There’s a scriptwriting device referred to as “save the cat”. It’s when, early on, the lead character does something that displays likeable attributes, usually an act of kindness. It helps keep the audience on the protagonist’s side, preparing them for when we see their less pleasant aspects and actions later on in the story.

King Frankie’s “save the cat” moment happens very early on. Frankie (Peter Coonan) transports a young passenger in his taxi while showing a generous and playful kindness to her. It’s not a remotely subtle use of the device but it’s heavily required because while present-day Frankie comes across as a pleasant fellow, we see a lot more of the Frankie of ten years ago and that he is a tough sell when it comes to likeability.

Present-day Frankie is a thoughtful and gentle taxi driver, commemorating his father’s death. In the past, Frankie is a stressed-out, high-rolling businessman, languishing in what feels like the dying days of the Celtic Tiger (watch out for several references to tigers here).

We find “King Frankie” throwing a ridiculously over-the-top birthday party for his young daughter. Simultaneously juggling investment deals while putting off paying for said party. His avoidance of what should be a simple payment suggests that not everything is as “coola boola” as the brash and cocky persona would have you believe. A certain bubble is about to burst, maybe it already has, either way, it feels like tragedy is just around the corner.

It’s an impressive directorial debut from Dermot Malone, each performance is strong and hits the right notes and the film is beautifully shot – the opening sequence of Frankie’s Dublin Bay swim is particularly noteworthy.

Story-wise, it sometimes feels a little thin and drawn out. The film allows for some extended sequences that could come across as “padding” to the viewer – be it a singsong or a tragic (and very long) slow- motion sequence unfortunately set to Mozart’s Requiem, a piece of music that has been used so much it sadly feels like parody, no longer eliciting the response the great composer may have hoped for and undermining what should be the film’s tentpole moment.

Saying that, the film still does enough with the parallel timeline framing device, flicking back and forth between the two very different Frankies to get a powerful message across, a warning of the dangers of excess and capitalism and the importance of genuine, human connections. Not a particularly original message but never an invalid one.