Reviews of this month’s film...
On DVD this month...
A list of DVD releases for this February
In cinema next month...
A list of films to be released in March
Journalist and Editor: Charlie Derry: http://www.charliederry.com firstname.lastname@example.org
This month we’ve had a slight re-design, with minute changes throughout the magazine but mainly with the design of the front cover. Looking at it’s best this month, we’ve also managed to see a number of great films so hopefully you will enjoy the content too.
Designer and Art Director: Mikie Daniel: http://mikiedaniel.wordpress.com email@example.com
Reviews of this monthâ&#x20AC;&#x2122;s film...
1st February 2012
Director: Josh Trank
Dane DeHaan, Alex Russell and Michael B. Jordan
Directed by Josh Trank, Chronicle is a found footage style science fiction film that sees three high school friends, Andrew Detmer (Dane DeHaan), Steve Montgomery (Michael B. Jordan), and Matt Garetty (Alex Russell), gain superpowers after making an incredible discovery. Whilst at first they only use their telekinetic abilities in secret, they soon find their lives spinning out of control and their new bond of friendship tested. Realising that their newfound super powers can be manipulated and strengthened, Andrew, who has spent his life being pushed around by both his family and his classmates, begins to embrace his darker side. Identifying himself as an apex predator, Andrew convinces himself that he shouldnâ&#x20AC;&#x2122;t have to feel guilty for using his power, especially when using them to hurt those weaker than himself. The film begins with, believe it or not, our protagonist Andrew buying a hand-held camera and, intending to take it everywhere he goes, decides to start filming the ins-andouts of his daily life. Whilst at first this opens up the darker side of the film, seeing Andrewâ&#x20AC;&#x2122;s drunk father haul abuse at him, the film quickly and cleverly develops into something much more than a typical superhero teen drama. Chronicle is a new twist on the traditional theme, and with many other films currently experimenting with the camera-footage/
documentary style genre, including that of the recent Apollo 18 and the Paranormal Activity franchise, Chronicle is a fresh of breath air with a less-horror more-action filled film that you can actually enjoy without being scared out of your skin or wondering whatâ&#x20AC;&#x2122;s going on from the shaky camera and use of dark settings. Found-footage films often lack story and character development, but Chronicle breaks these genre boundaries and goes beyond by encompassing a gripping central which, for Trank, is an incredible accomplishment for his first film. In going beyond, Chronicle uses many techniques to avoid only having footage that is filmed by one person. As well as the use of camera phones, security footage, and police surveillance tapes, Andrew learns to pilot his camcorder with his mind, thereby finding
a fourth party to fill in much more plot than we would normally expect. Through this technique, especially with camera being able to hold itself up, we also get to know the characters much better. The three friends are genuinely quite likeable which, being able to form an opinion in itself, is a step up altogether. Finding yourself actually caring about what happens to these three main characters alongside this filming style allows us, as the audience, to actually find ourselves relating to the experience. But even though the film is primarily filmed on low-definiton cameras, the visuals throughout this film are fantastic. Without any need for big special effects like bigger budget action films, Chronicle has great cinematography without the need for massive explosions or any other similarities
to superhero movies such as Iron Man. Chronicle is far from mainstream, and because of this the film looks genuine and works without having to impress with unnecessary additions. So, will Chronicle stand out against this yearâ&#x20AC;&#x2122;s many other superhero films? With Marvelâ&#x20AC;&#x2122;s The Avengers (or Avengers Assemble as it is now titled), The Dark Knight Rises and The Amazing Spider-Man set to be released this, I think it definitely has a chance of being well-remembered in comparison to them, as it has undeniably raised the bar for found-footage and teenage superhero style films. Some of the film did have to be toned down for its PG13 rating but, whilst at the core there is an incredibly dark and intense story, Chronicle is still a fun and intelligent film to watch.
