Few films strut so confidently across the high-plains of mainstream cinema carrying such high-concept baggage; it may have taken several ‘cuts’ for Blade Runner to finally plant its feet, but its swagger is undeniable.
Years after the idea was officially announced, Universal have finally given the green light to The World’s End, the third and final entry in Simon Pegg and Edgar Wright’s Three Flavours Cornetto trilogy.
Tim Burton’s Frankenweenie is rapidly becoming one of my most anticipated films of the year. That certainly isn’t going to change on the strength of trailers like this one released at San Diego Comic-Con, a throwback to horror trailers of yore.
Harry Potter star Daniel Radcliffe is going to continue his move into darker cinema by taking the starring role in supernatural thriller Horns, adapted from a cult novel by Joe Hill.
Despite numerous internet rumours, Mads Mikkelsen has confirmed that he will not be playing the villain in upcoming superhero sequel Thor 2 due to scheduling conflicts with US TV series Hannibal.
You will have noticed that each retrospective has featured striking new re-interpretations of film artwork. That is the genius work of Mr Shabba, and, if your lounge would benefit from his subtle reworking of classic images, you’re in the right place.
We have a whole set of prints to give away to the winner of our competition.
Interested? More after the jump.
Two teenage brothers, Zak (Zacharie Chasseriaud) and Seth (Martin Nissen), are left alone for the school holidays in their late grandfather’s house while their parents work in Spain. Bored, isolated, wanting to score some weed but short of money, they team up with another teenager at a loose end, local boy Dany (Paul Bartel), who is trying to avoid his violent older brother Angel (Karim Leklou), a thug who acts as henchman to local drug-dealer Beef (Didier Toupy) and his implacable coke-head girlfriend Marth (Gwen Berrou). With the gullible expectation that they will solve their financial and recreational problems, the brothers enter into a disastrous deal to rent the house out to Beef as a cannabis-growing factory, which eventually leaves them homeless and penniless.
From the evidence of last night's viewing, it seems that Lionsgate's marketing campaign has scored a home run as cinemas around the country put on extra screenings to cope with hordes of screaming women. They are desperate to see Channing Tatum et al take their clothes off.
2000AD will occupy a place in the affections of anyone with a love of British comics. The creative, disruptive, overtly political publication was an important part of my childhood. My younger brother was an early subscriber and it set him on the way to an enduring love of the medium that has grown stronger over the years. My engagement might not be as intense as his (it would be difficult to match it) but I sucked up the stories and characters through osmosis, and have fond memories of Rogue Trooper, Slaine, Nemesis, the ABC Warriors and all the rest.
And then there is Dredd.
The French prison drama has recently seen significant international acclaim, gaining recognition as a source of both visual and thematic innovation. While Jacques Audiard’s A Prophet (2009) set the bar immeasurably high with its weighty exploration of morality, a suitably grimy Vincent Cassel made Jean Francois-Richet’s Mesrine (2008) double-act truly thrilling. Disappointingly, Eric Valette’s The Prey emerges as an occasionally exciting, but more often baffling, contender amongst such sub-genre heavyweights.