D&CFilm’s Simon Roger Key called The Nightman of Nevermoor at ‘quirky Spielbergian-romp’, when he reviewed it back in March 2014. Now there’s a new trailer to whet your appetite, pique your interest and tempt you into watching the film which is still making its round of festival, screenings and the like.
Search Results for: Chris Thomas
The Nightman of Nevermoor was directed by Devon’s own, Chris Thomas and it was made on a shoestring budget of just £3,000, which was raised via crowdsourcing. The 50-minute short is a staggering achievement for the production crew, showcasing their filmmaking talents, while also illustrating their ability to work to a limited budget and time schedule.
On Tuesday, February 4, local filmmaker Chris Thomas will unveil his latest film, The Nightman of Nevermoor. The 50-minute film features a selection of Devon’s most picturesque locations, great emerging actors and showcases the talented production crews at work in Devon today.
The Kickstarter fundraising campaign for The Nightman of Nevermoor has got off to a flying start but you can still share a few pennies to support these filmmakers’ latest project.
A new film from the makers of The Water’s Edge has put out the call from cast.
The Water’s Edge, a sci-fi tale penned by Devon screenwriter Richard Standen, has had a successful run on the film festival circuit, and now you can watch it online.
In between all the festival stuff I had also written a small short which was entered into the Jessops ‘The Shot’ competition.
Chris Thomas’ Science-Fiction short, The Water’s Edge, has already enjoyed a healthy run on the film festival circuit in 2011 and it’s set for more screenings during 2012, but what should be made of this Sci-Fi short, penned by the Devon screenwriter Richard Standen?
‘Our January-February cinema programme is our most @F__Rating packed yet!’ Tweeted Plymouth Arts Centre, which is also offering a discount to promote its fab F-Rated programme.
“We believe that young people are the future… of film,” croon those tuneful buffs at Plymouth Arts Centre, but the words don’t stop there.
A collection of rare and previously unseen historical footage of coastal life in The South West of England has been made available for all to view on BFI Player as part of BFI’s Britain on Film: Coast and Sea national project via an interactive map.
Meet Again â€“ which has been shown at Politmore, Rivera Fringe Film Festival and Move Me Productions, Belgium -is now available to watch online.
Meet Again, which was filmed around the South West, has been selected for the Arts on the Move Festival, which takes place at Poltimore House, Exeter in June.
The short film Meet Again is set in the 1940s and centres around the character of Lily (Evelyn Rei) who goes on an emotional journey when the escalating war takes her husband Thomas (Chris Todd) away from her. Also co starring is singer Keedie Green.
Meet Again, an independent film that is planned to be filmed in Devon is on the lookout for cast and crew.
There is no shortage of blood and guts in this week’s DVD round-up!
Based on the 1995 novel of the same name by cult author Pete Dexter, The Paperboy (Lionsgate) is the story of two brothers: Ward (Matthew McConaughey, Killer Joe), a successful reporter and Jack (Zac Efron, High School Musical), a college dropout forced to deliver newspapers for his publisher father. Miami-based Ward returns to his hometown in the backwater of Moat County, Florida to investigate the case of Hillary van Wetter (John Cusack, The Raven) a wrongly convicted, but deeply unsavoury character, who has been sentenced to death for murdering a sheriff. The investigation is complicated further by the sultry presence of Charlotte Bless (Nicole Kidman, Trespass, Stoker) a provocative floozy with a long-standing obsession with incarcerated criminals. As Ward’s pursuit of a scoop slowly gets overwhelmed by a mixture of sexual tension and enigmatic half-truths, Jack’s confidante -put-upon family maid Anita (Macy Gray) -watches in dismay as his innocence is corrupted.
Lee Daniels’ movies are an acquired taste (Shadowboxer, anyone?), and while The Paperboy is far more enjoyable than the grim Precious, it seems unlikely to duplicate the curious mainstream success of its award-winning predecessor. With a plot that takes in segregation, degradation, masturbation, exploitation and ultimately devastation, The Paperboy comes from Hollywood’s leftfield, and its household name cast prove themselves more than willing to embrace the script’s peculiarly dark themes -not least the rejuvenated McConaughey and eye-opening Kidman. Although the narrative seemingly congeals in the sticky Florida heat as the film unfolds, The Paperboy is riddled with arresting images that will linger long in the memory, and it is well worth immersing yourself in its warped world.