Ca rn ag e Co-written and directed by Roman Polanski, Carnage is a black comedy that follows two sets of parents, Penelope and Michael Longstreet (Jodie Foster and John C. Reilly) and Nancy and Alan Cowan (Kate Winslet and Christoph Waltz), who meet to discuss their sons’ behaviour after having been in a fight at school. But what was intended to be a five-minute apology turns into over an hours worth of arguments, drinking and judgments from all corners of the room, as it soon becomes apparent that their sons’ childish behaviour is
“Adapted brilliant from stage to screen by Polanski, Carnage develops at a speed that makes it constantly interesting.” something they all have in common. Based on the play God of Carnage written by French playwright Yasmina Reza, Carnage is a 70-minute long, single scene that follows the first meeting
of these two couples as they sit, eat, drink and diverse in a small New York apartment. Whilst at first that doesn’t seem like a great premise for a film, and believe me I found it more than questionable beforehand, it somehow really works as a basis for the film. Adapted brilliant from stage to screen by Polanski, Carnage develops at a speed that makes it constantly interesting, naturally funny and brilliantly orchestrated. Of course the cast is very important here, as
without any other ongoing stories outside of this room, excluding the incoming phone calls, or special effects to take the focus away from these four people, they are very much the only focus. Without a well-known cast I don’t think this would have done as well at all as, knowing that these actors are what the film is all about, the plot line itself is not enough to entice a big audience, but not only did the cast come together in the film brilliant, it is also what first
attracted me, and I’m sure many others, to the film in the first place. Personally it was the casting of Christoph Waltz that
“These four together are a well-fit match, and they are the reason that you will love this film.” first turned my attention, but by the end of seeing the film I felt admirable towards all four members of the cast. As briefly mentioned, Waltz was what first made me interested in the film and by the end is one of the main
reasons as to why I enjoyed it. Usually seen as the bad character in a movie, he still held his strong presence throughout but managed to be somehow likable whilst still having an evil glare about him. Furthermore, Reilly also does well through his relatable character, as he it at his best in more serious roles that still encompass his comedic edge. For me, Reilly was perfect in his role here, and whilst I would almost say that he was the actor that most suited his character, it really is hard to fault any of them. Winslet didn’t have the best scenes to play but she really pulled off her stuck-up yet fed-up character, whilst Foster as well excelled
playing a somewhat similar but almost completely opposite character to her at the same time. These four together were a well-fit match, and they, together, are the reason that you will love this film. However, whilst Carnage is very good for what it is, it’s hard to escape its premise of a 70 minute long conversation that
“It’s hard to escape its premise of a 70 minute long conversation, albeit a comical and entertaining one, that doesn’t go anywhere.” doesn’t go anywhere else. Albeit a comical and entertaining meeting between these couples, I would recommend this for a duvet day rather than a night out at the cinema.
3rd February 2012
Jodie Foster, Kate Winslet, Christoph Waltz and John C. Reilly
Extremely Loud & Incredibly Close 8
Release Date: 17th February 2012
Thomas Horn, Tom Hanks and Sandra Bullock
Directed by Stephen Daldry with screenplay by Eric Roth, Extremely Loud & Incredibly Close is based on the 2005 novel of the same name written by Jonathan Safran Foer. Focusing on a young boy named Oskar (Thomas Horn), the story follows his journey when, after his father (Tom Hanks) is killed in the September 11 attack, he discovers a key that once belonged to him with the word ‘Black’ written on it. Determined to find out who Black is, Oskar searches all around New York for information about what the key could mean, whether his father was trying to deliver one final message to him and, more importantly, what it will open. His search brings him in contact with others all around the city whom he takes photographs of and listens to their stories. With a little help from his mother (Sandra Bullock) and his mute neighbour The Renter (Max Von Sydow), who offers to help Oskar search the city, the message he ultimately finds isn’t what was expected, whilst the emotional journey brings with it many
revelations that may help his family to cope with the tragedy back-dropped around this horrifying event. Although the film is based on a highly acclaimed book, this recent adaptation has created a huge stir from critiques, with many mixed, yet all deeply held, opinions. The phrase ‘love it or hate it’ is being used at its extreme here as, whilst many will ultimately agree with this review, there will be just as many who feel the complete opposite. This is because Extremely Loud & Incredibly Close isn’t your typical family drama. It may touch closely on themes and subjects that we are used to dealing with in films, but the main aspect that has caused a sway in opinions is the controversial use of the World Trade Center attack that occurred on Sep 11th, 2001. Reflecting on the film’s mixed reviews, Extremely Loud & Incredibly Close was tagged as the worst film to be nominated for Best Picture at the Oscars this year. Ultimately it did not win, so we must ask whether it was too soon for a film based on the event to be released. Whilst many believe that it is too soon, it’s not as if this is the first 9/11 film to be released. Remember Me only very slightly used the attack in its story line, but two films from 2006 were completely based on the event, with Nicolas Cage starring World Trade Center which focused on two police officers trapped under the rubble of the building, and United 93 which was a real-time account of the events on one of the
