Horror Channel To Celebrate Centenary of Peter Cushing With Season

On Sunday May 26th Horror Channel celebrates 100 years of the birth of one of the country’s most beloved actors - Peter Cushing (OBE).

PETER CUSHING CENTENARY DAY will be devoted to some of the legendary actor’s finest work, picked from a film & TV career which spanned 50 years and over 80 films.

Born on 26 May 1913, Cushing’s career took off in the 50s and he is probably best known for his roles for Hammer Films – in particular the sinister scientist Baron Frankenstein and the vampire hunter Dr. Van Helsing. But to younger generations he is also fondly remembered for his portrayal of Grand Moff Tarkin in Star Wars and for his many appearances as Sherlock Holmes.

The line-up:

10:00. FRANKENSTEIN CREATED WOMAN (1967)

Hammer Horror’s Frankenstein Created Woman sees Cushing in one of his most famous roles, that of Baron Frankenstein. Here the sinister scientist embarks upon his most ambitious work - bringing a young maiden back to life using the twisted soul of an executed man. Directed by Terence Fisher, this is the fourth film in Hammer's Frankenstein series and seen as the most ambitious dealing, not with the physical aspects of the Baron's work, but with questions of the soul, and its relationship to the body.

12:00 THE BLOOD BEAST TERROR (1968)

Relishing his role as a Victorian super-sleuth, Peter Cushing stars as Inspector Quennell, a Scotland Yard detective sent to a small town in the English countryside to investigate a series of suspicious deaths. Clues led him to renowned entomology professor Dr. Carl Mallinger (Robert Flemying). Through his beautiful daughter Clare, Mallinger has created a ‘were-moth’, a she-creature capable of transforming into a murderous Death Head moth.

13:30 I, MONSTER (1971)

In this loose adaption of the Dr. Jekyll, Mr Hyde story, Cushing teams up with horror-thesp regular Christopher Lee. Lee plays Charles Marlowe, a psychologist who invents a drug which will release his patients' inhibitions. But when Marlowe tests it on himself he becomes the cruel, murderous Edward Blake. It’s up to Marlowe's lawyer, Utterson (Cushing), to discover the truth. The film was intended to be in 3-D, but that was aborted mid-production.

15:00 THE BEAST MUST DIE (1974)

In this ‘beastly’ whodunit, Cushing shines as archaeologist and lycanthropy enthusiast Dr. Lundgre – one of a number of invited guests of wealthy sportsman (Calvin Lockhart) to a big-game hunt. He's sure that one of them is a werewolf and he intends to stalk and kill it. Near the conclusion, the audience have a 30-second interlude during which they can decide, who the hunted beast is. Due to the small production budget, the "werewolf" was played by a German shepherd dog

16:50 HAMMER HOUSE OF HORROR: ‘The Silent Scream’ (1980)

Cushing gives a finely-tuned performance of benign menace as Martin Blueck, a seemingly kindly pet shopkeeper who befriends a released convict, Chuck Spillers, (Brian Cox) As the trust between them grows, Blueck asks Spillers to look after the shop whilst he goes away. But Spillers and his wife find that they are trapped by the deviant mind of an ex-Nazi doctor and Blueck’s experiments live on. Directed by Alan Gibson, this episode from the first series was considered the best.


TV: Sky 319 / Virgin 149 / Freesat 138
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The Facility DVD Review

Ian Clark's much anticipated first feature, The Facility finally receives its home-video release almost a year after debuting at 2012’s Edinburgh International Film Festival. Despite delivering some sharp moments of tension and a realistic style, The Facility unfortunately lacks any lasting impact.

Eight volunteers are sent to a remote medical facility to begin clinical trials on a new drug, tentatively titled Pro-9. It soon becomes apparent that this is no ordinary drug as extreme side affects begin to appear - you know, like turning into a raging psychopath.

