film reviews, interviews, features | BRWC

Author: Alton Williams

  • REBORN: Barbara Crampton Interview

    REBORN: Barbara Crampton Interview

    Ahead of Horror Channel’s UK TV premiere of Julian Richards’ REBORN, on Sat 22 August, actress, producer and genre icon Barbara Crampton reflects on how You’re Next changed the direction of her career, the joy of discovering new talent and the possibility of directing one day…

    Talk about art imitating real life! REBORN is about a B-Movie actress trying to get back in the game after a career rough patch. Is that what you responded to in the script?

    That was certainly something I could relate to. As I hit my late 30’s, jobs started to dry up and the phone didn’t ring as often. I was married around that time and my husband convinced me to move to San Francisco as he was being transferred with his work. I honestly thought I was leaving Hollywood and the film business behind. I wasn’t sad as much as I looked forward to a new adventure with my husband and hoping for the children who came very quickly. I felt that perhaps I had already made my mark in RE-ANIMATOR and FROM BEYOND and that would be that. About six years later, I received a call out of the blue to appear as the mom in YOU’RE NEXT. I did it as a lark, for fun, not knowing the filmmakers or their wild talent and not realizing the new path that special film would put me on. I feel like my character in REBORN was ME hoping to get a part for many years and then being fortunate enough to be offered a stellar film like YOU”RE NEXT. That would be akin to the role my character In REBORN receives from Peter Bogdanovich. So in reality, what happens to Lena in the film happened to me. 

    Although director Julian Richards had you in mind for the part of Lena O’Neill early on, you were actually cast right at the very last minute. Was that jumping in with virtually no time to prepare a difficult challenge? 

    Another wonderful actress was cast before me even though Julian had me in mind at the outset. Sometimes casting takes place by committee and not everyone gets their first pick. The other gal wasn’t able to do the part after all and so I was called in with about 48 hours notice. It was a bit harrowing. I read the script once, packed up my car and drove down to LA within 24 hours. I knew many of the people on the film so I really leaned in for advice from our DP Brian Sowell, who also worked on BEYOND THE GATES, Michael Pare who I’d worked on PUPPET MASTER: The Littliest Reich with and the effervescent Rae Dawn Chong, whom I didn’t know, but became a close and trusted ally on set. Julian And I know each other well and he trusted me and I appreciated his gentle care in guiding me along on the role. We filmed many scenes in Brian Yuzna’s house, which doubled for my character’s residence and it was warm and welcoming to see him shuffling about in his slippers during our filming.

    CARRIE and FRANKENSTEIN are the obvious inspirations for REBORN. Did you see any other resonances in the script you wanted to draw attention to? 

    As far as the character of Tess is concerned those two films are apt references. For me and from the perspective of my character, the film is about regret and second chances and what gets in your way, if you let it. Lena is held back by something in her past. She’s haunted by the death of her daughter and she just can’t move forward. She’s stuck both in both her head and heart. I actually looked at REBECCA 1940, as the leading character played by Joan Fontaine is stuck by the overwhelming shadow of her new husband’s deceased wife. I also used aspects of IT’S A WONDERFUL LIFE. Jimmy Stewart as George Bailey is so consumed by his life, he can’t see the goodness of what’s right in front of him. Of course I always use myself. How would I feel if I were in the same circumstances as my character? My own children mean the world to me and if I’d lost one…. That thought are pretty devastating.

    Barbara Crampton in REBORN
    Barbara Crampton in REBORN

    You shot a lot of the movie in Brian Yuzna’s house, the producer of your horror breakthrough REANIMATOR. Did you ask him for that favour? Are all the framed movie posters a fixture in his house or just there to help your character’s back-story?

    I believe John Penny, our producer, asked Brian if we could use his house. It’s right off Hollywood Boulevard and it has a lot of old world charm and glamour. Perfect for Lena’s house. Pretty much all the posters you see on the wall belong to Brian and some of the items reflect movies we’ve done together so it was perfect!

    What an incredible cast, some you worked with before; Chaz Bono, Michael Pare (PUPPETMASTER: THE THIRD REICH, Rae Dawn Chong, Monte Markham (WE ARE STILL HERE) and more! Is a prior connection a blessing or a curse?