planes hijacked on the day. I don’t remember the same controversy arising for them, so why now? Unlike the latter films, Extremely Loud & Incredibly Close deals heavily with the effects of the event but it is not a story solely based on the attack, it rather uses the event as a back drop. Not constantly having the horror of the event in focus is why I thought the use of it worked, as it dealt with its themes of tragedy and loss really well. With only a small glimpse of the funeral and no other focus put on the death of Oskar’s father, apart from the family dealing with their loss, we are only faced with a situation that is a result of the attack rather than the attack itself. Saying this, however, there is one scene that is repeated a couple of times and used in various ways, which is the image of a man falling. Whilst never in detail, and disregarding the great cinematography that is used here, it is still enough to give an impact which, as a result, has led some to believe that the film did push the limits. But it is the contrasting story of Oskar that grabs my attention in the film, with mots of the emphasis on the family’s attempt to help their son deal with both his autism and the death of his father by encouraging him to talk to other people. Fundamentally, I think that these two stories are balanced well enough so that the use of the event fits in without causing offence or produce any negativity, but another
aspect that has helped form the controversy of the subject in this film is the use of Oskar as the film’s central character. The film, just like the book, is narrated by Oskar and features his voice reading over the scenes and his flashbacks as we follow his journey through his eyes. For this reason, the film reminds me of The Lovely Bones, another hard-hitting tragedy where the story is narrated by a young person so that we understand the event from their, albeit naive, perspective. Oskar even uses similar phrases to that of Susie Salmon’s in Alice Sebold‘s novel and Peter Jackson‘s adaptation, talking over himself and explaining his thoughts and process, whilst referencing his situation to much bigger events in the universe. Whilst this approach has some great benefits for storytelling, it has also led some to feel that it has desensitised the event, as Oskar’s perspective doesn’t incorporate the extreme and global effects that the event actually led to. Evidently it has benumbed the event a little, but I wouldn’t say that it is ignorant of the real effects of the attack as that’s just not what the film intended to highlight in the first place. We don’t need to be reminded of how bad the day of 9/11 was, that’s something everybody will remember for all of their lives; looking at the story through Oskar’s point of view is just another take on the subject which, in context, it does brilliantly. However, also because of this narrative approach, another reason to love or
hate the film evolved as the character of Oskar, for some, can be quite annoying. Whilst the film doesn’t directly mention Oskar’s autism, it’s obvious that he is a socially awkward boy who finds it hard to talk confidently to people outside of his family. This is because that, in the film, his character is built up excellently. With the first ten minutes of the film introducing us to Oskar’s family before the attack, we are able to understand a lot about his character by seeing him happy with his father and without any worries in his mind. As we continue through his journey, however, his character begins to open up more and more. Through a number of scenes where Oskar begins listing something, both in narration and in conversation, he begins to open up his unconscious mind as his lists turn into hyperventilating rants. From this, we begin to understand more of his true fears and worries, which ultimately makes it really easy for the audience to sympathise with him. As for the acting of Horn himself, I think it’s important to understand that he got the role, his first ever acting job, after appearing on an American quiz-show. With no experience as an actor before filming for Extremely Loud, whether you like his character or not I think Horn must be applauded for his abilities alone. Child actors that portray this kind of emotion are hard to come by, but Horn portrays this troubled yet compelling character to a great level.
I also enjoyed seeing Hanks, for the small part of it, in the role of a family man. Undeniably a great actor, and a brilliant one to have attached to the film in the first place, it is not often that we see Hanks in this type of character. He may have only had a small role in the film, though his character still had the biggest impact on the film, his role was one of my favourite things about this film. The same can be said for Bullock too. It’s a shame that we never really got to see these characters together often, but individually they both suited their roles so well, and it is this solid family chemistry, under the circumstances, that helped to provoke an emotional response from the film. But let’s not forget Mr. Von Sydow. Awarding the film its second Oscar nomination for best supporting actor, Von Sydow is another big and excellent character in this film, even though he doesn’t say a single word. The introduction of his character mid-way through the film is, I think, where the film comes alive. From his first meeting with Oskar, Von Sydow makes a big presence, but unfortunately it just didn’t go anywhere. With his character featuring in a number of dominating scenes, having to both introduce his character and then see his departure, I think that it needed to build up to more of an emotional response at the end. The film does attempt to do this, but unfortunately it just doesn’t tug on your heartstrings well enough.
