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HOTEL SALVATION  

An Indian comedy full of emotional depth and understated paradox, HOTEL SALVATION describes the tragicomic ordeal of an over-worked modern son who is forced to set his job aside and accompany his elderly father to the holy city of Varanasi to, presumably, die. The film approaches the topic of getting old and dying with down-to-earth humor that never lessens its basic respect for the characters' dignity. On a more ambitious level, the film humorously illustrates the traditional Hindi philosophy of death and freedom from entrapment and attachment, but in such a low-key way it's never a burden. A harried middle-aged accountant, Rajiv (Adil Hussain) is so busy counting money he barely has time for his family, which includes his wife and teenage daughter and the spry Daya (Lalit Behl), a dignified old fellow of 77 who seems a little out of it. His routine is suddenly interrupted when Dad has a prophetic dream about his death, and decides it’s time to pack up and wait for the end in the holy Hindu city on the Ganges. Rajiv has no choice but to accompany him. A man ruled by the clock, he has to wonder how long the journey will take. As his boss snaps, “You can attain salvation anywhere, don’t forget your targets!” This sets up the basic question of the role of tradition in modern India, a theme that subtly plays in the background through the whole film.  If there was ever a timeless city, it’s Varanasi, and as soon as they arrive Rajiv finds himself caught between his responsibility to his father and to his boss, who calls him mercilessly. They check into a cramped, mice-ridden hostel run by the practical, curmudgeonly Mishraji (Anil K. Rastogi) who claims to know when all his residents will die but of course he won’t tell them. In any case, turnover is high and no one is allowed to stay longer than two weeks. Will it be enough? HOTEL SALVATION pleasantly brings out the warmth of the sun on dilapidated walls and peeling paint to produce a tale of human warmth with charming humour. (Hindi with subtitles).

(15) 102 mins Wednesday 27th September 2017 7:30pm
Director: Shubhashish Bhutiani
Stars: Adil Hussain, Lalit Behl, Geetanjali Kulkarni

(Please note we allocate seats for this performance. You will receive your seating confirmation in a separate email.)

WEDNESDAY 27TH SEPTEMBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00


TOMMY’S HONOUR  

Beginning with an aerial shot of the ruins of St. Andrews and some plaintive fiddle music, TOMMY’S HONOUR opens very much in the tradition of the mournful Scottish film. It soon finds its feet, however, and with an excellent cast, a well written script, its easy charm and the universality of its story which, as it happens, is less about golf and more about familial love, this is a real winner. The wonderfully bearded Tom Morris Sr. is played by (who else) Peter Mullan, who brings one of his finer performances to the role, somehow managing to season his gruff curmudgeonly exterior with just the right hint of paternal warmth. His son, Tom Morris Jr., is portrayed superbly by Jack Lowden, a young actor we will undoubtedly be seeing more of. There is a real chemistry between a father and son, who are bonded through their love of, and talent for, golf. Yet the relationship is not without its tensions. Tom Jr. is very often the angry young man which British cinema has frequently excelled in bringing to the screen, eager to move out from his father’s shadow. Morris Sr. is the green keeper at the home of golf, the Old Course at St. Andrews, and as such frequently caddies for the gentleman who are members of the antiquated institution. Added to that, the gentleman place large sums of money as bets on Morris Sr., and subsequently young Tom too, to win on the course. Yet the golfers themselves see little of this money. Generational conflict arises as young Tom’s talent with the sticks brings a certain amount of glory, along with the still as-yet unmatched honour of becoming the youngest winner of The Open, golf’s most prestigious tournament, and the only man to win it four years in a row. As such, young Tom begins to feel the injustice of the riches being made on his behalf by the esteemed, red coated gentlemen who belong to a club he cannot join. Sam Neill plays chief aristocrat Alexander Boothby, who is most offended by the impertinence of young Tom, who demands a fair share of the purse. His father and the golfing gentry are not the only ones with whom young Tom comes into conflict. His mother disapproves of his courtship, and eventual marriage, of Meg, played by Ophelia Lovibond in yet another of the film’s strong performances, whom we learn lost a child previously, one born out of wedlock. It is around these barriers that the film rattles along at a fair pace, peppered with gentle warmth and good humour. At its heart, TOMMY’S HONOUR is an underdog story, one in which a talented young man from humble beginnings must prove his worth despite the confines of the British class system. This, allied with its look at the modern birth of the game of golf, makes for an engaging film on every level.

(PG) 112 mins Thursday 28th September 2017 7:30pm
Director: Jason Connery
Stars: Sam Neill, Ophelia Lovibond, Peter Mullan

(Please note we allocate seats for this performance. You will receive your seating confirmation in a separate email.)