    It’s always a blessing unless you didn’t get along with someone! I started my career working with Jeffrey Combs, made 4 projects with him. The familiarity you have with someone always bleeds into the work and there’s a comfort, especially on indie horror where you’re working very quickly. I very much enjoy working with people I know and trust. It was a joy to work with the legend Monte Markham once more. Meeting Chaz Bono was fun, as he is so excited and passionate about the work, although we didn’t have any scenes together. I do love working with new people as well. I feel like I learn something from just about everyone I work with and I am able to collect may new friends along the way.

    Did you ever expect to get so busy post YOU’RE NEXT?

    No! I thought it would be just a brief return to acting and that would be that. Yet, I had such a great time performing again, I knew I had to return to working if I could. I actively sought out more roles, hired a manager and became reacquainted with my agent. After I did SUNCHOKE, ROAD GAMES and WE ARE STILL HERE, I felt like people knew me again, that I was serious and committed to a second round of my career. People then started to call me. In the last few years, I’ve also been working as a producer and I can easily say I’m more excited about this business than ever! I don’t intend to slow down.

    Your career resurgence has been one of the greatest and most gratifying aspects of the current genre scene. What do you see as the main differences between working with Stuart Gordon etc in the 1980s heyday as opposed to now? 

    There’s more being made. It’s wider field and the kids today know more about all aspects of film making then in the 80’s We all stayed in our lanes then: Director, actor, producer. But many wear more than one hat today and it’s easier and more accessible to be able to go out and make something without a studio. The emergence of smaller film festivals has allowed new filmmakers to find an outlet for their art to be showcased and network with other like-minded creatives. A young filmmaker can get noticed and make a name for themselves through these fests. Hopefully they can parlay that into working on bigger material. 

    Is directing something you would like to try? If so, what sort of horror subject would attract you the most? 

    You really need to make a commitment to one project for at least a whole year and while the idea is intriguing to me to direct, I have so many other projects I’m developing as a producer and have the occasional acting gig and so it would be hard to fit in directing a feature. However, I would love to direct a short and I’m keeping my eye out for material for that possibility.

    As the First Lady of FrightFest, what value do you see in the global genre festival circuit of which you have become so much a beloved part?

    These fests are the lifeblood of independent genre cinema. All these global fests and the talented programmers who run them are like grand hosts who introduce the world to fresh and new voices. They are the biggest champions to new filmmakers, many of whom prove themselves to be so gifted, they are invited back again and again. Without them, how who we meet these new talents? The audiences love to watch new films and studios and distributors send scouts to check out emerging talent at film fests across the globe. Also, I am able to meet many genre loving and passionate cinephiles and the fest circuit is really so much fun! Movies, panels, karaoke, contests, celebrations!

    Finally, what’s next for you?

    I produced and starred in JAKOB’S WIFE, which we finished filming right before the covid-19 shutdown. We are currently in post and it will be available sometime in 2021. I’m working hard on developing three other features and one TV show. Hope to see you all again soon in the flesh with hugs and love…

    REBORN is broadcast on Horror Channel, Saturday 22 August @ 21:00

  • Flash Gordon Is Highest New Entry

    Flash Gordon Is Highest New Entry

    Flash! Aha! It’s a landmark fifth week at Number 1 for Trolls World Tour as it finishes ahead of its closest competition by 7,700 sales, extended its reign as the longest standing Number 1 of 2020 so far.

    The week’s highest new entry, 1980 sci-fi classic Flash Gordon debuts at Number 2 following a 40th anniversary reissue and its return to cinema screens.

    Famously featuring a soundtrack written, produced and performed by Queen, Flash Gordon tells the story of the eponymous American football hero (played by Sam J. Jones) who sets off to the planet Mongo to fight tyrannical emperor Ming the Merciless, who is intent on destroying the earth.

    Onward drops to 3 as Star Wars Episode VI: Return of the Jedi comes in at Number 4 following the release of its limited edition SteelBook, the latest in a line of Star Wars Steelbooks being released weekly.

    Meanwhile, 1917 rises four to Number 5, biographical drama Le Mans ’66 zooms up 20 places to Number 6, Sonic The Hedgehogholds at Number 7, Jumanji: The Next Level falls to 8 and Dolittle returns after climbing five spots to Number 9. Rounding off the countdown, Spies in Disguise tumbles to Number 10.

    Elsewhere in the Top 20, 1989 comedy classic Bill & Ted’s Excellent Adventure enters for the first time at Number 17. The much-loved film starring Alex Winter and Keanu Reeves enjoys a reissue on 4K just ahead of the long awaited third film in the series, Bill & Ted Face The Music, which is scheduled for release later this year.