The Muppets Release Date: 10th February 2012
Director: James Bobin
Amy Adams, Jason Segel and Chris Cooper
The Muppets, directed by James Bobin, follows Walter (preformed by Peter Linz), the worldâ&#x20AC;&#x2122;s biggest Muppet fan, and his brother Gary (Jason Segel) and Garyâ&#x20AC;&#x2122;s girlfriend Mary (Amy Adams) who must raise $10 million to save the Muppet Theater from Tex
Richman (Chris Cooper), a businessman with plans to demolish the building to dig for oil. To raise the money, the trio must first attempt to reunite The Muppets cast, who have each gone off in new directions with Fozzie Bear performing with a group of Muppet impersonators, the Moopets, Gonzo working as a plumbing magnate, Animal has ended up in a
celebrity anger-management clinic sponsored by Jack Black and Miss Piggy working as Vogue Paris’s editor for plus-sized fashion. So will the trio be able to get the cast back together for one big show to save their heritage? Of course they will, it’s the Muppets! As the first Muppets theatrical release in 12 years, this film was longawaited by all ages, and has since become the highestgrossing Muppet film to date. Written by Segel and his co-writer Nicholas Stoller (who worked with Segel on Forgetting Sarah Marshall), The Muppets has been a particular passion project for actor/writer Segel for quite a few years, and it is this passion that undeniably shines from start to finish and is reflected excellently in the script. The Muppets is genuinely a really good film that, primarily focusing on the largely asked question ‘where are they now?’ – before all of the film’s promotion at least – brings the muchloved characters back together for
one, let’s not hope last, big show. Encompassing a bit of everything we love about film, the story line is fluent and clear and with the addition of the brilliant musical numbers that we can expect from The Muppet cast, there is enough to keep all of the audience entertained at a high level throughout. I genuinely haven’t heard a bad thing about it (but let’s face it, who doesn’t like The Muppets?) and,
“Primarily focusing on the largely asked question ‘where are they now?’, the film brings the much-loved characters back together for one big show.” aside from one negative comment that I will talk about below, there is nothing to complain about. Jason Segel, as always, is brilliant and, as well as for writing the film, is the reason as to why it both works so well and has ultimately done so well. Unfortunately it was Amy Adams‘ role in the film that I really didn’t enjoy. I understand that the film was supposed to be cheesy and light-hearted and that it could get away with being ‘silly’ in places, which Segel pulled off brilliant. Adams, however, took this too far and made the scenes she was involved in seem like a
piss-take rather than a bit of fun. Just like her role in Enchanted, I find her acting intolerable after more than a couple of minutes. I know she can be a serious actress, and I probably need to watch The Fighter to change my opinion of her, but at the minute I only see her acting as annoying and over the top, and that – almost – ruined The Muppets for me, and I’m not really looking forward to her role as Lois Lane in the upcoming Man Of Steel film now either. Nevertheless, to take the focus away from this one small part of the film that I didn’t like, there were many other famous faces that appeared on-screen as well, including Rashida Jones, Zach Galifianakis, Ken Jeong, Neil Patrick Harris, Jim Parsons, Emily Blunt, Jack Black, David Grohl, Whoopi Goldberg, and Selena Gomez, even if many of them were only for a few seconds. It was still great to have these great actors and musicians involved, and I especially loved Jim Parsons‘ appearance as the human form of Walter. What a great way to make the amazing ‘Man Or A Muppet’ song even better. No matter how much I enjoyed the film though, that’s as far as my comments go. Yes it was brilliant, of course it was, but I’m not going to say it is the best film of the year because it isn’t. Let’s just enjoy it for what it is, and that’s a great nostalgic film that we can all watch over and over again.
