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Adam & Paul

Adam & Paul

Comedy · Drama · 2004

Adam and Paul are two young junkies living in Dublin and perpetually on the lookout for their next fix. During their search, they encounter various unsavoury characters and make some futile attempts at petty theft. As their day progresses, Adam and Paul get into a good share of trouble as they do whatever they can to score heroin, eventually running afoul of an imposing thug—who only drags them into more shady activities.

Movie details

Adam & Paul

“...and you thought you were having a bad day...”

2004 Comedy · Drama 1h 26m

Critical arithmetic

One number, for now.

TMDB

6.9 / 10

Community rating

Adam and Paul are two young junkies living in Dublin and perpetually on the lookout for their next fix. During their search, they encounter various unsavoury characters and make some futile attempts at petty theft. As their day progresses, Adam and Paul get into a good share of trouble as they do whatever they can to score heroin, eventually running afoul of an imposing thug—who only drags them into more shady activities.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Adam & Paul?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Lenny Abrahamson

Written by

Mark O'Halloran

Tom Murphy

Tom Murphy

Paul

Mark O'Halloran

Mark O'Halloran

Adam

Michael McElhatton

Michael McElhatton

Martin (voice)

Mary Murray

Mary Murray

Orla

Paul Roe

Paul Roe

Wayne

D

Deirdre Molloy

Marian

T

Thomas Farrell

Sleeping Bag

Court is in session

Put Adam & Paul on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Popcorn Loyalist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.