    This week’s Official Film Chart features a sneak peek of sci-fi classic The Fifth Element starring Bruce Willis & Gary Oldman. The film is getting a re-release in a 4K format and is available to buy across disc & digital from August 24.

    The Official Film Chart Top 10 – 19th August 2020

    LWPosTitleLabel
    11TROLLS WORLD TOURDREAMWORKS ANIMATION
    NEW2FLASH GORDONSTUDIOCANAL
    23ONWARDWALT DISNEY
    NEW4STAR WARS VI: RETURN OF THE JEDI20TH CENTURY FOX HE
    951917ENTERTAINMENT ONE
    266LE MANS ’6620TH CENTURY FOX HE
    77SONIC THE HEDGEHOGPARAMOUNT
    58JUMANJI: THE NEXT LEVELSONY PICTURES HE
    149DOLITTLEUNIVERSAL PICTURES
    410SPIES IN DISGUISE20TH CENTURY FOX HE

    © Official Charts Company 2020

    VIEW THE FULL TOP 40 – https://www.officialcharts.com/charts/film-chart/

  • Interview: Jesse O’Brien, Two Heads Creek Director

    Interview: Jesse O’Brien, Two Heads Creek Director

    Ahead of the UK premiere of TWO HEADS CREEK, a playfully dark cannibal horror comedy, director Jesse O’Brien talks about the joys of cannibal karaoke, tackling immigration issues and filming in a haunted hotel.

    How did Jordan Waller’s TWO HEADS CREEK script end up in your hands and did you see it as more a family comedy than a cannibal gore-fest?

    Jesse – Producer Judd Tilyard and I were developing one of my own scripts, Inherit the Earth, which we thought would take a while to finance – and during that process he asked if I’d like to take a look at another script, which was then called Flesh and Blood. I read it with a sense of hesitation. Did I want my second film to be a cannibal horror comedy set in the outback? But from page one, Jordan Waller’s writing really leaped off the page. I knew immediately it was a film with something to say – a hilarious parody of our greedy and violent attitudes towards immigration – but it was also filled with a lot of heart, all about a family finding each other.

    Did Waller always want to play Norman, or was that budgetary casting?

    Jesse – Jordan wrote it with himself in mind but when I was presented with the project, I didn’t know him. Our producer Jayne Chard, who was so wonderful to work with, really believed in Jordan. His involvement as a very collaborative writer, as well as his vision for himself as a unique and charming leading man, was really a gift to this film. He and I clicked immediately, and he had a lot of trust in me when it came to interpreting his words.

    Waller and Kathryn Wilder (playing Annabelle) are brilliant as the bickering siblings who immediately turn supportive of each other in the face of others criticizing them. Was their chemistry instant?

    Jesse -Casting Annabelle was a challenge, because we didn’t just need to find someone to play Jordan’s sister – we needed a twin sister. So looks were important. We saw a lot of audition tapes. The character is a bit stuffy and conceited, so we needed that, but we also needed her to evolve and be likeable underneath that facade. So finding both was a real challenge. When we presented Kathryn’s audition tape to Jordan, he was delighted, because they happened to have met and hung out before. After they got together and filmed some scenes to show us, we knew their believability as twins was hard to deny. Every time they were on screen together, I would smile because they just got the rhythm and the tone of it all. I couldn’t be happier that we found Kathryn.

    TWO HEADS CREEK
    TWO HEADS CREEK

    Was it always the intention to channel the old school Ozploitation gonzo attitude in TWO HEADS CREEK? WAKE IN FRIGHT, TURKEY SHOOT, LONG WEEKEND all come to mind in terms of setting and atmospheres? And the gore feels very early Peter Jackson?

    Jesse – Oh yes. As I said before I couldn’t have enjoyed this if it was pure Ozploitation. But when I knew we had a solid story, the more outlandish elements just became decoration. My creative angle was to lean fully into what makes Australia goofy and silly. To do it more sinister and realistic would have been inauthentic; and Wolf Creek already has that covered. So my brief from the start was to do a 70s throwback. Welcome to Woop Woop was the biggest influence. The absurdity of Australia that it’s always flaunting itself in the background, for better or worse. The immigration themes in this are not the point of the story, but they are an important piece of the puzzle.

    Do you expect to provide a new fan base for the pop hits of Australian teen idol Normie Rowe whose fab songs pepper the soundtrack?

