'Apartment 143' DVD Review

For a film with the tagline: “The first real ghost story”, Apartment 143 (also known as Emergo) doesn't really seem to be pulling out the stops to show us something new. Written by Rodrigo Cortes, the man who brought us Buried and Red Lights, Apartment 143 feels like it surely can’t have been written by the same man.

After being chased out of their home by unexplained paranormal events, Alan White (Kai Lennox) and his two children take up new residence in an apartment building in the city. After a week the malevolent force catches up to them and once again the family is put through Hell. Desperate for answers Alan turns to a small team of parapsychologists who, with an arsenal of high tech equipment, set out to unravel the mystery and free the family from the grips of an unrelenting nightmare.

The best thing about Apartment 143, very quickly becomes evident: the dialogue and casting. Particularly Kai Lennox’s performance as Alan White, a troubled and emotionally distraught man sent to breaking point by the supernatural occurrences around his family. Lennox’s performance is a careful study in bumbling but unrelenting love with an undercurrent of menace that allows him at least one really good scene. Also, watching Paul (Rick Gonzalez), Ellen (Fiona Glascott), and Dr. Hezler (Michael O’Keefe) interact  together, on what surely becomes their most involving case, is a plus considering that one of the few traits of Cortes’ scripts that carries to this project is his skill with dialogue.

As for plot and scares the film is a mixed bag. An early series of bumps and bangs goes for the ballsy all-out approach, but instead jumps the gun wasting a scare that we’re not in the right place for yet.  That idea unfortunately encapsulates the whole film: bad timing on scares results in non-points in the spooky department. An interesting decision on Cortes’ part is to set a lot of the paranormal action during broad daylight, probably in an attempt to dilute the predictability of the piece, but the decision rarely pulls off. Still, brownie points must be awarded for blatant affronting, the kind Cortes shamelessly pulls out the bag in both Buried and Red Lights, those shameless moments of OTT horror that could go either way actually give the piece an edge at points that many horror films fail to achieve.

The problem with the film is that we've seen it all before, it’s so recycled you know the plot before the mystery is put in place. The scary moments rely on jumps and the tension rarely gets a chance to build, the few really eerie sequences have already been done to death in other movies. Still, there are no issues with acting, it does manage a few good scares, and it at least tries to be interesting through the parapsychology slant.

Scott Clark

★★☆☆☆

Rating:15
UK DVD Release Date: 15th October 2012
Directed By: Carles Torrens
Cast: Francesc Garrido, Fiona Glascott, Kai Lennox, Gia Mantegna, Michael O'Keefe
Buy Apartment 143:DVD

Blu-Ray Review: The Wild Geese (1978)

Monday sees the Blu-Ray release of perhaps the last great British action film, The Wild Geese. Starring Richard Burton, Roger Moore, Richard Harris and countless familiar faces from film and television, The Wild Geese can only be described as a complete classic.

A wealthy British industrialist hires a crack group of mercenaries to travel to the wilderness of Africa and rescue a deposed political leader from a heavily guarded prison. However, the group leader Col. Allen Faulkner (Richard Burton) soon discovers that the threats do not simply lie in the war torn African nation but in the corridors of power back home.

From the onset of The Wild Geese we are immediately struck by the Britishness of it all - from Faulkner's Harry Palmer esque meetings with shady industrialists to Moore's Lt. Shawn Flynn's drug busts on swinging London clubs. The Wild Geese is a film chock full of atmosphere - whether it be from the gloomy darkened urban streets in the UK to the untamed wilderness of Africa, this is a visually rich tale - and what better way to compliment the classic home-grown feel of The Wild Geese than to cast some stellar British (and German) acting giants?

It is this round up the mercenaries in the first act that proves to one of the key highlights of The Wild Geese. Held together by the fearless Col. Faulkner (Burton), old pals Capt. Janders (Harris) and Lt. Flynn (Moore) are soon rounded up. This is followed by appearances of classic thesps Kenneth Griffith (as scene stealing medic, Queenie), Hardy Kruger and Ronald Fraser. Seeing the group of mercenaries "team up" builds the integral sense of camaraderie that runs through the heart of The Wild Geese, whilst also providing the viewer with a chance to see these acting icons have some fun.

The Wild Geese feels like a classic boys own adventure, taking on classic romanticised notions of the British empire. Andrew V. McLaglen (The Sea Wolves) directs this like a classic war film, but with some refreshing modern twists - most notably giving the film a gritty realism with more violence and bad language. After all being a mercenary isn't going to be all smiles is it? This gritty modern take also fuses with the classic British feel of The Wild Geese for some unforgettable results. Most notably the introduction to Moore's character where we see him take on a drug dealers, stating: "You boys are pushing bad stuff!" then forces one to eat a bag full of coke - this is action done British style.

The African based action sequences prove equally as gripping as the portrayal of the British crime scene. Starting with a tense air drop sequence and a raid on a renegade camp it becomes clear that McLaglen and editor John Glen (director of several James Bond features) have a keen eye for the action film. A personal favourite sequence sees Hardy Kruger's Lt. Coetze take out a barrage of guards with a crossbow - this gives Kruger a very welcome chance to shine.

To further improve this seminal classic, Arrow Video have remastered The Wild Geese to perfection for the Blu-Ray release, which truly looks magnificent.  As a further bonus, there is also a copy of Code Name: Wild Geese (an Italian near-remake of the film) starring Lewis Collins, Lee Van Cleef, Ernest Borgnine and Klaus Kinski included on the disc.

The Wild Geese is one of the all time great British war movies and somewhat of last hurrah for the genre. Burton, Moore and Harris prove themselves to be unparalleled cinematic icons and it is a joy to watch them do what they do best in this unforgettable classic.

Andrew McArthur 

★★★★★

Stars: Richard Burton, Roger Moore, Richard Harris , Hardy Kruger
Director: Andrew V. McLaglen
Release: 8th October 2012
Certificate: 15 (UK)

Raindance 2012:Despite The Gods Review

Jennifer Lynch’s directorial debut, Boxing Helena, a complete and utter critical failure, earned Lynch a Golden Raspberry award for “worst director of the year”, and was described by Time Out as “grotesquely misconceived”. Despite some success with 2008 follow-up, Surveillance, it’s apparent that initial critical drubbing still weighs heavy on the director’s mind.

Ostensibly a behind-the-scenes documentary about Lynch’s troubles directing the Bollywood horror movie Hisss, originally entitled Nagin; we find Lynch in India, about to embark on the most complicated and demanding shoot of her life, well aware that another botched movie could spell the end of her career as a director.

