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We get paid to sit on our arses and watch films, so you dont have to. Check out whats on, and ignore your your other half.
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Review: All Tomorrow's Parties

REVIEW: District 9
The much anticipated debut feature from Neill Blomkamp, District 9, goes some distance to justifying the quiet hype it has generated. A sci-fi flick that promises to endear itself beyond the genre's partisan crowd, the buzz around it has been cleverly built up through virals, 'human only' signage in city centres and notably, a Peter Jackson endorsement. The movie itself is frequently entertaining and interesting - but is more conventional than it pretends and not as clever as it should be. District 9 opens with faux-archive footage of an Alien mothership landing over Johannesburg. Rather than nefarious invaders, it's full of refugees who are doled out squalid shanty-town existences and segregated by the South African government- the allusions to apartheid are immediately obvious, but never overstated. There's xenophobic hostility but the aliens- referred to as 'prawns' are generally regarded with pity, despite hints of a formerly advanced civilisation. It's an interesting reversal of the standard UFO axiom - here, aliens have more to fear from us than vice versa. Historical particulars are glossed over- the plot is evoked initially through eye-witness interviews and scatterbrain archive footage- colluding to build a sense of place, rather than of story. As such, District 9's opening 10 minutes are utterly compelling, its alternate present day rich and involving. The film eventually focuses on anti-hero Wikus van der Merwe, an awkward security official charged with evicting the residents of District 9 and moving them to concentration camp District 10. Wikus' nervousness contributes to an encounter with an alien liquid, and he undergoes a genetic transformation in scenes reminiscent of The Fly. His own government turns on him, carrying out specious military experiments. Evading his captors with a running commentary of humourous expletives, an unlikely alliance is formed with an alien freedom fighter. This pairing up is conveyed well, but as this story emerges the more interesting narrative structures fall by the wayside in lieu of standard 'action-blockbuster' storytelling. Indeed, with only a single narrative arc, the second half of the film felt very much like a computer game. Go to a location, shoot things, achieve mission targets, next level. Tiring gunfights replace plot dynamic, and the many shots of soldiers blown apart with 'cool' alien weaponry quickly lose their novelty. District 9 succeeds in establishing a fascinating hyper-reality- which is then compromised by its linear story. Blomkamp's earlier short film 'Alive in Joberg' (upon which this is based) maintained a tense ambiguity, but District 9 becomes disappointingly conventional and confused about what it's trying to be. Visually, it's a treat- CG is used intelligently, well shot if not entirely 'cinematic' and edited with tightness. Anyone feeling alienated by the genre (groan) won't be convinced, but District 9 is an interesting if not profound addition to the sci-fi canon, full of charm, intrigue and promise. --Amir Adhamy
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REVIEW: The Yes Men Fix The World
'The Yes Men Fix The World' is the sequel to 2003's 'The Yes Men': documentaries following two anti-corporate activists (Andy Bichlbaum and Mike Bonanno) as they stage a variety of stunts aimed at highlighting global injustice. Their primary weapon in this war is subterfuge- the filmmakers gain the trust of industry and media whilst masquerading as representatives from government or big business. It's a format we've grown accustomed to through the comic-doco style of Michael Moore and the pantomime spoofing of Sacha Baron Cohen's characters. But there's a precarious line between investigative journalism and getting your comedic kicks... In the first section, the target is Dow Chemical and Union Carbide's refusal to accept responsibility for the Bhopal industrial disaster of 1984 - a tragedy estimated to have killed 25,000. This culminates in a BBC interview with a "Dow representative" promising 12 billion pounds of compensation to those affected. Audacious, yes- but there's little attention paid on the human tragedies of the story. It's used as a tool to rail more generally against the ambiguous 'greed' of 'big corporations'. When the two filmmakers do visit India, it's only to validate their position. It's a self-congratulatory theme which informs the limp protests against ExxonMobil and Halliburton (soft targets for the protest movement) which are to follow. The film's