Although the subject of clinical trials has been tackled in the horror genre before, it still remains a chilling concept. Ian Clark furthers these chills by instilling a strong sense of realism throughout The Faculty, most notably through his almost documentary style direction. From the onset descriptions appear on screen, mixed with unfocussed close ups and establishing shots of the eerie clinical settings which gives Clark's film an unsettling familiarity.

After a rather long but well crafted build up, we get a strong sense of the foreboding horror that is expected to ensue. This is followed by several well executed moments of tension, which fortunately never unveil too much, normally a good tactic in the genre, leaving the viewers' imagination to the work. Unfortunately these tense build up gets wasted with The Facility lacking in a real scares, jumps or chilling imagery.

Most of the characters are interesting and reasonably well developed, despite all fitting into traditional archetypal genre roles. Leading character, Adam (Aneurin Barnard) although well acted, proves too nice for his own good by making some dodgy decisions - like not leaving the compound when he has the chance. A scene stealing turn from Looking For Eric's Steve Evets, as a clinical test "veteran" adds some wry humour to the proceedings. Other small joys include Chris Larkin's appearance as a wise-cracking Doctor in charge of the proceedings.

The Facility is a reasonably entertaining watch with director Ian Clark creating a solid, realistic atmosphere and strong sense of tension, as well as some welcome moments of humour. Unfortunately, The Facility is lacking in any genuine scares and ultimately proves a bit unmemorable.

★★★☆☆

Andrew McArthur

Rating:15
DVD Release Date: 6th May 2013 (UK)
Stars: Aneurin Barnard, Alex Reid, Oliver Coleman
Director: Ian Clark
Buy:The Facility On DVD

Quartet DVD Review

Quartet is a film which requires little effort, either on the part of the cast or the viewer.  That’s not intended disparagingly, indeed quite the opposite, as everything about Hollywood icon Dustin Hoffman’s directorial debut, starring Maggie Smith, Billy Connolly, Tom Courtenay and Pauline Collins, is sheer bliss - you just sit back, relax and let it wash over you.

Fading opera stars, Wilf (Connolly), Reginald (Courtenay) and Cissy (Collins), live in the rural splendor of a country retirement home, where they wile away the days reminiscing about their past triumphs.  Each year they celebrate the birthday of the composer Verdi with a concert, and in the process raise funds for the upkeep of the home.  This year however things don’t quite go to plan after the arrival of new resident.  The presence of Jean (Smith), an opera diva with thoughts above her station, not only resurrects painful memories for the trio, but doesn’t exactly prove conducive to harmony amongst the other residents either.

What a relief that Hoffman, unlike so many actors who try their hand at directing, was not tempted into a cameo appearance in Quartet.  Instead he remains, like all good directors should, out-of-sight, though not out of mind, as his touch is crystal clear on screen.  Everything, from the ensemble cast to the pastoral settings, meld seamlessly under the expert guidance of a man who is so much a part of modern cinema in front of the camera, that looking at the action from the other side will probably have felt like second nature.

The wider cast hit all the right notes as the group of aging operatic and musical stars, unwilling to accept that, for the most, their moment in the limelight is long past.  Indeed the only aspect of the film which appears slightly off-key is watching Connolly and Smith vie for prime spot.  When they appear these two old troupers banish everyone else to the wings, no mean feat when you consider the calibre of the those they’re working with.  However they’re such a delight to watch that you feel more than happy to indulge their quirks and idiosyncrasies.

This is really is the only quibble though in an otherwise perfect blend of dry wit and acid sharp timing which makes for a delightful cocktail of lasting friendships and the acceptance of the passing of time.

Quartet provides a marvelously feel good way with which to see in the new year.  Let’s just hope we don’t have to wait too long for Hoffman to flex his directorial muscle again.  Oh, and wait until the end as there is a marvelous treat during the final credits which is guaranteed to bring a tear to the eye.

