated divertissement that leads up to two romantic couplings–one entirely predictable, the other unlikely–as well as a shooting, a chase and a variety of revelations. But it’s fast, funny and surprising–a slight but winning treat, with a nice strain of harshness to give it punch. Give it a try.