most successful argument comes later, and is also it's simplest: Thousands of New Orleans residents have been evicted from their homes in the wake of Katrina. The filmmakers reserve judgment here, letting the subjects speak for themselves- and it makes for convincing footage. But elsewhere, wistful acoustic guitars for background music and stoner-humour do little to validate their arguments, merely establishing that this is a film very much preaching to a partisan audience. The Yes Men establish their raison d’être as defenders of justice and the oppressed, patting each other on the back at regular intervals along the way. Whilst their stunts are impressive and their hearts in the right places, the film suffers from nonchalance toward its subjects and arrogance in its arguments. It has a tone which is self-defeating and wholly unnecessary when compared with peers of the genre. 'The Czech Dream' (2004) remains humble, whilst longtime comic/activist Mark Thomas is an expert in letting the facts hold centre stage. Occasionally funny but too frequently lightweight, 'The Yes Men Fix the World' raises serious questions, not about fostering social change through comedy, but about the legitimacy of using protest movements as a source of humour and entertainment. --Amir Adhamy
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REVIEW: BROKEN EMBRACES / Dir. PEDRO ALMODOVAR
Thank the heavens for Broken Embraces. In a summer that has been dominated by dismal Hollywood refranchising (Terminator, Wolverine, Transformers) and arthouse shock tatics and self-indulgence (Antichrist, Synecdoche New York), Pedro Almodovar's 17th film is a breath of fresh air. The trailer's wordless sequences give nothing away and to those not familiar with the director, I doubt it will invite your interest. But dare to be curious and you will be pleasantly surprised. This is a serious piece of filmmaking; it will reward both the cinephile and the casual viewer. Penelope Cruz is the ostensible 'star' of the film, though the film is reticent to focus on a particular protagonist or narrative. The plot is embellished as the film jumps between 1994 and 2008: a complex web of storytelling that only reveals the particulars at the film's climax. We meet a blind cinematographer who lives under a pseudonym, an aspiring documentary filmmaker seeking to ruin his father's memory, a jealous financier and of course, Penelope Cruz herself- in the role of Magdelena: a typically passionate, but dissatisfied woman upon whom entire film turns. The film refuses to conform to type; allowing for a myriad of complex, often contradictory emotions to exist. A touch of self-referentialism never hurt anyone, and Broken Embraces indulges in a 'film within a film' storyline that ties all the disparate elements together. Whereas other films have attempted this ad naseum (Synecdoche- to it's absolute limit), it never feels laboured or indulgent. Broken Embrace's characters carry heavy burdens- but the light hearted 60s romp 'Girls with suitcases' within the film is used as much to distract as embolden. It's subjects are dark, but the film's tone is brisk. This is not a typical indie flick. It lacks the pace of genre-staples such as 'Y Tu Mama Tambien' or 'City of God'. But throughout the film are clues: A delicate scene with a television playing an Ingrid Bergmann film in the background. Casting agents instructing Magdelena to wear her hair 'like Hepburn'.This is classic cinematic storytelling, beautifully shot and acted, rooted in the style of 50s Hollywood. WORDS: Amir Adhamy For more Amir, visit http://indrossi.blogspot.com/
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ANTICHRIST
Oh boy... Buckle in readers, it’s about to get pre-tty mental up in here.. By now, I’m assuming you’ll have heard about Antichrist, the psychological horror forward slash torture-porn atrocity forward slash satirical wackathon by Lars Von Trier. If you posses a set of genitalia (male or female), you’ll want to approach this film with extreme caution. So yeah, pretty nuts really. Quite a lot of massively explicit sex, which is obviously a plus, but unfortunately this is surrounded by four or five of the most brutally graphic acts of violence I’ve ever seen. It would take a tenacious wanker indeed to try and tug himself off to this movie. In fact, that would be quite a good idea for a Special Feature when they bring out the DVD - you could have a little man in the corner of the screen (like when they do signing for the Deaf) attempting to do a realtime wankalong to the film. He’ll never make it. They could use this film in Roman Catholic primary schools as an educational resource; “What’s that? Mummy says sexual intercourse is perfectly natural and that we shouldn’t be afraid to openly talk about