In fact Penny Vozniak’s documentary is simultaneously much less and much, much more than a typical making-of doc. Despite The Gods aims its sights squarely at Lynch herself, detailing her personal ordeal juggling the multiple demands of playing filmmaker, mother and stranger in a foreign land. As with all documentaries in this vein, it becomes doubly interesting should the wheels begin to fall off; and fall off they do.
As the shoot goes over-time and over-budget, Lynch’s relationship with producer Govind Menon becomes fractured; a superstitious crew insist on blessing the set before every take; and the whole production is hampered by the very worst weather the country has to offer.

Pozniak keeps her camera firmly on Lynch, filtering the story of the faltering production through the director herself. The end result is a film which feels profoundly personal in its telling of a complex and wide ranging series of events. It’s interesting to be given such an intimate look at the everyday stresses and strains placed on a director, desperately attempting to juggle numerous balls. With the ever-present spectre of Boxing Helena hanging over Lynch’s head, it’s a treat to see her unwind as a character over the course of the documentary. Beginning the film as the anxious and uptight “worst director of the year”, she thaws considerably, ending the journey as an infinitely more relaxed person, mother, friend and lover.

The fact that Hisss bombed in its native India, and that Lynch’s involvement continued to be constrained to the bitter end, adds another layer of intrigue to the whole affair.

An intimate look at a cluttered and chaotic subject.

Chris Banks (@Chris_in_2D)

★★★★☆

Rating: NC 15
Directed By: Penny Vozniak
Cast:Jennifer Chambers Lynch, Sydney Lynch, Govind Menon, Mallika Sherawat

'Despite the Gods' Theatrical Trailer from House of Gary on Vimeo.

Blu-Ray Review: Who Dares Wins

From famed British action producer, Euan Lloyd comes Who Dares Wins, patchy, all star action thriller.
Starring The Professionals' Lewis Collins, Judy Davis, as well as screen icons Edward Woodward and Richard Widmark, Who Dares Wins was one of Lloyd's last features. Here we are told of an SAS trouper infiltrating a group of radicals who plot to launch an attack upon the American embassy where several key dignitaries including the US Secretary of State, are staying.

The main issue with Who Dares Wins is its completely stodgy screenplay, which was surely felt dated even upon its 1982 release.  Feeling more like right wing Conservative propaganda commissioned by Margaret Thatcher, than an entertaining action film - you would be forgiven for siding with the terrorists here (well that would be if they were not so inept). It is a struggle to get past the concept that this is a terrorist group that wants nuclear disarmament, but they went to achieve this through the detonation of a nuclear bomb - someone needs rethink their plan. 

Considering that Who Dares Wins was inspired by a real event (the Iranian embassy siege in 1980), it feels completely unrealistic and unbelievable. Reginal Rose's screenplay also spends far too long focussing on Captain Skellen (Lewis Collins) infiltration of the terrorist group which verges on being completely tedious. At a bloated 125 minutes, the only particularly exciting sequence is the embassy raid - the key set piece of the film.

This sequence sees director Ian Sharp come into his own, showing a clear flair for the action scenes. Here bullets fly, smoke bombs are detonated and the previously wooden leading man, Lewis Collins gets a chance to shine as an action star. The raid sequence has not aged too well but in a film as patchy as Who Dares Wins, it is manages to become the most exciting sequence in the film.

 Fortunately appearances by the completely watchable Edward Woodward as a grandstanding police commander and Richard Widmark as the US Secretary of State, keep things reasonably entertaining. However, these are simply supporting roles with most of the screen time falling to Collins and Davis, who are rather part bland leads.

Being the top distributor that they are, Arrow Video have also included the more entertaining low-budget Italian feature The Commander (starring Lewis Collins, Lee Van Cleef and Donald Pleasence) on the release, which is worth a look.
Who Dares Wins is a forgettable, often hit or miss affair. Despite, the energetic embassy raid  in the film's latter half and two watchable supporting turns from Widmark and Woodward - there is not much else worth watching this stodgy feature for. 

Andrew McArthur

★★1/2☆☆

Starring:Lewis Collins,Judy Davis,Richard Widmark ,Edward Woodward
Director: Ian Sharp
Release: 8/10/12
Certificate: 15 (UK)
Buy Who Dares Wins: Blu-ray [1982]

Archipelago Director Joanna Hogg's Third Untitled Feature Starts Production

Principal photography is now underway on Joanna Hogg’s third writing/directing project, following the critically acclaimed and award-winning Unrelated and Archipelago. Known as Hogg’s “London Project”, the as-yet-untitled film will shoot in West London and surrounding areas for six weeks. Presented by BFI, BBC Films and Rooks Nest Entertainment, the film is produced by Gayle Griffiths (My Brother the Devil, Archipelago) for Wild Horses Film Company Limited.

 

Cast in the lead roles are artists Viv Albertine and Liam Gillick. A British singer-songwriter, Albertine is the ex-guitarist of all-female punk group, The Slits; Gillick is a British conceptual artist and former Turner Prize nominee. The supporting cast includes previous Hogg collaborator Tom Hiddleston (Thor, War Horse), who made his acting debut in Unrelated and went on to star in Archipelago.

 

Hogg’s debut feature Unrelated won the FIPRESCI International Critics Prize at the 2007 London Film Festival in addition to the Guardian Best Film Award and won Hogg the Evening Standard’s Best Newcomer Award. Both Unrelated and Archipelago, released last year, garnered outstanding critical acclaim upon their UK releases, with the latter film resulting in Martin Scorsese heralding Hogg as a “uniquely gifted filmmaker”. 

 

Hogg comments: “I continue to be fascinated by the blurred line between the comic and the horrendous - but depicting this in an ordinary, everyday context which is closer to home, and therefore more terrifying.”

 

The creative team behind the film includes previous collaborators: Director of Photography Ed Rutherford and Editor Helle le Favre both worked on Archipelago and Production Designer Stéphane Collonge worked on both previous features.

 

Artificial Eye is already on board as UK distributor and talks are ongoing with international sales agents.

Win SINISTER Poster & Bag

We love to spoil you at Cinehouse and The People's Movies  with competitions and tomorrow a horror that's been living up to it's hype Sinister will be released in UK&Ireland. When great films come out we love to celebrate a great film by giving away some great prizes and our kind friends at Momentum Pictures have given us a  poster  for one lucky reader and as a extra bonus the winner will also receive a limited edition film bag to carry those spare trousers & underwear after you check Sinister out!