★★★★☆

Cleaver Patterson

Rating: 12
DVD/BD Release Date: 6th May 2013 (UK)
Director: Dustin Hoffman
Cast: Maggie Smith, Michael Gambon, Billy Connolly, Tom Courtenay, Pauline Collins, Sheridan Smith

Buy Quartet: DVD / Blu-ray

BFI To Release Jean Rouch's Chronicle Of A Summer This Month on Dual Play

On 27 May 2013 the BFI releases the hugely influential French documentary Chronicle of a Summer, newly restored, on Blu-ray and DVD (in a Dual Format Edition) for the first time in the UK.

Shot in Paris during the summer of 1960 and released the following year, Chronicle of a Summer is the compelling result of a collaboration between anthropologist filmmaker Jean Rouch and sociologist Edgar Morin.

Jean Rouch (Moi, un noir, Les maîtres fous) and Edgar Morin set out to chronicle the everyday lives of Parisians using a mixture of intimate interviews, debates and observation. Artists, factory workers, office employees, students and others open up to the camera to share their experiences, fears and aspirations. The film became one of the most influential of the sixties, and redefined the documentary form with its use of handheld cameras and observational techniques.

Rouch, whose work inspired the likes of Jean-Luc Godard, Jacques Rivette and Roberto Rossellini, trained his ethnographic lens on the metropolis, recording a series of extraordinary sequences, including a French survivor’s Holocaust testimony, to reveal the political underlying the personal in a society struggling into the post-colonial era.

The film questions the level of reality and truth in documentary filmmaking, and offers a fascinating insight into 1960’s Parisian society.



Special Features:
• Presented in both High Definition and Standard Definition
• Brand new restoration
• Un été + 50 (Florence Daumon, 2011, 75 mins): documentary on the making of Chronicle of a Summer featuring new interviews with the participants including Edgar Morin and Régis Debray
• Jean Rouch at the NFT (1978, 55 mins): audio recording of a lecture delivered by Jean Rouch on Dziga Vertov and Robert Flaherty's influence on his work and that of his peers
• Illustrated booklet with newly commissioned essays by Professor Ginette Vincendeau

Pre-order /Buy: Chronicle of a Summer (DVD + Blu-ray)

Fasten Seat Belts Almodovar's I'm So Excited Has 'Exciting' Important Message For You

In preparation of the release of Perdo Almodovar's I'm So Excited, out in cinemas on 3rd May, we have a fantastic comical info graphic celebrating some of the cheekier elements of the film.

I'm So Excited is set upon a doomed flight heading to Mexico City. The flight attendants and the chief steward are atypical, baroque charactes whom in the face of danger, try to forget their own personal problems and devote themselves body and soul to the task of making the flight as enjoyable as possible for the passengers, while they wait for a solution. Life in the clouds is as complicated as it is at ground level, and for the same reasons, which could summarised in two: sex and death.

Follow the @PeninsulaCrew on Twitter and check out this great little in-flight-style guide to celebrate the release! The question should you be excited? Read our review here and go check out I'm So Excited when it's released in UK&Ireland 3rd May.

SPARTACUS: WAR OF THE DAMNED DVD

Rome, as they say, wasn't built in a day, and neither was the epic television drama series Spartacus which reaches its climax with the third season Spartacus: War of the Damned, newly released on DVD and Blu-ray this week. The series which has won legions of fans since it premiered with Spartacus: Blood and Sand (2010) and continued with Spartacus: Gods of the Arena (2011) and Spartacus: Vengeance (2012), is a show which is definitely not for the faint hearted. It will take those with nerves of steel to endure both the length and sheer violence of a show which brings graphic onscreen brutality and sex to a whole new level.

The fight against Rome and her oppressive regime, headed by rebel leader Spartacus (Liam McIntyre) and his bloodthirsty generals, reaches a bloody climax when he leads his army into a final battle against the empire in the form of Roman military officer Marcus Crassus (Simon Merrells) and his men. In the ensuing confrontation there can only be one victor in a battle of epic proportions.