it does she? Right! Have a watch of this you little sinners..” It stars Willem Dafoe and Charlotte Gainsburg as a married couple in mourning after the death of their infant son, who retreat to an isolated wood-cabin to work through the psychological impact of their loss. Needless to say, that doesn’t go very well.. So, I’m not exactly sure what to make of it. There have been suggestions that Von Trier conceived the whole film as an elaborate prank to wind up idiots . Which is great if it’s true - as a general rule of thumb, anything that pisses off The Daily Mail is usually entirely justified and excellent. At the same time, it’s also a bit of a shame. Somewhere in amongst all the thrills and spills (and by “thrills and spills” I basically mean people having their testicles bashed in with a breezeblock) is a very serious and affecting film about bereavement, probably the most visceral emotion a human being can experience. But it’s almost as though Von Trier is embarrassed by his own achievement and is seeking to mask it by turning the film into the cinematic equivalent of the Nemesis ride at Alton Towers. As well as been horrifically painful to watch, at times the film is also just a bit silly - most notably the scene with the talking fox. This is actually worse than any of the torture stuff I think, as it undermines a film that very nearly could have been a masterpiece. It’s a bit like if Michelangelo had got halfway through carving the statue of David and then had been like “fuck it, let’s just make the bottom half into a Mermaid and stick a vagina on his head. Boom!” The opening prologue, for example, is one of the most beautiful and haunting sequences I’ve ever seen in the cinema. Dafoe and Gainsburg are making passionate love in the shower while, unattended, their little boy clambers out of his cot, toddles over to the window and falls five stories to his death. It’s shot in black and white to the accompaniment of a Händel aria and is done with surprising amount of restraint - as he falls from the window, the camera cuts to the little boy’s teddy bear tumbling through the snowflakes. EXCEPT, in the middle of this harrowing yet bewitching scene, Von Trier cuts to an entirely unnecessary slow motion close-up of Willem Dafoe’s penis. Bleeeuuuuurrrgh! The response of most of the audience I was sitting with was to burst out laughing. And rightly so - the human penis, even when it belongs to such a well respected performer as Willem Dafoe (Platoon, The Last Temptation of Christ), is a fundamentally silly looking object. The simple fact is, and I’m sure he’d be the first to admit this, that Willem Dafoe’s massive wanger lacks the poise and gravitas to justify such somber black and white cinematography and operatic backing track. And in slow motion as well, slow motion! Gliding imperiously towards his wife’s vagina looking a bit champion swimmer Rebecca Adlington in a artistically rendered photo finish at the Beijing Olympics. Apart from that it’s great. Not ideal for a first date, if I’m honest. Although it’ll give you more to talk about afterwards than Harry Potter..
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Terminator Salvation
Terminator Salvation
08/06/2009
Right, if Terminator actually happened and our global computer networks turned against us, who do you think Skynet would be? Which technology company would be the most likely to become self-aware and launch a massive and devastating nuclear strike against mankind? Let's hope it's not Google. What with Google Phones, Google Mail and Google Earth - not to mention all the personal data it keeps on us - it's effectively running the world already. If Google ever decided to declare war on humanity we'd all be literally fucked. Apple would be ok. All their Terminators would be so nicely designed that no-one would really mind being exterminated by them. And they'd basically break after a year anyway, so we'd be fine. Personally, I'm hoping for Twitter, I quite like the idea of seeing Twitter react violently whenever someone decides to tell it what they've just had for breakfast. "What are you telling me for? I don't even know you!" It would say in a robotic German accent before reforming their keyboard into a giant spike and harpooning them through the face. I went to see Terminator Salvation the other night fully expecting it to be shit. This was largely based on reading the review by my close personal friends (on Twitter) Timeout London ( if you're reading this guys, you must have pressed 'block' instead of 'follow' by mistake you idiots. Bloody classic!) Anyway, I actually thought it was quite good. The stunts and action scenes were really well done, the post-apocalyptic world of Terminators was convincingly brought to life and, aside from all the special