"The producer of “Insidious” and “Paranormal Activity” delivers a chilling horror like no other with a movie that is being hotly tipped as the most effective edge-of-your-seat cinematic experience of the year"

Desperately in need of a best seller to revive his struggling career, true crime writer Ellison (Ethan Hawke), moves his family to the scene of his most recent story; the unsolved, gruesome murder of a loving, happy suburban family.
Shunned by the local community and strained by his obligations to his family, the discovery of a batch of home movies in the attic offers Ellison shocking proof to the crime he is investigating. Ellison notices the same unidentified figure appearing in each of the 8mm films, leaving him convinced that all the incidents are linked by a truly bizarre connection. As his investigations uncover the terrifying truth he starts to lose his grip on reality and it soon becomes clear that he is placing his own family in harm’s way.

Sinister (Momentum Pictures) is out at UK cinemas on Friday 5th October. Read Our Review

To enter this competition please answer this simple question:

Q.Director Scott Derrickson directed whose Exorcism ?

a.The Exorsism of Emily Jane
b.The Exorcism Of Emily Rose
c.The Exorcism Of Emily Blunt

Send Your Answer, Name, Address, Postcode and 2+8-5= to winatcinehouseuk@gmail.com, header your email as 'Sinister' , Deadline is Sunday 21st October 2012

Sinister is released in  UK& Irish cinemas from the 5th of October and you can find out more on both Facebook and via their twitter: @Sinister_UK.

Terms and conditions

• This prize is non transferable.
• No cash alternatives apply.
• UK & Irish entries only
  The Peoples Movies, Cinehouse and Momentum Pictures have the right to alter, delay or cancel this competition without any notice
• The competition is not opened to employees, family, friends of The Peoples Movies, Cinehouse,Momentum Pictures employees
• This competition is promoted on behalf of Momentum Pictures
  
• If this prize becomes unavailable we have the right to offer an alternative prize instead.
• The Prize is a signed Robert Cargill poster and limited edition Sinister bag
• To enter this competition you must send in your answer, name, address only, 2+8-5= Deadline October 21ST, 2012 (2359hrs)
• Will only accept entries sent to the correct email (winatcinehouseuk@gmail.com), any other entry via any other email will be void.
• label your email 'sinister'
• automated entries are not allowed and will be disqualified, which could result you been banned
• The Peoples Movies, Cinehouse takes no responsibility for delayed, lost, stolen prizes
• Prizes may take from days to a few months for delivery which is out of our control.
• The competition is opened to Aged 15  and over 
• Unless Stated Please  Do Not Include Telephone Numbers, we don’t need them and if you include your telephone number Cinehouse and The People’s Movies are not responsible for the security of the number.
• The winning entries will be picked at random and contacted by email
• This competition is bound by the rules of Scotland,England & Wales, Northern Ireland, Ireland.
• By sending your entry for this competition you are confirming you have read and agreed to these Terms & Conditions.

…………………………………………………………………………………………………………………………………………..
UK Competitions and Prize Draws at UKwins
Loquax Competitions
Free Competitions
ThePrizeFinder – UK Competitions

The Landlord DVD Review

The Landlord is a film set in a divided America. On one side stands a group of rich, prejudiced WASPs. On the other side, African-Americans, militant and poor, are engaged in a struggle for their cultural soul. But the story told does not concern their battle. Instead The Landlord tells the story of Elgar Enders (Beau Bridges), the very definition of bumbling Caucasian idiocy, who manages to stumble right into the middle of this cultural conflict.

Elgar Enders is a rich young man, not the self-made kind of rich, but the inherited kind of rich. Hailing from a palatial manor situated amidst extensive parkland, Elgar was not just born with a silver spoon in his mouth, but also has a golden fork up his nose and a platinum knife up his arse. His story begins with him buying an apartment block in Park Slope, a horrifically poor neighbourhood, with the aim of turning it into a luxury home. His plans however are somewhat derailed by a number of black tenants resolutely living in his building.

Coming as he does from the very heights of US society, Elgar would be an easy character to demonise. However he actually turns out to be fairly sweet, if exasperating, very much a 30-year old child. His initial expectation, that the tenants of his new property will just be able to leave and find new places to live, is not evidence of callousness but of naiveté. This innocent nature similarly prompts him to actually execute his landlord duties, despite his general incompetence. As the film progresses, we find him rejecting the prejudiced WASP culture he was born into and forming genuinely close relationships with apartment granddame Marge (Pearl Bailey) and dancer Lanie (Marki Bey). He also makes mistakes, most particularly with the sexually powerful, but married, Fanny (Diana Sands). But as being an idiot is as far as Elgar’s faults run, he proves to be an eminently likeable main character.

Or well, the audience should find him likeable. Elgar is actually treated fairly badly by most of his tenants, mocked by Fanny’s husband Copee (Lou Gossett) and loathed by the silent Professor Duboise (Melvin Stewart). This however doesn’t make them the baddies, but rather underscores how complicated racial politics were then (and maybe still are). Elgar is a good person, no doubt, but he is also a perfect representative of all the evils of his class: rich, white, and possessing a clumsy social arrogance that presumes he can belong in a space the militant black culture has claimed as their own. So you might feel bad for him, but it’s also easy to understand why people might dislike him on sight, especially when we are properly introduced to Elgar’s family.

Still, don’t let all this talk of nuanced racial politics put you off the film. Director/editor Hal Ashby has a sharp, satirical approach to his material and spreads the mockery liberally. There is a fantastic sequence midway through The Landlord where Elgar’s mother Joyce (Lee Grant), a woman filled to the brim with rich, fruity snobbery, gets blattered with the jovial Marge. Indeed, I remember squeaking with joy throughout Joyce’s drunken slurring (Grant proves very able at acting drunk). This proves to be just one moment of slightly wacky humour amongst many in The Landlord, and though the film is not without its notes of tragedy, it does not forget the importance of showing a good time.

So that is The Landlord: a farcical meander through the minefield of 1970s racial politics. But despite its unconventional path, it nonetheless manages to not be blown to bits. It doesn’t fall into the trap of The Help, by having a white person provide agency for the civil rights movement. Indeed, our white hero is kept out of that fight altogether. He and Lanie and Marge remain in neutral middle ground, though they are not there as a result of making some statement. It simply seems to be the place where such nice and largely inoffensive individuals belong.