It's always hard to be subjective if you are coming to an established television series fresh. Many shows take time to grow on you, with the characters becoming as familiar to fans as their own family and friends, with the story-lines progressing over weeks and years. Which might explain why, if this is the first time you will have seen (or in my case) heard of the Spartacus television series, you may not really get it. Having now watched the show, I have to say that I can't work out for the life of me who it's aimed at.

The show's advertising and promotional campaign makes no bones about the fact that it isn't selling itself as anything other than a drama focusing around war and sex - on which basis it is probably a pretty accurate portrayal of the pass-times of much of the Roman Empire at the time. Following the lives and intertwined relationships of Spartacus and his arch enemy Marcus Crassus, the show is a modern, high-tech take on the old Hollywood sword and sandal epic, albeit with a much grittier edge.

However, authenticity (which the show admittedly has in spades) aside, it's not long before each hour long episode starts feeling like a battle to get through. Full-frontal, man on woman, man on man and woman on woman sex which leaves very little to the imagination, as well as gory, visceral violence (including beheadings, disembowelment and crucifixion) that you wouldn't expect to see outside a video nasty, makes for tough viewing, unless you're a prepubescent teenage schoolboy who gets kicks from watching something he knows he shouldn't. The dialogue by Steven S. DeKnight also grates with a stiltedness which is clearly meant to invoke a period feel, but quickly becomes arduous for the viewer to decipher or comprehend. As for the overuse of the 'f' word which litters the character's vocabulary at every opportunity - one is simply left weary by the end.

I genuinely wish I'd got the show, as it clearly has something of interest for a lot of people. However for this critic it was a particularly unpleasant experience of epic proportions and, like the period of time it depicts, better consigned to the annals of ancient history.

★★☆☆☆

Cleaver Patterson

Rating:18
DVD/BD Release Date: 29th April 2013 (UK)
Director:Steven S. DeKnight
Cast: Manu Bennett, Daniel Feuerriegel, Lucy Lawless, Peter Mensah, Liam McIntyre
Buy Spartacus : War Of Damned:Blu-ray / DVD
Win Spartacus : War Of Damned -Enter Here (new window opens)

The Collection DVD Review

Marcus Dunstan and Patrick Melton finally unleash the slick killer sequel to their 2009 torture porn Slasher The Collector, and it’s entirely worth the wait. Picking up from where the first film left off, we find Arkin (Josh Stewart) captured by the masked madman known as The Collector, a serial killer who employs vicious traps to dispose of his many victims. This time, Arkin is dragged back into The Collector’s house of mayhem with a team of mercenaries hell-bent on saving their employer’s daughter.

Considering the fact Melton and Dunstan are responsible for the later - more schlocky - Saw sequels, it’s impossible not to draw comparisons, but that’s not exactly detrimental either because The Collection is simply a great piece of entertainment horror. Dare I, a devout Saw fan, say it’s worth your time more than Saw’s 4, 5, 6, and 7? Well...yes. The directing duo has put aside a penchant for crap scripting to construct a bombastically shameless thriller with a decent story and a terrific pace.

After a brutal nightclub set-piece, the action flips over to The Collector’s lair where he’s got enough tricks and traps to put Jigsaw to shame. Special award for fucked-up defence systems goes to the brainless junkie zombies for outright macabre, but the true prize of the whole film is the actual collection. It makes a great poster for the film, but I can’t help thinking it would have been better to keep that wee trick up the sleeve. The story sees the team split up, tortured, disposed of, and hounded through a fun house like you’ve never seen, with Arkin questioning again and again how the hell he got dragged into all this for a second time. It is gruelling and action packed, the sets are a pleasure to watch for any horror fan, and more often than not you’ll find yourself on the edge of your seat. This sort of energy is hard to find in modern horror (even Hostel has dried up) so you have to be grateful when you find it.