effects, there was a fairly compelling piece of drama at the heart of the story. That said, it is the worst of all the Terminator films and they definitely shouldn't make any more of them. The main problem is it's just not that scary. I remember watching the early films and being absolutely petrified by Terminators whose human faces disguised relentless and unfeeling killing machines. The robots in this one are all a bit meh.. They've got these new giant Terminators that look like they're on loan from Transformers: Revenge of the Fallen , weird T600s that for some reason wear metal bandanas, and famously there's the sort-of return of Schwarzenegger himself. This is the most disappointing bit of the whole film. Apparently, they originally planned to give him a cameo playing a prototype of his own character in T1. However, as the big man is currently too busy bankrupting the world's 10th largest economy, they had to use rubbish CGI to do it without him. The result is a big naked puppet that looks closer to Woody from Toy Story than a terrifying killing machine. And then there's McG. Surely the silliest name for a movie director in the history of Motion Pictures. It sounds like the start of a Bart Simpson prank call (I'm looking for Ivana? Ivana Fukyamum..) but without a punchline. Prank calling McG would be essentially futile: - Hello is that McG? - yes, speaking. - Um, you've got a really stupid name. - Yeah I know. I get that a lot. - Mmm. I suppose you would. - Anything else? - Yeah. I've got your kids. I'm gonna cut them. Well, probably not that last bit. Words: Matt Harvey For more from Matt visit ProfoundlyMoving.Com
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Drag Me To Hell
Drag Me To Hell
29/05/2009
A while ago I watched the trailer for this film and assumed it would be abysmal. Having now seen the whole thing, I'm happy to hold my hands up and admit I was wrong. It's actually fine. Alison Lohman stars as Christine Brown, a kindhearted loans officer who is forced to deny a mortgage extension to an old gypsy woman named Mrs Ganush (Ganush? Isn't that a dip? I'm pretty sure you're not allowed to name your characters after foods from their country of origin are you? It's a bit like having a Greek character named Taramasalata or a Chinese guy called Special Fri Ri). Mrs Ganush has her home repossessed and goes pretty mental about it taking revenge by putting a curse on Christine. In three days the Lamia, a terrifying goat-like demon, will come to drag her screaming to Hell. This is a pretty good starting point for a film I think. Although I would point out just a couple of things: a) Ideally, Mrs Ganush wanted to be on an Offset Tracker Mortgage which would've used her savings to reduce her tax liability AND enabled her to benefit when the Bank of England slashed the Base Rate.. b) In many ways, it's a bit much to pin the blame for all this on one lowly bank employee. If anything, the people she should be dragging to hell are the ones who packaged up her bad debt along with all the other subprime mortgages and sold them on to to greedy investment bankers in search of a quick profit. Or even the politicians and regulators who propagated a bonus culture that encouraged lenders to make risky deals like these without appropriate thought for the consequences. c) If she's that fucking magic why couldn't she just conjure up some money for her monthly payments? Do you know I mean? Aside from that, it's all pretty fun. Having spent the last decade making Spiderman films, it's great to see Sam Raimi come back to horror - a genre he more or less invented with The Evil Dead Trilogy. His supremely confident and exuberant approach makes more recent attempts such as, hmm, Tormented look pretty fucking shoddy. The thing that really sets this film apart though is its genuinely scary and haunting premise. Normal horror films are about killing - a series of characters experience some kind of violent and gruesome death. Drag Me To Hell is extraordinary because not a single person dies. Instead its protagonist faces the infinitely more disturbing prospect of being dragged, while she's still alive, to burn in hell for all eternity. Ever since I saw the film a few weeks ago, I've found that I can't quite get that thought out of my head. This, surely, is the mark of really good horror. So for that reason I'm going to say (even though this is a really sickening film reviewer cliche) that if you see no other horror film this year - see Drag Me To Hell . Christ, I can’t believe I just wrote that. What a twat. Words: Matt Harvey For more from Matt visit ProfoundlyMoving.Com
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X-Men Origins: Wolverine
X-Men Origins: Wolverine
01/05/2009