Young Adult From the duo that created Juno, directed by Jason Reitman and based on a screenplay written by Diablo Cody, Young Adult is a dark comedy that followers teen literature author Mavis Gary (Charlize Theron) who hasn’t quite gotten over high school. After a recent divorce and on deadline with her editor to finish the last book of her soon-to-be-cancelled series, Mavis returns to her hometown after receiving a photograph of her ex-high school boyfriend Buddy’s (Patrick Wilson) new baby, thinking it to be a sign that the two are meant to be together. Despite Buddy’s new family with his wife Beth (Elizabeth Reaser), Mavis is determined to rekindle their romance, but her drinking sessions with fellow high school classmate Matt (Patton Oswalt) don’t bring out her best side, as it becomes obvious that Mavis still has a few lessons to learn in life. Still encompassing the coming-of-age type genre that Juno highlighted, Young Adult offers much of the same themes and situations as it focuses on one central character that goes through one big change that begs them
to change their ways, learn from their mistakes and grow up to fix the underlying problems in their lives. This time around, however, the film’s central character is not a 17-year-old high school student, as much as she may act it, and instead a 30-something ex-Prom Queen that is still holding on to the past. Beginning with this similar jumping-
“The best part of the film, of course, was Theron as, something that often can be said her, she was deeply immersed in her role.” off point, the film goes off on a very different tangent despite the subtle similarities to Juno as Mavis, now depressed and completely self-obsessed, puts herself in a series of awkward confrontations with her past in attempt to fix the troubles of her present life. This anti-romantic is a great story that isn’t often told, and for that it was quite an enjoyable film to watch. Whilst both
this plot and the film’s dialogue is excellent, many of the scenes didn’t include much else away from the conversations to keep it entertaining. Funny at first, it was easy to get dragged down with Mavis’ depression throughout the central part of the film, before you are quickly brought back up again in the final few scenes that rounded the film up suitably. It’s hard to say what it was that I didn’t like about the film, but I didn’t think it was great. Because the scenes were welldirected with a great script it’s hard to put my finger on what was wrong but something was very much lacking and I almost fell to boredom before the end. The best part of the film, of course, was Theron as, something that often can be said her, she was deeply immersed in her role. I’m now very much looking forward to her role in the upcoming fairytale retelling of Snow White And The Huntsman, as her role here already holds a few signs of resemblance to the Evil Queen character she will be playing later this year. Comedian Oswalt was also a great addition to the cast as he became a likable character out of nowhere.
He was the safety net of the film, as if all else wasn’t going so well, both for the character’s in the film and the audience watching it, then he would jump in to help savour it. Unfortunately there’s not much to say about the other characters and/or actors in the film as they could have been played by anyone without it making much of a difference. I guess this primary focus on Theron and Oswalt’s character’s is a reason as to why I felt that the film didn’t work so well, as, whilst these two main characters excelled, no character development went on outside of this forming relationship so it was hard to relate to anything but Mavis’ selfinvolved self. In the end though, it was still very easy to like Mavis through Theron’s portrayal of her as the feeling of holding on to the past is something that everybody can take away from. For that reason you should watch it.
3rd February 2012
Charlize Theron, Patton Oswalt and Patrick Wilson
M an O n A L edge
Directed by Asger Leth, Man On A Ledge is an American thriller that follows ex-New York policeman Nick Cassidy (Sam Worthington), who is arrested for stealing a $40 million diamond from businessman David Englander (Ed Harris). Maintaining his innocence and claiming that he had in actuality been set up by Englander, Nick climbs out of a window on the 25th floor of the Roosevelt Hotel. Apparently ready to commit suicide, negotiator Lydia (Elizabeth Banks) tries to talk him down, but unbeknownst to her Nick has no intention of jumping and is rather acting as a distraction. In fact, Nick’s brother Joey (Jamie Bell) and his girlfriend Angie (Génesis Rodríguez) are meanwhile involved in something much bigger, as they attempt to break into Englander’s office to prove Nick’s innocence. The premise of Man On A Ledge is very much in the same as Joel Schumacher‘s thriller Phone Booth, which starred Colin Farrell in 2002. The main focus of the film is of a man unable to move from a single spot whilst something bigger goes on in a less predominate story in linear with the first. This plot is moderately intriguing, especially as this time around it involves a couple trying to prove the innocence of another, rather than breaking into a building for their own profit. It was therefore easy to know what characters to support in the film, but this also meant that it easy to guess how the story would conclude. Beginning with Nick’s escape from prison and believing that
maybe he does genuinely want to commit suicide, it’s a while before we know the main reason for his actions and again the reasons for his brother’s. Whilst there is enough going on during the film to avoid the premise of a man standing on a ledge for 90 minutes, Man On A Ledge is very much a film based on its dialogue rather than one full of decent enough action to overshadow its flaws. The action here is replaced with a slight use of comedy. Admittedly, the rest of the cinema was laughing a lot more than I was, but a couple of scenes did provoke the corners of my mouth to rotate. This did, however, take away the seriousness of the film. Unfortunately, largely because of this, the film ended up being very mediocre as without any real action, the film needed to be an intense thriller for it to impress. It wasn’t. Whilst, as previously mentioned, there was lot going on, it wasn’t obvious as to why. I’m not sure if this was because of a lack of full attention after losing all interest or whether it generally just wasn’t explained well enough, but what Nick’s brother and his brother’s girlfriend were planning to do to prove Nick’s innocent was a mystery to me until the end. Although the plot linked together well, with the stories playing alongside each other without causing too much confusion, there wasn’t enough emphasis on the explanations, and it was therefore easy to miss out on a lot of key information. One aspect of the film that I did enjoy was its combination
of decent actors in roles that really suited them. At first I found it hard to believe that the main character was played by Worthington, which took me a while to realise having not read much about the film beforehand. Whilst this had no effect on the film, his role here is very different from what we are used to, with no blue beings or mythological creatures in sight. Alongside his odd-looking haircut compared to his usual shaven head as well, it was very hard to come to terms with this being the same actor. He did, however, pull his character off and was in fact very fitting in his role. For Banks as well, it’s not often that we see her in such a serious role, most recognisable for her character in the comedy series Scrubs, but her character here was genuinely believable and again, in the circumstances, worked well. As for Bell, we are seeing a lot more of him in more action led films lately, and whilst his role, as well, was a very good fit, we have seen this a lot over the past few months. Unfortunately, this wasn’t enough to keep me engaged and by the end of the film I had lost nearly all interest.