Keeping the fantastic Josh Stewart involved is a sure-fire way to maintain some continuity and at least attempt a bad-ass protagonist. Too often horror chucks its male heroes away in some blood-drenched sweetheart farewell that leaves the whole affair wrought with soppy after tones.  Special note goes to Lee Tergesen who lends a hand to be the other cool guy, the Cpl. Hicks to Stewart’s Ripley. The villain of the piece isn’t too shabby either, being entirely formidable, totally deranged, and genuinely mysterious. Brownie points have to be awarded for having the gall to keep the killer’s mask on, so there’s genuine potential for The Collector to get inducted into the Horror icons catalogue. With its cliff-hanger finale, Interest has been tickled.

A superior slice of fun that shamelessly flaunts a love of all things B-movie, Slasher, and gore-drenched, The Collection is a superior sequel to a dismissible first attempt. At this rate the third will be something to really look forward to.

★★★★☆

Scott Clark

Rating: 18
UK DVD/BD Release Date: 29th April 2013 (UK)
Directed By: Marcus Dunstan

Cast: Josh Stewart,Emma Fitzpatrick,Christopher McDonald

Win The Collection On DVD : Cinehouse / The Peopesmovies

Buy: The Collection On DVD

Give People What They Want In New Only God Forgives Clips

Here comes the pain in the shape of Ryan Gosling in 3 new clips for Cannes bound Only God Forgives. The new clips continue the momentum of what we've seen before, that Nicholas Winding Refn's new film will emulate Drive, likely to outdo it. Neon clad striking visuals, hyper violent, intense to the core Only God Forgive looks like it'll provide us with that substance with the expected Solid Gosling performance thing look extra spicy with Kristin Scott Thomas performance who looks like she'll the scene a few time. In these clips we do see her shine in her moment, acid tongued, intimidating, menacing urging her boy (Gosling) to seek revenge of his dead brother.

Only God Forgives has no confirmed UK release date just yet but in a few weeks at Cannes Film Festival (22nd May) things may change. USA  release date is 19th July 2013.


Only God Forgives (Solo Dio perdona) - Estratto... by SpaggyPalermo


Only God Forgives (Solo Dio perdona) - Estratto... by SpaggyPalermo


Only God Forgives (Solo Dio perdona) - Estratto... by SpaggyPalermo

source:Collider

Sundance London 2013: Blood Brother Review

Sweeping up the documentary awards at the American Sundance, Blood Brother is director Steve Hooper’s tale of his best friends journey to India that quickly became more than the gap-year soul searching experience he intended.

Rocky Braat’s move from Pittsburgh was born out of that nagging existential crisis that at times can plague us all. Desperate to fill the void in his life and aware of the possibilities that lay past the barriers of routine American life, he ditched his career as a graphic designer, booked his ticket and embarked on the road well travelled to the world’s spiritual Mecca. What followed was a life-changing experience not often shared by those passing through to grab a slice of ‘finding themselves’ before strapping on their backpack and covering themselves in neon paint to puke their new found selves’ guts out on a beach in Thailand.

The change was as whimsical as it was dramatic. At a loose end, Rocky agreed to take in a local centre for children suffering with HIV expecting to feel sad for an allotted amount of time before departing for an adventure elsewhere around the country. His usual ambivalence to children was instantly shattered by what he saw, children who not only had nothing but also suffered from this most deadly of diseases yet wore the smiles of stage children, brimming with constant enthusiasm and unabashed happiness.

Knowing then where his future lay, he cancelled the rest of his trip to stay with the children and when his visa ran out returned to the US only to sell all of his possessions and raise funds for a return trip. Quickly becoming known as Rocky Anna (meaning brother), his affection for these children was the catalyst for friend Hoover to join him overseas and document his experience.

We’ve become slightly numb to these sights, grown cynical of those white faces on Comic Relief, dipping their toe in poverty before fleeing on first-class plane tickets, our British sense of level-headedness and famed stiff upper lip often getting in the way of fully embracing projects like these. However, there’s a lack of pretence with Rocky who seems as sincere and genuine in his mission as anyone can be, making it difficult to throw some of this cynicism his way. Immersing himself completely in village life he’s able to gain the trust of the adults after they witness the rapport and affection he has forged with their children.