Hooray! Here it is, the first big blockbuster of the year has arrived which means it’s officially the start of The Summer. You may now begin wearing flip-flops. Admittedly, the release of Wolverine would feel a bit more like an exciting cinematic event had 85,000 people not already seen the version leaked on the internet back in March. The guys at 20th Century Fox were clearly quite jumpy about this at the screening I went to and insisted on confiscating everyone’s mobile phones. I wouldn’t have minded but when I checked my outbox afterwards someone (at the behest of Rupert Murdoch I shouldn’t doubt) had texted “I’M A BIG GAY COCK. LOL!!” to my whole address book. To be honest, I don’t really see what the point of downloading this film would be. It’s clearly something to be seen in a big bastard cinema with amazing sound and a massive box of popcorn costing 11 quid. Watching a grainy rip-off version on your laptop in your pants - pausing every so often to see if there’s been an update on SpringBreakfucksluts.com - doesn’t really do it justice. This is the first of the X-men Origins series exploring the back story of each character from the original films. First up is Wolverine, so called because he’s half wolf and half tangerine (or something like that I dunno I wasn’t really paying attention). On paper, I would have thought Wolverine would be a pretty mediocre X-man. His main special power is that he has metal spikes that come out of his knuckles. Which is fine, but surely he could just as easily hold something with spikes attached to it in his hands? Like a trowel. Admittedly his version saves time - getting your metal spike trowel out of the case every time you need to use it would probably be a bit of a hassle (and in a battle situation seconds count) but surely this is a less impressive special power than, say, going invisible or shooting fire bolts out of your eyes? Think it through Hollywood! There are some pretty good lines - “Before I gut you, I want to know why!” I particularly liked. Also, “We’re going to make you indestructible. But first we have to destroy you” has a pleasing Barack Obama-esque rhetorical flourish to it. It’s also, interestingly, what they said to me when I first started writing for Notion. I think I’m still on the first stage though. The only thing I really didn’t like was at the end - they do that thing where they keep showing clips as the credits are rolling. Does anyone else hate that? It’s really awkward, the film’s over and you want to leave but don’t feel like you’re allowed to. We were told that there would be a bit right at the end that we’d “definitely want to wait around for”. My advice is don’t, it’s shit. In fact, fuck it, I’m just going to tell you what happens.. Basically, Wolverine is sitting at a bar and the waitress asks him “are you drinking to forget” and he says “no I’m drinking to remember..” That’s it. I sat through 10 minutes of credits and missed my train for that. X-men? X-twats more like. Words: Matt Harvey For more from Matt visit ProfoundlyMoving.Com
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The Inbetweeners set for E4 return
The Inbetweeners set for E4 return
26/03/2009
School was a pile of crap, a difficult time with one too many roads to cross and decisions to make. At school, you had the guys who kicked footballs and people by day, and threw bricks at houses and at people by night. They had failing grades and didn’t give a damn, they were the hopeless and the damned. But, importantly, they were the ones to pop their cherry first. And what young-gun doesn’t want a piece of that? Then you had the guys who played battle-games, joined chess clubs and stared at computer screens all day; talking about Star Trek and the Atom Bomb. They were intelligent, ruled by the brain and guaranteed a place at a top University, studying computer science or the Pythagoras theorem. But in between these two high school cultures were those who slipped under the radar, neither one nor the other. Those with a few of the hopes and dreams of both groups, minus the crap that would have them branded geek or thug; clever or dumb. They were the invisible; the opaque; the desperate for an answer. In a round-about way, those are the inspiration for award-winning E4 comedy The Inbetweeners. As the name suggests, they are the people who fall ‘In Between’ the geeks and the cool kids. Simple logic. Following the success of the first series, which picked up the Best New British Television Comedy gong at the 2008 British Comedy Awards, The Inbetweeners is returning to E4 for a second series on April 2nd. It carries on where the first series left off, at Rudge Park comprehensive school, where four dysfunctional friends are all desperately trying to work out how to fit in. Will (Simon Bird), is still trying to be part of the