    Jesse – I sure hope so. It was a pleasure to bring this soundtrack together. It was my Dad, a walking rock n’ roll encyclopedia, who suggested Normie Rowe’s music, so the connection to Norman’s name was purely coincidental. As integral as Normie is, the real kicker for us was getting the rights to Skyhooks’ Horror Movie. That Cannibal Karaoke sequence was a big reason we were able to convince people to work on the film. It’s where the film becomes itself. Exploding into blood, guts, glamour and absurdity. 

    You filmed in a Queensland hotel supposedly haunted by ghosts?

    Jesse – We were warned before we arrived that our crew would be haunted, that gear would go missing, that we’d be cursed by the devil. And in preproduction, things had been going wrong…so a small part of me dreaded being cursed. But once we arrived, the whole experience was a joy. The hotel was our safe haven after a hard day’s work. Our producer was serving tequila shots from the bar we’d been filming at. We all bonded and had an amazing time. The only thing haunting us was an onslaught of green tree frogs that refused to leave anybody’s toilets. Day one, I thought I could never sit down on that porcelain with an immovable frog staring up at me. By the end, the frogs were just part of the crew.

    How did your background in visual effects help make TWO HEADS CREEK? 

    Jesse – I was pretty hands off with the visual effects this time. Empire Post managed our entire postproduction pipeline, and they hired a team of VFX artists to do our 90+ shots. I suppose my knowledge in effects helped me communicate what I wanted to see – and the effects were only there to help strengthen or improve what we captured in camera. There’s a shot where a head flies up towards the camera right after its cut off; that idea only came about because I knew the exact elements we’d need to put it together. But it was other artists who did the hard work and made it shine.

    The contrast between the British and the outbackers is stark and funny, was it difficult to get the tonal balance of light and dark right?

    Jesse – Jordan did the heavy lifting with that, because so much of the wit is in the script. I worked with him a little bit to add some more authentic Aussie spice and some extra slang. But I’d say the other important factor though is casting. I made sure we found actors who already understood the tone and could just inherently have a good time with what Jordan had written. It’s incredibly important to not settle when casting, and to cast for the right reasons. It was great to work with actors who understood the tone and were part of the gang.

    TWO HEADS CREEK
    TWO HEADS CREEK

    Why has Australia so lagged behind in the contemporary genre stakes, considering they led the field back in the 1970s/80s? Are you trying to give Ozploitation a higher international profile with TWO HEADS CREEK?

    Jesse – I didn’t have a mission to bring Ozploitation to the world, it was just a choice that grew organically out of this material. The style was the perfect fit for the lunacy Jordan wrote. I think the real glue that gave me confidence here was the music. Too much violence can put some viewers off, so one response could have been to tone it down. But I went the other way with it – really leaning into it – because when people are singing, dancing and laughing, I think you can get away with the gorier moments. In truth, if people don’t love the film overall but they walk away appreciating that Cannibal Karaoke sequence, I’ll be satisfied!

    Finally, what’s next for you?

    I’m planning a few things. Next on the slate should be Holy Water, a gothic horror that I wrote, which is set in 17th century Scotland. We have some great cast attached and we’re hoping to shoot once current restrictions allow. It’s deadly serious in tone and not at all like Two Heads Creek. But my own scripts tend be more serious, like my first film Arrowhead (Alien Arrival) was. Judd and I would still love to get my other project off the ground, Inherit the Earth. That’s basically Lord of the Flies with hellish lava monsters. Everything I do starts with strong images because I don’t want to settle for realism or everyday life…I want to be taken somewhere else when I’m on set, because if I’m excited about going inside the world of the movie, then maybe the audience will be too.

    TWO HEADS CREEK is showing online on Sunday 30 August, 4pm, in the Horror Channel Screen, as part of the Arrow Video FrightFest August Digital event.

    FrightFest Presents and Signature Entertainment are releasing TWO HEAD CREEK on Digital HD from September 7th.

  • TRIGGERED: Alastair Orr Interview

    TRIGGERED: Alastair Orr Interview

    Ahead of the UK premiere of TRIGGERED, his cat-and-mouse slasher, Alastair Orr talks about being inspired by old console games and why he loves working in South Africa.

    We last saw you at FrightFest with FROM A HOUSE ON WILLOW STREET, how’s life been treating you since that time?

    It’s been great. I got married, had a kid, got into massive amounts of debt with Bitcoin – I’ve made a lot of great life decisions since FrightFest 2016.

    How did David D. Jones’ TRIGGERED script end up in your capable hands?