Adam Brodie

Rating:15
DVD Re-release date: 1st October 2012(UK)
Directed By: Hal Ashby
Cast:  Beau Bridges, Lee Grant , Diana Sands
Buy:The Landlord [DVD]

Raindance 2012: A Road Stained Crimson Review

There’s a well known rule of gangster films that once someone decides to call it quits they will inevitably get pulled in for one last job, indeed that is how we are introduced to A Road Stained Crimson, but, for Tetsuhiko Nono’s film this is a rare concession to convention. His Japanese gangster tale has far loftier ambitions than to be connected to anything as drab as convention.
Our wannabe retiree is Ken; is a laid back motorbike mechanic keen to turn his back on his more brutal sideline carear, that is until his boss catches wind of his plans and attempts to reel him in for one last job with a visit from the psychotic and unpredictable Akira. There are sub-plots and unexamined stories along the way like the death of Ken’s father at young age which seems to have shaped our protagonist but is never spelt out for us. Yoko, an elder colleague has more than a colleagues interest in the brooding Ken, again there is only a hint of a clue as to why while her relationship with the local (Colombo style) detective seems to have more to it than face value suggests with both seemingly connected to Ken’s life from a very young age.
    A stonily silent teen shares Kens burning anger and is soon taken under his wing as the two take to the road in an attempt to bide some time before the inevitable explosive conclusion. On route the two share the surrogate father-son relationship they were both denied as the pressures of hit-man duties start to ease and Ken, for the first time, looks content.
Specifics are secondary here, Nono’s focus lies far more in injecting the worn genre with a tone unfamiliar to the countless gangster films of years gone by. Wearing his garage rock credentials on his sleeve, the soundtrack by Japanese band Snakes on the Beach creates an all-together more considered atmosphere to the guys and guns blueprint, going further to include footage of the bands gig which Ken attends. Far from being the only touch of lightness on show, the music is joined by a host of directing, editing and camera techniques adding an element of art house to the genre. Stills, slow motion, jumpy handheld cameras and flashbacks are all used extensively alongside brilliant cinematography and some beautifully crafted shots.
Sadly the directing styles only mask the script which never quite reaches the highs it occasionally promises. While the lightness of touch used by Nono is new to the genre, sadly the same can not be said for other elements, particularly in the form of the loose-cannon Akira or the dialogue which, while sparingly used, plays second fiddle to the Mallick-isms on show of plants and sunsets which go some way in covering the scripts flaws. It would be too harsh to describe Nono’s debut feature as style over substance as there are a number of promising signs pointing to a strong career, one that starts, however, on a bit of a subdued note. 

Matthew Walsh

★★☆☆☆

Rating:15
UK Release Date: 2nd October 2012 (Raindance Film Festival)
Directed By: Tetsuhiko Nono
Cast: Hirofumi Arai, Ryômei Niinobu, Jun Murakami

Raindance 2012: State Of Shock Review

The break up of communism and the Eastern bloc is a theme often found centre stage in European cinema, being such a recent and seismic shift in the continents history and culture. The 2003 film Goodbye Lenin imagined a life interrupted by a coma that spans the change from communist rule of East Germany and into the free world of modern Germany all unbeknown to the sufferer. It is this straddling of two very different philosophies that new Slovenian film The State of Shock echoes most closely.

    Starting in 1986 and communist rule Yugoslavia we meet our protagonist Peter, a factory metal-worker, and his wife Marica on the eve of Labourer’s Day. Their humble yet happy lives come to a halt when, at the Labourer Day ceremony Peter is awarded the Worker of the Year award complete with the promise of a new apartment as well as the respect of his community. All this proves too much for Peter to take and he swiftly falls into the titular state of shock.

    Taken to a mental institution there he stays for 10 years, oblivious to the family visits as much as the passing years. Marica decides to re-marry and it is the thought of this union with his best friend Jovo which shakes Peter’s subconscious awakening him from his catatonic state and propelling him out on to the dramatically changed streets of Slovenia.

    No longer under Yugoslav rule, the newly established state is all new to our comatose comrade, confronted by a world that looks familiar but undeniably altered where his old street no longer exists and neither does his country as he knew it. His beloved Balkan state now shimmers with the material world of capitalism while his, now former, wife is shacked up with what he thought was his best friend and taken the children with her. It’s Peter’s acclimatisation to these changes, both personal and national that form the crux of the film.

    Trying to adapt to his new position as lodger in his ex’s marital home brings its own complications but writer/director Andrej Kosak’s focus is on the broader scale changes in ‘Pero’s homeland. Acting almost as a requiem to a lost ideal, State of Shock highlights the flaws and absurdity of a modern consumerist society. Through Peter’s fresh perspective we are allowed to sympathise with his perplexity at our established culture – why is there a need for shelves of screwdriver options, or three television sets and two cars - while his distrust of banks and outrage at incessant beurocracy are poignantly relevant in these mistrusting times.
    This tale of a lost humanity serves as stark warning about where we are heading with Peter’s ending speech delivered as a message directly to the viewer, one portrayed in 1996 but still relevant today. This, no doubt, is Kosak’s aim – a pertinent take on modern society full of characters with heart and strong performances and told with enough humour to keep it fresh.

Matthew Walsh

★★★★☆

Rating: 15
UK Release Date: 30th September 2012 (Raindance Film Festival)
Directed By: Andrej Kosak
Cast: Martin Marion, Urska Hlebec, Nikola Kojo, Aleksandra Balmazovic
Stanje šoka / State of Shock (napovednik / trailer) from vertigo emotionfilm on Vimeo.

Raindance 2012: Confine Review

A tale of robbery, suspense, torment, kidnap and murder; with Confine, director and writer Tobias Tobell has managed to conjure up that most elusive and miraculous of things; a genuinely torturous horror movie.
Following an horrendous car crash, former model Pippa (Daisy Lowe) has been reduced to a gibbering, neurotic shut-in, limping around her flat and communicating only via telephone or Skype. Facially disfigured by the accident, she never ventures from the safe confines of her living space, preferring to remain locked-away, dealing art in order to raise money for various charitable causes; the many hundreds of magazines that populate her bedroom, are a constant reminder of the life she has known and lost.
Pippa’s life of seclusion comes to an end courtesy of Kayleigh (Eliza Bennett) and Henry (Alfie Allen), a couple of criminals involved in a nearby jewellery heist, who make Pippa a prisoner in her own home, before brutally turning on each other.

Confine attempts to generate a sense of discomfort, of visceral, verbal horror by placing its emphasis on the uneasy, potentially deadly relationship which is struck up between Pippa and Kayleigh. An unknown quantity, Kayleigh veers dangerously between perniciously cute, and sadistically violent. The result is a movie which may well have been superb, if it weren’t so incomprehensibly written or woodenly acted.