crowd, but now has a new challenge: to raise the social standing of his new friends to 'cool' - it's not going to work. At his side is Simon (Joe Thomas) who is still hopelessly besotted with Carli D'Amato (Emily Head) and anything she thinks is cool he immediately goes along with. Jay's (James Buckley) still boasting stories of impressive exploits and sexual conquests that are just a little too fantastical to believe. Making up the quartet is Neil (Blake Harrison), an easy going lad who is not exactly the brains of the outfit and whose dad is definitely not gay. Over the six episodes, the lads attempt to assert their maturity in a clubbing trip to London. The French exchange student is a bit too much of a threat, and they endure the infamous sociology and geography field trip to Swanage in the hope of finding the legendary Swanage 'MILF'. Work experience week sets up new challenges for Will and Neil and even the underage disco proves socially fatal for them. Facing new tests everyday they also have to deal with the day-to-day traumas of teenage life, families and exams. Written and Executive Produced by Damon Beesley and Iain Morris for Bwark Productions, the show has gone on to win Best New Comedy & Best Male Newcomer for Simon Bird at The 2008 British Comedy Awards, he is also nominated for an RTS award for best comedy performance (against Peter Kay). Damon and Iain are also co-producing 'Free Agents' with Big Talk Productions a sitcom for Channel 4 and producing 'The Scum Also Rises' a new sitcom for BBC2. For further information visit E4.Com/InBetweeners .
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Duplicity
Duplicity
20/03/2009
She's back! Julia Roberts and her massive terrifying mouth return to the big screen today in Duplicity, co-staring Clive Owen. It's difficult to know how to describe this film really. I don't want to say 'comedy' as it's definitely not, but it does seem like that's sort-of what they meant it to be. It's weird, at no stage did I come close to finding it funny and it doesn't even have any of those Horne and Corden moments - when you're vaguely aware that they want you to laugh but you just don't feel moved to. Instead it just motors on in a perpetual state of quirkiness that makes you neither want to laugh, smile or even do one of those snort things people do when they're trying to demonstrate that they've understood a clever bit. So, the basic idea right is that Owen and Roberts are two former intelligence agents now employed as spies for rival corporations. However, they're also secretly lovers and are working together to scam money out of their respective employers. Thing is, conducting a secret love affair in the knockabout world of industrial espionage is a dangerous game and, instead of a loving relationship based on trust and respect, they have to make do with sassy dialogue and white-hot sexual tension. That's the idea anyway, and it would have worked too if only they could have made it without the involvement of any of the people who are actually in it. This film could've been pretty good if they replaced Clive Owen and Julia Roberts with, say, Geroge Clooney and Cataherine Zeta Jones. Or Pitt and Blanchett? Or DiCaprio and Winslet? Or me. I think I would've been amazing in this film. I could actually have played both the main parts as a sort-of stylised monologue. Look, I'm a very capable character actor alright.. Matt Harvey For more of Matt visit ProfoundlyMoving.Com
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The Burning Plain
The Burning Plain
12/03/2009
I heard the name of this film before I read it. At that stage it could have gone one of two ways: The Burning Plain or The Burning Plane. Burning Plane seems the more the Hollywood option: "The plane’s doing what? Burning? But we've got The First Lady up here.." Also - no smoke without fire - a burning plane equals one thing.. terrorists. No, not mechanical failure, not flocks of birds getting in the engine, terrorists. Big, evil, Eastern European (though inevitably played by one British Shakespearian stalwart or another), motherfucking terrorists. Anyway that's what I assumed it would be. Turns out it was Plain - as in a big arid field. However, once I'd recovered from that disappointment, I really quite liked this film. It's written and directed by Guillermo Arriaga, the guy who did Amores Peres (not seen it), 21 Grams (nope), The Three Burials of Melquiades Esrada (Christ this is bad isn't it) and Babel (is that the one with Brad Pitt? I've heard of that. It's supposed to be really good isn't it?). He's a clever bugger is Arriaga. His film follows a gang of characters (played by various Hollywood big-hitters including Charlize Theron and Kim Bassinger) whose seemingly unrelated story-lines are ingeniously