    I was working on a bigger film with David that we couldn’t raise the money for. So he pitched something way cheaper that we could do. It’s eleven characters in the woods, so it seemed super easy on the page, but was quite a nightmare to shoot,

    Was the script really inspired by retro video games from the 1990s?

    Yes, it’s definitely inspired by the old console games where you get to steal time from your opponent, there were a couple out there back in the day. Then to some extant even your Street Fighter and Mortal Kombat games had the element where you have to kill your opponent before your time runs out. Things have come full circle now with Battle Royale games like Fortnite, but we wanted to make something with old-school graphics and sound effects and music, so we feel our film is definitely a throwback to our childhoods as opposed to the new wave of these type of games.

    What do you think you brought to the project or was everything very much in place in the final draft?

    David did an awesome job getting it over the finish line and shoot ready. It was only on set when things bombed out that I was able to step in and make decisions on the set. If he was down in South Africa I’m sure he would’ve been right there next to me making those decisions. Script-wise…his original idea was to have you get rewarded with time by doing certain activities like helping your friends out, or getting closer to solving the murder mystery that runs throughout the film. We decided to simplify the gamification a lot once we got closer to shooting.

    Give an insight into how you assembled the cast: what qualities were you mainly looking for?

    We were looking for actors that just wanted to be there and didn’t bring a plethora of demands and attitude. We knew it was going to be a tough shoot so we looked for kids that had a great attitude and were up for anything. We also tried to cast the actors as close to the characters as possible so that we could improves if necessary.

    Just like with your past four movies you edited the movie yourself. Do you direct knowing in your mind how exactly you want to cut it together, or is it a more organic process than that?

    I edit my movies because there isn’t money to hire an editor, so it’s definitely not a control thing.  The editing on Triggered was harder because we had less footage. While we were shooting at night, I would do a rough cut of scenes during the day, so there wasn’t a lot of sleep going on. The pros of editing your own film are that you get to do things your way, but a serious con that worked against me on this one was that some insecurities that festered with me on set made their way in to the edit suite. I had to constantly get reassurances from the producers that this was the right way to go – where as if I had an editor, he/she probably would’ve convinced me straight away that things weren’t as dire as I thought. 

    And just like your past four movies TRIGGERED is once more in the horror thriller fantasy arena. Why is it you gravitate towards the genre?

    These are just the kind of films Ariye (my producing partner) and I want to make. We’re just not drawn to stories that don’t have some kind of genre spin on them

    What was the hardest aspect of making TRIGGERED?

    I know every filmmaker says time and money, but we really were in short supply on both on this. We got so tired of waiting for investors and finding distributors to invest in us that we decided to fund it ourselves. We (Ariye Mahdeb and I) just had to make a film. We shot for fifteen days, four of which were probably completely lost to rain, but the crew and cast never once dropped the ball. Our vests were pretty problematic also, we had to keep bringing our buddies with electrical engineering degrees onto set to keep wiring them and programming them. You really get a sense of who your real friends are when you ask them to come out and help you at midnight on your indie film.

    How is working in South Africa and what do you see as the future for genre filmmakers in the country?

    Working in South Africa is the best. People are so willing to help out and jump on board that you really do get to play with awesome tools even if you don’t have the budget your overseas contemporaries are playing with, and the government really helped us with some funding on this one also. South Africa is really exploding with Genre films now. When I started with my first film in 2010 it really was a lonely club, but now South African genre films are popping up at festivals around the world and guys are making some really awesome stuff. It’s really exciting and a lot of the directors who would usually only make drama films are now seeing how commercial Genre fair is and what an appetite the rest of the world has for it.

    Finally, what’s next?

    We’re busy with a big action movie that was scheduled to shoot this year, but with Covid hitting that doesn’t look likely. It’s a way bigger budget to what I’m used to and I’m loving the freedom a bit of extra money allows. I’m also really digging the way my horror background can tie in with the action scenes and how the two can play nicely together. 

    TRIGGERED is showing online on Friday 28 August, 9.30pm in the Horror Channel screen, as part of the Arrow Video FrightFest August Digital event.

  • Katy Perry Edition: Bits & Pieces

    Katy Perry Edition: Bits & Pieces

    Katy Perry Edition: Bits & Pieces – Ladj Ly’s explosive directorial debut Les Misérables will be released in UK and Irish cinemas on 4 September.  The film premiered in competition to great acclaim at the Cannes Film Festival winning the Jury Prize and has been nominated for a variety of awards including a Golden Globe and an Academy Nomination for Best Foreign Language Film.