As she wobbles around the screen, wheezing into paper bags and muttering garbled nonsense, Daisy Lowe looks every inch a model pretending to be an actor pretending to be a model. At 5 foot 4 in heels and 8 stone wet-through, Eliza Bennett may well be the least physically intimidating villain imaginable. So ghastly is the double-act performed by Daisy Lowe and Eliza Bennett, it very quickly becomes difficult to watch. Protracted moments of supposedly-threatening dialogue, become toe-curlingly embarrassing, as the women bicker like a couple of siblings fighting over the last Turkey Drummer.

 With so much of the film focusing so intently on the knife-edge relationship between Pippa and Kayleigh , there’s simply nowhere for its actors to hide; or its audience for that matter.

Chris Banks (@Chris_in_2D)

★☆☆☆☆

Rating: NC 15
UK Release Date: 1St October 2012 (Raindance Film Festival)
Directed By: Tobias Tobbell
Cast: Alfie Allen, Eliza Bennett, Daisy Lowe, Corinne Kempa

Confine Trailer from Two Bells Productions on Vimeo.

Hell is a City DVD Review

Hammer productions: The great British production company proudly flaunting one of the most impressive CV’s in the history of cinema, but also guilty of more than a few woeful endeavors  got it pretty spot-on in their 1960 Brit-Noir Hell is a City. Adapted from the Maurice Procter book and written and directed by Val Guest , Hell is a City marked one of Hammer’s deviations from horror during the 60’s, a move meant to widen revenue in a trying time against the American market. Thankfully, the film is a solid stand-alone that does a great job at internalizing the Noir genre to a murky industrial Manchester.

The film follows Harry Martineau (Stanley Baker), a tough, dedicated, but world-weary police inspector with a troubled home life. When Don Starling (John Crawford) escapes from prison Harry heads to Manchester to head him off, expecting the jewel thief and murderer to attempt to pick up the jewels he stashed before getting arrested. In order to make good his escape, Starling needs money so plans the robbery of a local bookmaker (Donald Pleasence), but the heist goes wrong and all of a sudden Starling’s escape spirals into a mess of murder and blackmail with Martineau hot on his trail.

In the typical Noir fashion, things don’t really go as planned, and the film’s narrative feeds off a sense of disorder and mishaps. Martineau’s home life is plagued by his failing marriage, so he stays out, wandering the dimly lit streets like a true Noir hero. The dialogue is snappy and charming, the action is, for the time, brutal, most interestingly is how the noir framework fits onto the British scene, certainly a quainter and more sullied setting than the war-torn streets of San Fran or New York. The dark horizon of Manchester, punctuated by factory vents and smoke,  makes an ideal setting, pushing the whole events of the film into some context, making the events seems small and insignificant (dare we say commonplace) in the face of the vast mechanical city.

Stanley Baker and John Crawford are on top form as disillusioned copper and desperate thief respectively. One can’t help but find a slight Heat undertone to their relationship, especially from Martineau who seems to use his job as a means of keeping his personal issues at bay. Crawford captures the brutal nature of a genuine bad ‘un, usually found in the annals of 50’s and 60’s detective films, the likes of which rarely find screen-time nowadays.

The action has a swift pace, the plot is intriguing if sometimes convoluted with characters, and the roof-top finale gives a fantastic last indicator of how ahead of the curve this film actually is, even if it is a little short. The last poignant scenes really reinstate the sense of noir that seems to dissipate half way through the film; exploring the lonely nature of the dedicated cop. Special features consist only of an alternate ending that does little for the film. This particular ending sees Harry and his wife make up and leaves the film on a significantly more hopeful note than the one chosen. The more uplifting ending, at risk of sounding like a cynic, unravels the grimy and almost perpetual feeling of entrapment in, not just Manchester, but life for Martineau.

A fantastic example of sturdy British “cops and robbers” fun, Hell is a City garnered two BAFTA nominations for Best Screenplay and Most Promising Newcomer for Billie Whitelaw. It’s a highly recommendable Brit-Noir, with some stellar talent, which fans of Film Noir and British thriller will really enjoy.

Scott Clark

★★★★☆

Rating:PG
DVD Re-Release Date: 8th October 2012(UK)
Directed By: Val Guest
Cast: Stanley Baker, John Crawford, Donald Pleasence, Maxine Audley
Buy Hell Is A City: On DVD

LIFF 2012:UK Trailer For The Sessions

It's been a fan awards favourite at every festival its played at since it's premier at this Year's Sundance Film Festival and this January The Sessions will arrive in UK and Fox Searchlight have sent us the first UK trailer for your enjoyment.

Starring Martha Marcy May Marlene's John Hawkes as journalist / poet Mark O'Brien who is paralysed by Polio and at the age of 38 still a virgin.Mark is determined to loose his virginity with the help of his therapist (Moon Bloodgood) and local priest (William H Macy) he hires sex surrogate Cheryl (Helen Hunt) to do the deed.

When you read the outline of the film's plot it sounds like it's going to be another Friends With Benefits type film which is totally untrue. The Sessions (formerly called Surrogate) is more poignant , a lot more intelligent as well as funny film which has some fantastic performances from its two leads. Hawkes who has really excelled himself in independent films such as Winter's Bone which should see him nominated many times in the awards season especially The Oscars, only matter of time he'll get a breakout film, though that film could be The Sessions!

The Sessions is due for release in UK&Ireland on 18th January 2013, however it will make it's UK premier at BFI 56th London Film Festival on 16th October, don't surprised if it picks up awards in London too.


We've also been sent this fantastic watercolour style poster which really capture the ambience of the film as well as the films independent film roots. Embrace it as it's got some American critics jealous as its far superior to the American version!

Finger Licking Killer Joe Coming To DVD& BluRay November!

When Killer Joe arrived in UK&Irish cinemas it left some cinephiles feeling finger licking good for some of the colonel's favourite recipe and in November you will be able to bring home a box that's a DVD or Bluray box of the film.In Killer Joe Matthew McConaughey delivers what many are calling a career-best performance in this violent and darkly comic neo-noir thriller that marks a blistering return to form for “The Exorcist” and “The French Connection” director William Friedkin.

When small-time drug dealer Chris Smith finds himself seriously in debt to his supplier, he hatches a plan to have his estranged mother killed in order to claim the $50,000 life insurance due to be paid to his younger sister, Dottie. To do the job, he hires Killer Joe Cooper, a creepy, corrupt and crazy Dallas cop who Chris is informed moonlights as a professional hit man. Unable to pay Joe’s fee upfront, Chris agrees to provide a “retainer” in the form of Dottie, with whom Joe has immediately become besotted. However, following the murder of his mother, Chris’ plan begins to unravel in a series of unexpected twists involving the interference of his father’s new wife, Sharla, and the development of an unlikely bond between Joe and Dottie.