woven together. People should play games of Payoff Bingo in the cinemas - where you get to honk one of those comedy clown horns at the precise moment you realise what the fuck is going on - I got it about the 1hr20 mark. To a novice like me, these storytelling gymnastics are really impressive and it's a joy to see how perfectly all the plot points come together at the end. However, apparently it's not as good as his previous efforts. According to The Guardian; if I'd have bothered to see any of the films mentioned above, I'd now be familiar with Ariaga's multi-narrative shtick and would feel this latest offering adds little to his portfolio. But I haven't, so fuck it. Matt Harvey For more of Matt visit ProfoundlyMoving.com
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Cinémoi: New French film channel hits Sky 839
Cinémoi: New French film channel hits Sky 839
04/03/2009
Le plus grand faible des hommes, c'est l'amour qu'ils ont de la vie. Man’s greatest weakness is his love of life. PlanetNotion should know. Every time we grab the bull by the horns and ride the fucker until we reach that eternal high, it takes just days for us to crumble into a weak and shaking wreck. Thus proving the famous quote by 17th century playwright Molière, pretty god-damn accurate. PlanetNotion is going all French on your arse in celebration of a new French movie channel hitting Sky Channel 839. Cinémoi will be the first and only channel dedicated entirely to French film. Ed Pressman, who has produced films including Wall Street and American Psycho, is the brains behind the channel’s launch, alongside the Mint Group (owners of KOKO) and 3DD Group (The Album Chart Show). In addition, Cine Lumière’s (London’s No.1 French cinema) Julien Plante, who has programmed over 1000 films and documentaries for festivals, cinemas and events, has been bought in to curate Cinémoi. Speaking of the channel, Plante commented: “We are really excited about launching Cinémoi in the UK. The growth of French cinema and the increasing numbers of people with a real passion for it means that this feels like the perfect time to launch the channel. “With over 30 new films every month, Cinémoi will be a celebration of all things French, packaged to communicate glamour, style, quality and entertainment.” Viewers will be able to experience the best French movies on Cinémoi for free from the February 23rd until April 6th. For further information and to sign-up to Cinémoi (Sky Channel 839) following April 6th, visit Cinemoi.TV .
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Watchmen: Exclusive Pre-release Screening
Watchmen: Exclusive Pre-release Screening
18/02/2009
To celebrate the anticipated release of upcoming film Watchmen, Future Cinema has teamed-up with Paramount Pictures UK to offer an exclusive first viewing. PlanetNotion knows about as much on film releases as we do about sobriety, sushi and sexual awareness, so you’ll be surprised to hear that we’ve seen the Watchmen trailer and think it looks mighty good. The film is based on the critically acclaimed Watchmen graphic novel series, first published by world famous DC Comics. So ground-breaking was and is the Watchmen series, that it even made it into Time Magazine’s ’100 Best English Language Novels from 1923 to Present’. Anyways, produced by Zack Snyder (300), the film is set in alternate 1985 America. With it based on a comic book, it’s hardly surprising that super-heroes, including a dude called Dr. Manhattan, are part-and-parcel of society. And with it being an action-mystery, you won’t be surprised to hear that everyone lives in constant fear of death due to tensions between the USA and the Soviet Union. Well, it was always going to be a toss-up between the Soviets, Japanese and Lebanese, right? Apparently, everyone in the film is shit-scared because a ‘Doomsday Clock’ is permanently set at five to midnight. On the plus side, if you were lying in bed at night, bored beyond reason, you could probably have a bloody good danger wank. We won’t give too much away. (A) because we haven't seen the film and (B) because we've nearly reached our allocated 350 word limit. Just to say that the exclusive first screening of Watchmen will take place at cavernous London venue, the SeOne Club on March 5th. As is common with Future Cinema events, which have been held at venues including Glastonbury and The Roundhouse, surroundings will be transformed to reflect the film and the Watchmen characters brought to life. Expect the Future Cinema experience of live music and film to take you long into the night. Tickets go on sale from 11.55pm on Wednesday 18th February, so the ‘Doomsday Clock’ is ticking. Visit: www.futurecinema.co.uk/watchmen for further information.
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