    The Descent meets The Exorcist, with a dash of Raiders of the Lost Ark thrown in for good measure, in this suspenseful thrill-ride starring iconic Star Trek legend William Shatner, Jeri Ryan (Star Trek: Voyager), Jason Brooks (Star Trek, 2009), Jackie Dallas (Stranger Things) and Michael Yahn (Daredevil). Featuring, according to Nerdly, “absolutely AMAZING creature designs”, buckets of blood, and, of course, Shatner on top form, The Tomb: Devil’s Revenge is B-movie mayhem that delivers demonic thrills and underground chills. 

    Yusuf Hawkins: Storm Over Brooklyn tells the story of Yusuf Hawkins, a black teenager who was murdered in 1989 by a group of young white men in Bensonhurst, Brooklyn. Yusuf Hawkins’ death and the official response to it sparked outrage in New York, unleashing a torrent of racial tension and spurring tireless civil rights activism that exposed deep racial prejudices and inequities which continue to plague the country today.

    From Executive Producer Jason Katims, the Netflix series Away is a thrilling, emotional drama on an epic scale that celebrates the incredible advancements humans can achieve and the personal sacrifices they must make along the way.  As American astronaut Emma Green (Hilary Swank) prepares to lead an international crew on the first mission to Mars, she must reconcile her decision to leave behind her husband (Josh Charles) and teenage daughter (Talitha Bateman) when they need her the most. As the crew’s journey into space intensifies, their personal dynamics and the effects of being away from their loved ones back on Earth become increasingly complex. Away shows that sometimes to reach for the stars, we must leave home behind. Created by Andrew Hinderaker, the series is executive produced by showrunner Jessica Goldberg, Jason Katims, Matt Reeves, Andrew Hinderaker, Edward Zwick, Hilary Swank, Adam Kassan and Jeni Mulein.

    Katy Perry Edition: Bits & Pieces – Ava DuVernay’s ARRAY Releasing presents LINGUA FRANCA, written, directed and starring Isabel Sandoval. Sandoval’s third feature film, LINGUA FRANCA made history at the 2019 Venice International Film Festival Venice Days program as the first film directed and starring an openly trans woman of color to screen in competition. LINGUA FRANCA will open in select theaters and on Netflix, August 26th.

    David Blech wanted to be remembered for creating an industry that saves millions of lives. Instead, he finds himself $11 million dollars in debt, struggling to keep his family afloat and awaiting a jail sentence. Mental Illness and addiction are the powerful nemeses that threaten to bring down the one-time biotech titan as he races to develop a potential cure for Alzheimer’s Disease that could reverse his fortunes and rebuild his legacy.

    ANONYMOUS KILLERS was conceived by writer and director A.R. Hilton as an indictment of society for its hypocrisies – from its jury system to the death penalty to the American Dream – from the perspective of someone who’s been persecuted by the system.

    IFC Films is proud to present TESLA, Michael Almereyda’s (MARJORIE PRIME; EXPERIMENTER) idiosyncratic portrait of the misunderstood electrical engineering genius Nikolai Tesla (Ethan Hawke). Almereyda’s lifelong obsession with Tesla began as a spec script written in his early twenties for Jerzy Skolimowski, and has evolved using subsequently published material, with the films of Derek Jarman, the novels of Henry James and certain episodes of Drunk History cited as key influences. This freewheeling, deconstructed biopic opened at the 2020 Sundance Film Festival, where it was awarded the Alfred P. Sloan Feature Film Prize. IFC Films will release TESLA in theatres and on demand on Friday, August 21.

    Young Wallander is a young, edgy, and modern series that sees Henning Mankell’s iconic detective Kurt Wallander investigate his gripping first case. The story focuses on the formative experiences – professional and personal – faced by Kurt as a recently graduated police officer in his early twenties.

    https://www.youtube.com/watch?v=330PKywSD9Q

    Rising Phoenix tells the extraordinary story of the Paralympic Games. From the rubble of World War II to the third biggest sporting event on the planet, the Paralympics sparked a global movement which continues to change the way the world thinks about disability, diversity & human potential.

    To celebrate the release of BABYTEETH, in cinemas today, Picturehouse Entertainment is pleased to launch a clip from the film for you.

    Katy Perry Edition: Bits & Pieces – Mercedes Kilmer makes her feature film debut alongside her father Val Kilmer, in PAYDIRT, the all-action thriller that gets its UK premiere on 24 August 2020.