As pure, unadulterated entertainment Friedkin’s second collaboration with writer Tracy Letts (following 2006’s “Bug”) has it all – steamy sexuality, shocking violence, a compelling storyline, lashings of black humour and, most of all, a killer cast of actors all at the top of their game. McConaughey effectively shakes off his rom-com shackles once and for all, while Juno Temple delivers a scene-stealing performance in a movie likely to leave viewers both exhilarated and shaken at the same time.

Killer Joe is due out in UK&Ireland on November 5th, starring Emile Hirsh, Juno Temple, Thomas Haden Church and Gina Gershon.
Pre-Order/Buy Killer Joe On: DVD / Blu-ray

Raindance 2012: Loveless Zoritsa Review

As curses go, the hex foisted upon young Serbian women Zoritsa would, at first glance, appear to be relatively minor. From a long line of moustached women, Zoritsa is the first to be born without even the merest hint of growth. But Zoritsa’s fortuitous hairlessness comes at a heavy cost; her prospective suitors have a habit of dropping dead.

Returning to her village after an absence of some 20 years in an attempt to break the curse on the much revered Day of the Dead; Zoritsa attracts the attention of sceptic policeman Mane, as well as pitchfork-wielding locals with a score to settle.

It’s no easy task to blend horror with moments of comedy. For every Shaun of the Dead there’s a Severance, for every Evil Dead there’s an Army of Darkness. Thankfully, Radoslav Pavkovic and Christina Hadjicharalambous’s movie is one of the more enjoyable offerings from this particular mix of genres.

Loveless Zoritsa plays out like a strange, modern-day fairy tale, with a charming visual style that owes a debt to the Universal horror films of the 30’s and 40’s. Zoritsa’s secluded Balkan village appears to be just that; a strangely antiquated little township that’s been spirited in from a time gone by.

There are no prizes for guessing how the relationship between Zoritsa and Mane will resolve itself, and perhaps the moments of comedy never quite elevate themselves above just strangely charming; but for a film which is as strangely charming as this, with its baying, incompetent villagers, its botched satanic rituals and its bizarre coven of wailing, moustachioed women; it’s not a particularly big problem.

Chris Banks (@Chris_in _2D) 

★★★1/2☆

Rating:15
UK Release Date: 1st October 2012 (Raindance film festival)
Directed By: Hristina Hatziharalabous,Radoslav Pavkovic
Cast: Branislav Trifunovic, Ljuma Penov, Mirjana Karanovic

Masters Of Cinema Has Trouble In Paradise This November

ROUBLE IN PARADISE will be released on DVD in the UK as part of the Masters of Cinema Series

Eureka Entertainment have announced that they will be releasing TROUBLE IN PARADISE, for the first time ever on home video in the UK, released in a DVD edition on 12 November 2012.  Widely regarded as one of the greatest romantic comedies ever made, this Hollywood classic, directed by Ernst Lubitsch, legendary filmmaker behind Ninotchka, The Shop Around the Corner, and To Be or Not to Be stars Hollywood icons Herbert Marshall (Foreign Correspondent, The Fly), Miriam Hopkins (Dr. Jekyll and Mr. Hyde, The Heiress), Edward Everett Horton (Lost Horizon, Arsenic and Old Lace), and Charlie Ruggles (Bringing Up Baby, Ruggles of Red Gap).

"It's perfection" – Pauline Kael, 5001 Nights at the Movies

"The most sophisticated comedy ever produced in Hollywood … The performances, visuals and screenplay are all exquisite. ✭✭✭✭✭" – Empire Magazine

"It's a masterpiece, as well as being wonderfully good fun. ✭✭✭✭✭" – Radio Times

“If ever a film slipped down a treat, this one does.” – Time Out

Jean Renoir once said of Ernst Lubitsch (Ninotchka, The Shop Around the Corner, and To Be or Not to Be): "He invented the modern Hollywood." And none of the director's films has had greater influence or impact than Trouble in Paradise. With his first comedy of the sound era, Lubitsch created one of cinema's supreme visions of shimmering romance and worldly sophistication.

When career thief Gaston Monescu (Herbert Marshall) meets glamorous pickpocket Lily (Miriam Hopkins), their love soon takes on a professional dimension as they initiate a plot to rob beautiful perfume magnate Mariette Colet (Kay Francis). But as Gaston gets ever closer to his intended prey, his romantic confusion, as well as the threat that his past will catch up with him, throws their plan into jeopardy.

A breathtakingly nimble and elegant examination of the perils of mixing "business" with pleasure, this gloriously adult and witty comedy features a peerless screenplay by Samson Raphaelson, effervescent performances by its stars (including Charlie Ruggles and Edward Everett Horton), and exquisite direction by the legendary Lubitsch. Rarely equalled, never topped, The Masters of Cinema Series is proud to present the UK home viewing première of Trouble in Paradise. Released on DVD in the UK on 12 November 2012.

SPECIAL FEATURES:

• New high-definition transfer in the film's original aspect ratio

• Optional English subtitles for the deaf and hearing-impaired

• Illustrated booklet featuring the words of Lubitsch, rare archival imagery, and more

• Further details to be announced nearer the release date!

Buy/Pre-order Trouble In Paradise: DVD [1932]

Win Jean Claude Van Damme's 6 Bullets On DVD

It might have been August when we last saw Mussels From Brussels in a rare cinema release with The Expendables 2 but now it's back to business for JVCD with his latest direct to DVD action goodness. Today in UK&Ireland 6 Bullets is released and thanks to our friends at Studiocanal we have 3 copies to give away to you!

Reformed mercenary SAMSON GAUL (Jean-Claude Van Damme) has made rescuing stolen children his speciality – until his latest daring rescue attempt goes terribly wrong and results in too many casualties. Wracked with paralyzing guilt, Gaul gives up his vigilanteways.

However when PEGGY FAYDEN, daughter of down-on-his-luck professional fighter ANDREW FAYDEN (Joe Flanigan), is abducted right before his big comeback fight, Andrew and his wife MONICA (Anna-Louise Plowman) must convince Gaul to come out of retirement.

But Gaul’s fast-and-loose style might be more of a liability than the Faydens realize. After tracking down and threatening the local mob boss, Gaul gets a solid lead on Peggy’s whereabouts. Unfortunately, the next day the police discover the remains of a young blond girl wearing Peggy’s bracelet. When the DNA match comes back positive, the Faydens blame Gaul and his no-holds-barred tactics. After watching his bestwork turn deadly for a second time, Gaul retires again, this time to the bottle.