3rd February 2012
Director: Asger Leth
Sam Worthington, Elizabeth Banks and Jamie Bell
On DVD this month...
February DVD Releases: Friends With Benefits Date: 6th February
Starring Mila Kunis and Justin Timberlake, can two friends add the act of sex into their friendship without it leading to complications? This film is a great rom-com of 2011 that doesn’t follow the typical clichés of Hollywood romance.
Midnight in Paris
Adapted from David Nicholls’s best-selling novel of the same name, two friends meet each year on the same date to see where they are in their lives. Starring Anne Hathaway and Jim Sturgess, this romantic drama is a heartbreaking story not to be forgotten.
Directed and written by Woody Allen, a family travel to the French capital of Paris, but when the central engaged couple are forced to confront their differing views of a perfect life, one is able to experience some of the great eras of the past to escape.
Date: 6th February
Date: 6th February
Date: 20th February A remake of the 1985 film of the same name and directed by Craig Gillespie, a teenager suspects that his new neighbour is a vampire, played by Colin Farrell, so he takes it upon himself to stop him for good when his school friend mysteriously goes missing.
Date: 6th February Paddy Considine’s highly acclaimed drama that follows a man plagued by violence and a rage that is driving him to selfdestruction, who earns a chance of redemption that appears in the form of a Christian charity shop worker. Stars Peter Mullan, Olivia Colman and Eddie Marsan.
Date: 20th February The youngest son of an alcoholic former boxer returns home, where he’s trained by his father for competition in a mixed martial arts tournament - a path that puts the fighter on a collision corner with his older brother. Stars Tom Hardy, Nick Nolte and Joel Edgerton.
In cinemas next month...
March’s Cinema: The Hunger Games Date: 23rd March
Adapted from Suzanne Collins‘ best-selling and eagerly awaited trilogy of novels, in a postapocalyptic and dystopian North America, teenagers are chosen to battle to the death in annual televised games where only one can survive.
Wrath Of The Titans
21 Jump Street
Directed by Jonathan Liebesman, Wrath of the Titans follows the demigod son of Zeus, Perseus (Sam Worthington), who must help The Gods as, weakened by humanity’s lack of devotion, are losing control of the imprisoned Titans and struggle for supremacy.
A pair of underachieving cops, played by Jonah Hill and Channing Tatum, are sent back to a local high school to blend in and bring down a synthetic drug ring. Directed by Phil Lord and Chris Miller, the film is based on an 80s TV show.
Date: 16th March
Date: 30th March
Date: 9th March Set in 1890s Paris, Robert Pattinson plays the character of George Duroy, a penniless exsoldier, as the film chronicles his rise to power through his manipulation of the city’s most influential and wealthy women.
We Bought A Zoo
From the director of Jerry Maguire, We Bought A Zoo is based on a memoir by Benjamin Mee about how the he and his family – played by Matt Damon, Scarlett Johansson and Elle Fanning – used their life savings to buy Dartmoor Zoological Park in the English countryside.
Jennifer Aniston and Paul Rudd’s latest rom-com which follows a Manhattan couple who, rattled by sudden unemployment and considering alternative living options, decide to experiment with living on a rural commune where free love rules.
Date: 16th March
Date: 2nd March