Along the way we see the emotional, physical and mental burden faced by Rocky that makes his an even more worthy cause. His warmth and care for the children is that most overused and derided of words – heart-warming which, apparent on screen, only adds to the sadness when one is taken ill or silently passes away in the middle of the night.

It’s often difficult to watch these kinds of films/images without a certain level of scepticism – do-gooder American saves poor third world problem – but in Blood Brother that slowly gets wiped away. Rocky has worn us down, our cynicism faded, stiff upper lip softened and faith in human kindness partially restored. Who would’ve thought it would take an American slacker to do that?

★★★★☆

Matthew Walsh

Rating: NR
Festival Date:27th/28th April 2013
Director: Steve Hoover
Cast: Rocky Braat, Steve Hoover

Sundance London 2013: Sleepwalk With Me Review

Mike Birbiglia’s journey to the silver screen isn’t your average one. A stand-up comedian by trade, he then branched out into theatre performing a one-man show based on his real-life battle with a sleeping disorder. The success of the show caught the attention of producer Ira Glass who invited Birbiglia onto his podcast ‘The Moth’ where he would become a regular contributor until eventually the two set about turning that autobiographical tale into Sleepwalk With Me – not only his first acting gig but also his debut in the directors chair.

All this may come as something of a surprise when watching this festival winning film (2012 Sundance NEXT Award) as Birbiglia seems so effortlessly natural on screen, easing us into his world with an address to camera, “This is a true story”. The need to justify its truth is an understandable one – you can imagine similar stories being dreamt up in a screenwriting lab in Hollywood furiously work shopped into an Adam Sandler vehicle. The fact that it wasn’t and these were, at one time, real events suffered by Birbiglia is no doubt the reason for it’s complete success in achieving the notes of authenticity apparent on screen.

Birbiglia stars as alter-ego Matt Pandamiglio, an aspiring stand-up who’s minutes behind the mic pale in comparison to the ones he spends serving drinks and mopping toilets at the local comedy club. Coupled with a relationship with girlfriend Abby (Six Feet Under’s Lauren Ambrose) that is coming under the scrutiny one suffers after 8 years and no proposal and the pressure facing Matt starts to take it’s toll, manifesting in bouts of sleepwalking which occur with increasing severity.

These aren’t your average zombie-walking eyes closed affairs you often catch on screen, these nocturnal activities resemble the hallucinations of a drunk, all slurry vocals and imagined scenes which are both hilarious and dangerous. Pestered by his physician dad into examining his behaviour, Matt is diagnosed with REM sleep behaving disorder – a condition that involves the sufferer acting out his dreams, something not suited to the life on the road he stumbles upon after a chance meeting with an agent.

As his set becomes more in tune with his mounting problems his jokes finally start to hit the mark with audiences lapping up his truthful tales of a stuttering relationship and bizarre sleep patterns. The new found attention means more time away from home as Matt struggles to find the right balance of caring boyfriend and successful comic.

Balance is one thing Birbiglia doesn’t find as challenging as his on-screen persona, striking a chord with his delicate marriage of laughs and heart in a film you struggle to believe is a debut. His wry observations are incredibly well-observed and ring true of the commitment issues that plague a generation of young males unable to articulate their thoughts. It’s an incredibly honest look at modern relationships handled with originality and moments of hilarity and, while comparisons with Woody Allen are unfair at this point, Birbiglia makes a case for his to be the next career to succeed with inward-looking analysis and laugh out loud jokes. An exceptionally promising debut.

★★★★½

Matthew Walsh

Rating: 15
Festival Date: 27th/28th April 2013
Director: Mike Birbiglia, Seth Barrish
Cast:  Mike Birbiglia, Lauren Ambrose, James Rebhorn