With Peggy’s corpse trapped in his mind, Gaul recalls how the dead girl he saw was wearing the bracelet on herleft arm; Peggy always wore her on her right. Realizing the ruse, Gaul rushes to tell the Faydens. Disbelieving at first, the Faydens quickly side with Gaul after he forces a confession and a name out of the medical examiner. The name is STELU, the Minister of Defense, and his plan is to use Peggy to sweeten a deal he has with a Sudanese General. Unless Gaul and the Faydens can stop him.

Loaded with Gaul’s artillery, they infiltrate the military complex where Peggy’s been hidden. They manage to dispatch the guards easily and rescue a captured blonde. But it turns out to have been a trap. Surrounded and outgunned, Gaul, Monica, and Andrew must decide: trade the decoy for Peggy or end Stelu’s brutality for good.

To win Six Bullets on DVD please answer the following question:

Q. JVCD starred In a Ernie Barbarash film already this year also starring Scott Adkins, name that film?

Send your answer, name, address, postcode only plus answer to 50x3-50= winatcinehouseuk@gmail.com
Deadline is 21stOctober 2012(2359hrs) Must be 15 or older to enter


Terms and conditions

• This prize is non transferable.
• No cash alternatives apply.
• UK & Irish entries only
  The Peoples Movies, Cinehouse and Studiocanal have the right to alter, delay or cancel this competition without any notice
• The competition is not opened to employees, family, friends of The Peoples Movies, Cinehouse,studiocanal employees
• This competition is promoted on behalf of studiocanal
  
• If this prize becomes unavailable we have the right to offer an alternative prize instead.
• The Prize is to win the 6 bullets  DVD, 3 winners
• To enter this competition you must send in your answer, name, address only, Deadline October 21ST, 2012 (2359hrs)
• Will only accept entries sent to the correct email (winatcinehouseuk@gmail.com), any other entry via any other email will be void.
• automated entries are not allowed and will be disqualified, which could result you been banned
• The Peoples Movies, Cinehouse takes no responsibility for delayed, lost, stolen prizes
• Prizes may take from days to a few months for delivery which is out of our control.
• The competition is opened to Aged 15  and over 
• Unless Stated Please  Do Not Include Telephone Numbers, we don’t need them and if you include your telephone number Cinehouse and The People’s Movies are not responsible for the security of the number.
• The winning entries will be picked at random and contacted by email
• This competition is bound by the rules of Scotland,England & Wales, Northern Ireland, Ireland.
• By sending your entry for this competition you are confirming you have read and agreed to these Terms & Conditions.

…………………………………………………………………………………………………………………………………………..
UK Competitions and Prize Draws at UKwins
Loquax Competitions
Free Competitions
ThePrizeFinder – UK Competitions

Raindance 2012 : Familiar Ground Review

Stephane Lafleur’s meandering, minimalist slice of Canadian life, Familiar Grounds, revels in the mundane, while simultaneously peppering its story with splashes of the remarkable.

Brother and Sister, Benoit and Maryse are living lives of utter monotony (and I do mean monotony) through a bleak Quebec winter. Living with his elderly father, Benoit despairs that everything he touches “turns to shit”. His budding romance with a single mother is scuppered by her son, his relationship with his father fractured, his inability to competently work the family Skid-doo a constant bone of contention. Following an accident at her work, Maryse begins to evaluate her life of domesticity, married to a tedious cycling enthusiast. The snow-blown boredom for these two is broken by the arrival of a used-car dealer claiming to be from the future. His words of warning to Benoit point to an impending disaster for his sister, should she go ahead with a planned roadtrip.

Lafleur’s story of disaffected siblings moves at an absolute snail’s pace, allowing the director to revel in the crushing bleakness of the unforgiving Canadian winter. The daily routine is broken only by the odd moment of sudden randomness, categorised as a serious of “accidents”. The rare moments of drama, as and when they do appear, throw into stark contrast the dullness of the daily grind. Family dinners become ruined monuments to the dead, trips to the garage grim portents of looming tragedy.

The end result is a movie which, with its excruciating study of the unremarkable, has a sort of dead-eyed charm. Glimpses of affection can be gleaned through the cold exteriors of the characters, the positively ice-age backdrop may seem half a world away, but the people are recognisably human.

The only trouble with all this is, a film which takes so much effort to revel in so much overwhelming tedium, can get a little, well tedious.

Chris Banks (@Chris_in_2D)

★★★☆☆

Rating: NA
Directed By: Stéphane Lafleur
Cast: Francis La Haye, Fanny Mallette, Michel Daigle, Sylvain Marcel

Sinister Review

★★★★☆

Of all the horror films to make it to the big screen this autumn, Sinister, starring Ethan Hawke and directed by Scott Dickinson (The Exorcism of Emily Rose), has probably had the most attention. Take one look at any respectable horror web site and the stills, TV spots, trailers etc are proudly flaunted as if with some secret knowledge that this will be something to remember. Though the film isn’t exactly a deal-breaker, it’s definitely one of the more skilfully executed horrors we’ve seen thus far 2012.

The story follows Ellison (a top-form Ethan Hawke), a true crime writer who, for his new project, moves him and his family to a new home. Soon after arriving, Ellison finds a box of old films that show the brutal murders of numerous families by an unknown assailant. As he gets closer and closer to unravelling the mystery of the tapes his family are pulled with him into grave danger.

Sounds like a fairly standard horror tale, but it’s not. The thing that puts this film above most is its finely tuned understanding of its subject; the use of old celluloid pulls out a hundred references to voyeuristic horror, Peeping Tom and Psycho jump to mind, and then there’s the family under duress aspect which brings in just about any “haunted house” film you’ve seen. But under all this is the relentless beating heart of a genuine horror story. Take any sequence where Ellison watches the films and you’ll find some of the tautest in ages. From the second we lay eyes on the conspicuous black box of home movies, with their unassuming yet ominous titles, there’s a feeling of dread lording over all. All of a sudden, we want the family to get away from the house, but at the same time we really want to see those movies. Even after the first we want to know what the rest of those canisters hold. That’s where the voyeuristic guilt comes into play and we, the audience, are all of a sudden participants to something ghastly. Unfortunately it’s the film’s own ingenuity that really highlights how lazy it can be, particularly its jump-scares which leap-frog the suspense and capture a significantly cheaper thrill.