Set in Norway in 1363 -around ten years after the Black Death ravaged the country –Escape (eOne) follows young Signe (newcomer Isabel Christine Andreasen) as she attempts to escape from the merciless band of killers that slaughtered her family on a remote mountain pass. Although she is initially spared by the vicious Dagmar (Ingrid BolsÃ¸ Berdal, Cold Prey), at the posse’s camp she meets fellow kidnap victim Frigg (Milla Olin) and learns that a terrible fate awaits her
Director Roar Uthaug previously achieved cult status with 2006 slasher film Cold Prey, and Escape (or Flukt, as it is known in its native language) sees him team up once more with Cold Prey writer Thomas Moldestad and leading lady Ingrid BolsÃ¸ Berdal, who was most recently seen in Hansel and Gretel: Witch Hunters and Chernobyl Diaries. With a brisk 77-minute run-time, chock-full of nastiness, it is fair to say that Uthaug doesn’t hang around, and Escape sees him trim the fat off an already lean idea. The (slightly disingenuous) artwork may recall The Hunger Games, but in truth the two films are poles apart, and the comparison does more harm than good. If you enjoyed the subversive Cold Prey -and Nicolas Winding Refn’s similarly brutal Valhalla Rising -then this moody little chase thriller is a solid addition to the genre.
In Stolen (Lionsgate) master thief Will Montgomery (Nicolas Cage, Con Air, Face/Off) is released from prison after serving eight years for a botched heist. Waiting patiently for him is tenacious FBI agent Tim Harlend (Danny Huston, The Kreutzer Sonata), who is convinced that Will stashed $10 million worth of stolen loot shortly before he was apprehended by the cops. Another man keen to get reacquainted with the ex-con is his former associate Vincent (Josh Lucas, Stealth, J.Edgar) who feels cheated out of his share of the spoils, and kidnaps Will’s estranged daughter Alison (Sami Gayle, Blue Bloods) as a way of forcing his former partner-in-crime to repay him. With only twelve hours to deliver a $10 million ransom to Vincent -before Alison is killed -Will enlists old friend Riley Jeffers (Malin Akerman, Watchmen) to pull off one last heist
It is difficult to put a finger on when Nicolas Cage’s career went into terminal decline -his dubious cinematic decisions arguably pre-date his oft-documented 2009 troubles with the IRS -but his recent trend for churning out generic action movies with one-word titles (Trespass, Justice, Stolen) has done him few favours. Despite a solid genre director at the helm in Simon West (Con Air, The Mechanic), the movie is so lazily strung together that not even the well-judged ensemble cast can save it. The funky, retro score and Danny Huston’s improbable Popeye Doyle-style porkpie hat attempt to recall a golden age of Hollywood crime movies, but Cage’s performance is pure ham throughout.
Nic Cage’s last good (lead) performance was four years ago in 2009’s Bad Lieutenant: Port of Call New Orleans, and before that Lord of War in 2005. By that logic, Cage owes us a good movie in 2013. Unfortunately, Stolen isn’t that movie, and time is running out…
Sightseers (StudioCanal) tells the story of hot-headed Chris (Steve Oram) who wants to give his girlfriend Tina (Alice Lowe) a glimpse into his life by whisking her away from her domineering mother and on a caravan holiday across the North of England. Chris’s hand-picked itinerary includes regional hot-spots such as the Crich Tramway Museum, the Ribblehead Viaduct and the Keswick Pencil Museum, but his grand plans quickly fall apart when an insolent litterbug rubs him up the wrong way.
The release of the Danny Elfman-scored Oz the Great and Powerful means now is the ideal time to do a retrospective on this brilliant composer – one of my personal favourites.
The night of February 10th 2013 saw what was, in my view, one of the most balanced and even-handed BAFTA ceremonies in a long time.
In this section I list my three greatest discoveries in the world of orchestral film scores.
2012 has come an end and so I take a look back at the cinematic year.
2012 has come to an end and so I take a look back at the cinematic year.
2012 has drawn to an end and so I look back at the cinematic year.
In Thomas Vinterburg’s agonising film The Hunt, a child’s lie, one intended without malice, is blown out of all proportion by the adults who interpret it.