Enticing Brits Back To The Cinema With Classics Like ‘Trainspotting’

Trainspotting

Film4 is partnering with film distributor Park Circus on a campaign to entice Brits back to the cinema. Under the deal, the duo will offer UK cinemas a season of six classic features from the Film4 library, including Danny Boyle’s Trainspotting and Jonathan Glazer’s Sexy Beast.

The films will initially screen in Picturehouse, Everyman, Odeon, Vue, and Showcase theaters across the country from the start of July, with other venues joining the initiative in the coming weeks. It follows cinemas reopening in the UK on May 17 after the most recent coronavirus lockdown.

The four other films in the Film4 season are Mark Herman’s Brassed Off, Stephen Frears’ rom-com My Beautiful Launderette, Bill Forsyth’s Local Hero, and Bhaji on the Beach, from director Gurinder Chadha.

Film4’s parent Channel 4 will support the season with an advertising campaign across its TV channels, as well as online. The ads will be created by in-house creative agency 4Creative.

Film4 director Daniel Battsek said: “Film4 have a long history of producing films for theatrical exhibition. We felt we should do something to help the sector’s recovery from the pandemic and remind audiences that cinemas remain the best places to experience movies.”

Park Circus CEO Mark Hirzberger-Taylor added: “We’re incredibly proud of our long-standing partnership with Film4, and are delighted to be collaborating with them on this special programme this summer, comprising six of their very best classic films, back on the big screen for audiences to enjoy.”

It is not the first time iconic titles have been brought back to the big screen in the UK to tempt audiences. Disney re-released the likes of Star Wars: The Empire Strikes Back when restrictions lifted on theaters last year.

Source: Film4 Teams With Park Circus To Entice Brits Back To The Cinema With Classics Like ‘Trainspotting’

Film Review: “Creation Stories”

Nick Moran’s biopic of Alan McGee, the infamous head of Creation Records, takes a fairly conventional narrative approach to this highly unconventional man. It’s a rags-to-riches tale, tracing his journey from a drab and dreamless life in Glasgow all the way to the very centre of the UK music industry.

The film takes most of its stylistic cues from the holy text of narcotic-infused Scottish stories, Trainspotting (perhaps not surprisingly so: Irvine Welsh is on script duty). McGee’s drug-addled adventures are brought to life with the same bag of distorted lens, haphazard angles and scenes of weird hallucination. In an attempt to match the frenetic pace of his life and mind, it moves at a rapid clip, letting the audio spill from one scene to another, stitching the whole thing together with a lot of oddly matched shots and strange transitions. The resulting effect is often disorientating and not always in a particularly effective or purposeful way.

The quest to cram in as many needle drops, smash cuts and cute voiceover gags makes the whole thing feel a little manic, and its frantic energy often means that the big emotional beats get lost in the noise. Still, even if it’s playing a lot of other people’s songs and relying more on volume than skill, Creation Stories is anchored by a magnetic lead performance from Ewen Bremner and an overriding love for its subject, making for a hugely enjoyable jam even if it likely won’t become a classic.


Creative Stories has its world premiere at Glasgow Film Festival, screening 24-27 Feb
Released 20 Mar on Sky Cinema

No monsters under the bed in ‘Saint Maud,” but many in trenches the of her own mind

The pious British poet and artist William Blake once famously referred to organized religion as an “ugly distortion of a true spiritual life.” The more humankind attempts to put measures, limits, and analogues on the divine, the farther we got away from the undistilled truth of the unknowable.

by Piers Marchant 

The pious British poet and artist William Blake once famously referred to organized religion as an “ugly distortion of a true spiritual life.” The more humankind attempts to put measures, limits, and analogues on the divine, the farther we got away from the undistilled truth of the unknowable.

We are humans, we don’t so much like to truck with feelings alone, they are too intangible, resistant to description and predictability. It makes us uncomfortable to float in that pool of undefined spirituality, so we work feverishly hard to write scriptures and edicts of God’s word, and make symbols out of all the things we can’t possibly touch.

Blake’s courageous brand of self-attenuated spirituality seeps in throughout “Saint Maud,” Rose Glass’ commanding feature debut, about a young woman who believes she has found her divine path after a lifetime of feeling lost, and couldn’t be farther off the mark.

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The story behind the best British horror film in years

Video nasties and censorship are tackled head on in the sinister Sundance hit. Jacob Stolworthy speaks to its star Niamh Algar and director-co-writer Prano Bailey-Bond about the process from inception to fruition

Sundance Film Festival’s Midnight section has long been the holy grail for any burgeoning horror director. It’s where The Blair Witch Project (1999) kick-started the found-footage phenomenon; where Saw (2004) launched one of the most successful franchises in history; and, more recently, where It Follows (2014) and Hereditary (2018) were first unleashed, reinvigorating modern horror. Censor, which received its world premiere at this year’s virtual Sundance on Saturday (30 January), is a worthy addition to that list. In fact, it is one of the best horror films in years.

Directed by Prano Bailey-Bond, Censor tells the story of Enid (Niamh Algar), a young woman who makes a living tucked away in dingy screening rooms, watching depraved and gory films. In her notepad, she scribbles down the timings of the cuts she thinks need to be made before they’re viewed by the public.

For Enid, this fastidiousness doesn’t stem from a love of film but a sense of duty. During a tense dinner with her parents, she rebukes her father for suggesting otherwise. “It’s not entertainment,” she snaps. ”I do it to protect people.”

Like any psychological film worth its salt, nothing’s as it seems. The arrival of video nasty supremo Frederick North’s new film (creepily titled Don’t Go in the Church) sends Enid spiralling. Before long, she’s on a mission to find a sister who went missing years before. It’s here where the film kicks into gear leading to one of the most memorable climaxes for quite some time.

The idea of the film germinated “ages ago”, says Bailey-Bond, after she read an article on Hammer Horror, the London-based company known for its gothic films featuring the characters of Dracula, Frankenstein and more. Continue reading

‘The Dig’ and five other culture recommendations if you love ancient discoveries

If you are endlessly fascinated by ancient history, Netflix’s new movie “The Dig,” starring Carey Mulligan and Ralph Fiennes, should pique your interest.

Jacqui Palumbo, CNN

Caches of unopened sarcophagi found in Egypt. Eight miles of Ice Age rock paintings discovered in the Amazon rainforest. An intricate Roman mosaic floor excavated in northern Italy. These are just some of the major archaeological finds of the past year.
If you are endlessly fascinated by these discoveries, Netflix’s new movie “The Dig,” a historical drama starring Carey Mulligan and Ralph Fiennes, should pique your interest.
Based on a true story, “The Dig” retells the story of how a widow and a self-taught archaeologist unearthed an Anglo-Saxon burial ship on a private plot of land in Suffolk, UK, in 1939. The incredible find, which occurred as the specter of World War II loomed over Europe, became one of country’s most important treasures and helped dispel the notion that the British Isles were culturally and economically siloed during the Dark Ages.

Ralph Fiennes as Basil Brown, the self-taught archaelogist who uncovered Britain's greatest treasure.

Ralph Fiennes as Basil Brown, the self-taught archaelogist who uncovered Britain’s greatest treasure. Credit: Larry Horricks/Netflix
“The film is about time and the fragility of our existence,” said screenwriter Moira Buffini, who adapted the script from John Preston’s book of the same name, in a video interview. “It’s about the brevity of life and what endures — what we leave behind us.”

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