Derrickson’s tight direction and frantic style keep the film on track also lending a chaotic feel to some of the more brutal moments. Ellison’s slow-slipping sanity comes with the rapid cutting-in of super 8, an effect that in other hands might have been wasted but here gives a Shining-esque sense of schizophrenia. The speed of the film is important to its narrative: just as the characters very quickly become confused and assailed, the narrative flickers through “haunted house” past “serial killer”, and eventually spirals into a web of macabre beyond the isolated affairs of Ellison’s new home.

The film’s primary issue is one not unusual in modern horror: it shows too much. A lack of reserve in relation to some of the more terrifying concepts allows those concepts to become almost laughable through over-exposure. A scene which sees Ellison wake in the night to wander his creaky old house suddenly becomes an abstract ballet with ghostly children. Mr Boogie, a genuinely unsettling omnipresence, eventually becomes too familiar which is a shame considering he’s the reason you spend half the film wincing in terror and trying to burrow into your seat.

Special note has to be reserved for Christopher Young’s soundtrack, which doesn’t bother to come up with a specific melody; instead it focuses on blurring the lines between film and reality, which in turn leaks Ellison’s world into ours. The insect flickering of the finished celluloid film pops up throughout the film amidst abstract chanting and a host of other deeply unsettling sounds to illustrate Ellison’s mind state and keep us wondering whether he’s bothered to wake up (or fall asleep) once the films have stopped rolling. It truly is a masterful score to be put up there with Young’s work on Hellraiser.

Sinister may not be a film to induct into the canon, but it’s certainly a well-executed piece of nerve-shredding that will haunt you for some time, and it definitely has the potential to seriously disturb your kids. Don’t see it alone.

Scott Clark

Rating: 15
Release Date: 5th October 2012 (UK)
Directed by: Scott Derrickson  
Cast: Ethan Hawke, Juliet Rylance , James Ransone , Clare Foley, Vincent D'Onofrio

Raindance 2012: Sunset Strip:The Movie Review

★★ 1/2☆☆

With Sunset Strip, one suspects that director Hans Fjellestad hopes he has drafted the definitive autobiography of that most insalubrious of American landmarks, Hollywood Boulevard. The reality is that this 93 minute love letter to sex, drugs and rock n’ roll feels more like an extended anecdote than anything else.

Fjellestad has wrung his contacts book to its very limits to populate his movie with anyone and everyone with even the tiniest connection to the world famous mile-and-a-half stretch of tarmac. Johnny Depp, Keanu Reeves, Paris Hilton, Dan Aykroyd (plugging his own vodka), and Kenneth Anger, amongst others, all pop up to wax lyrical about the world famous street, and let us know just what it is that makes the place so special.

The interviews are woven together in such a way as to concentrate either on a particular period in Los Angeles history, or a single bar, hotel or street corner to give us a sense of time and of space; to inject a sense of character into the lifeless brickwork. Not surprisingly, the interviews tend to concentrate on the seedier aspects of life on the strip; the drugs, the drink, the illicit trysts; at the expense of imparting any real practical or historical information.

What’s driven home here is that everyone involved has been profoundly affected in some way by Hollywood Boulevard, by its history, its character, and its “je ne sais quoi”. Mickey Rourke explains: “Your dreams can start out there, and your dreams will end there…”

All those little stories of celebrities having such a jolly good time: Kelly Osbourne’s lost virginity, Billy Corgan’s realisation that “he’d arrived”, or Tommy Lee’s public fellatio, make for entertaining, if irrelevant viewing. For all Fjellestad’s attempts to paint The Strip’s cultural history, there’s a distinct lack of actual history; a refusal to look beyond the scandal to view the filthy heart of Hollywood Boulevard and actually see what’s going on, or why.

It’s the prevailing sense of sense-congratulation amongst so many of those interviewed that leaves you feeling as if the secret to Sunset Strip is little more than a self perpetuating myth. Famous people flock there because famous people flock there. Either that or it just has a… I don’t know what.

Chris Banks (@Chris_in_2D)

Rating: 15
Screening Dates: Thursday 27 September ,Monday 1 October (20:45)
Directed by: Hans Fjellestad
Cast: Cisco Adler, Lou Adler, Ahmed Ahmed, Dan Aykroyd,

Raindance 2012:Vinyl Review

★★★☆☆

Washed-up punk-rocker Johnny Jones (Phil Daniels) begs a record company head-honcho to re-sign his band Weapons of Happiness after decades on the scrap-heap, only to be refused on the grounds that listening to anyone over the age of 30 sing is like “watching your parents having sex”. Faced with rejection, and staring at an anonymous middle-age spent in various caravan parks, Johnny hatches a plan to re-launch his music career. Assemble a group of TV-friendly kids as a front for his band; the kids can mime and wave, while Johnny and his pals roll back the years and kick out the jams backstage.

Johnny and his bandmates’ auditions for likely teenyboppers unearth the talents of troubled youngster Drainpipe (Jamie Blackley), a kid with a reckless streak, a passion at odds with the plastic, wipe-clean façade of the pop group he should be a poster boy for, and showmanship similar to that of Johnny himself. The band is launched, and their first single becomes an unlikely success.

Sara Sugarman’s warm-hearted tale of men behaving badly, and musically maladroit youths is based on the real-life story of Welsh band The Alarm who pulled of a similar hoax of their own in 2004. Vinyl extolls the virtues of six strings, pub gigs and cramped tour buses, over the auto-tuned, pre-packaged pop of X-Factor and the like. But while it invokes the spirit of the Sex Pistols, Buzzcocks and The Great Rock n’ Roll Swindle, Vinyl lacks the element of unpredictability so integral to the punk music it worships. It feels safer, less anarchic even than School Of Rock, a film with which it shares a certain DNA.

That’s not to say it lacks heart or humour. Daniels makes a decent fist of injecting sympathy into the selfish, pig-headed, oldest swinger in town, Johnny Jones. As the bad-boy of the Welsh seaside, Blackley radiates the impulsiveness and sex-appeal so obvious in the best and most dangerous of rock stars. Weapons of Happiness guitarist turned nursing home impresario, Perry Benson reminds us just what a fine comic actor he is also.

It probably won’t have you dusting off the leathers, but it will make you chuckle as it gives Simon Cowell a gentle kick up the backside.

Chris Banks (@Chris_in_2D)

Rating: 15
Screening Dates: Thursday 27 September ,Monday 1 October (15:00), 1st March 2013 (UK)
Directed by: Sara Sugarman Cast: Keith Allen, Phil Daniels , Jamie Blackley