THURSDAY 28TH SEPTEMBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00


DUNKIRK  

Epic in scope and with an all-star cast, Christopher Nolan’s DUNKIRK promises to be one of the big films for 2017. In May 1940, Germany advanced into France, trapping Allied troops on the beaches of Dunkirk. Under air and ground cover from British and French forces, troops were slowly and methodically evacuated from the beach using every serviceable naval and civilian vessel that could be found. At the end of this heroic mission, 330,000 French, British, Belgian and Dutch soldiers were safely evacuated. The cast includes Tom Hardy, Kenneth Branagh, Cillian Murphy, James D'Arcy, Mark Rylance, Harry Styles, Jack Lowden, Aneurin Barnard. While we all know the basic historical facts about this event, DUNKIRK will remind us all that this was Britain’s finest hour because of the heroism of those involved.

(15) Friday 29th, Saturday 30th September 2017 7:30pm
Director: Christopher Nolan
Stars: Tom Hardy, Kenneth Branagh, Cillian Murphy

(Please note we allocate seats for this performance. You will receive your seating confirmation in a separate email.)

FRIDAY 29TH SEPTEMBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00

SATURDAY 30TH SEPTEMBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00


 THE TREE OF WOODEN CLOGS  

Ermanno Olmi won the Palme D’Or at Cannes in 1978 with THE TREE OF WOODEN CLOGS, a three-hour marathon of peasant life in Lombardy at the turn of the 19th/20th centuries, using non-actors from the Bergamo district. It is, of its kind, a masterwork. The hardship of the peasant’s lives may compare unfavourably with that of the landlord, who owns everything – their homes, fields, crops and the majority of livestock – yet the sense of community and shared experience is a powerful unifying force. The life of these peasants, illiterate, God fearing and hidebound by tradition, is subservient, harsh and beholden to their feudal master. The women and young girls have babies in their arms and pails of water in their hands. They dress in black or dark colours and are cleaning, knitting, mending, cooking, washing and gossiping. One of the little boys walks five miles to school and five miles back every day. He’s the only one. His dad carves him a new pair of clogs from one of the landlord’s trees, because his old ones are worn down, and it causes terrible trouble. The film follows the travails and small victories, such as grandpa’s early tomatoes and a marriage, with compassion rather than sentimentality. The beheading of a goose and disemboweling of a live pig emphasise the reality of the farmyard. There is no cruelty intended, simply necessity. When a cow, belonging to one of the families, falls sick, they call out the vet. When a baby is due, they decide they cannot afford a midwife. In the evenings, the families gather in the stable for storytelling, singing and conversation. The young girls’ suitors are welcomed in their Sunday best, but only as observers, and so stand at the back trying to catch the eye of their wished-for beloved. As a record of life before emancipation, when farm labourers had fewer rights than the beasts of the fields, this is a tribute to their spirit and an uplifting testament to human endeavour. Few movies have been done with greater sensitivity or integrity than THE TREE OF WOODEN CLOGS. Surely no three-hour movie has ever seemed so short. (Italian with subtitles).

(12) 178 mins Wednesday 4th October 2017 7:00pm
Director: Ermanno Olmi
Stars: Luigi Ornaghi, Francesca Moriggi, Omar Brignoli

(Please note we allocate seats for this performance. You will receive your seating confirmation in a separate email.)

WEDNESDAY 4TH OCTOBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00


ALONE IN BERLIN  

Emma Thompson and Brendan Gleeson star as unexpected Nazi resistors Anna and Otto Quangel in Vincent Perez's ALONE IN BERLIN. The film tells the story of Anna and Otto's quiet act of rebellion at a time when any sign of disloyalty to the Nazis was punished without mercy. Upon hearing that their son has been killed in action, Anna and Otto, their marriage apparently one of coexistence rather than affection, grieve separately. Although not Party members themselves, both are scrutinised for any hint of non-conformism. Their Jewish neighbour, Mrs Rosenthal, is hidden by the generous Judge Fromm, while looters inform on her whereabouts. One day Otto decides to speak out against Hitler. He writes on postcards such provocations as, 'Hitler murdered my son, he will murder yours too', disguising his handwriting and using gloves to avoid fingerprints. Otto and Anna then set out to distribute the cards around the city, leaving them discretely in office and residential buildings. Almost immediately the Gestapo are alerted to the activity, as most of the postcards are handed in to the authorities - no one wants to be caught with such statements in their possession. Inspector Escherich, played with conviction by Daniel Brühl, sets out to find the person responsible; someone he suspects will be uneducated, but not unskilled and recently bereaved. Thompson and Gleeson give committed and restrained performances, relying on gesture rather than verbal cues to indicate the tension in their marriage. As their dangerous rebellion becomes a fixture in their life, Anna and Otto bond once more, and this gradual shift is played with sensitivity by the film's leads. ALONE IN BERLIN is an interesting and welcome portrayal of a story that is told for the German point of view. Here, we witness normal-German people feeling the effects of the Nazi regime. We feel their pain on an individual basis through the eyes of everyday working-class characters. It’s a refreshing change.

(12A) 103 mins Friday 6th October 2017 7:30pm
Director: Vincent Perez
Stars: Emma Thompson, Daniel Brühl, Brendan Gleeson

(Please note we allocate seats for this performance. You will receive your seating confirmation in a separate email.)

FRIDAY 6TH OCTOBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00


HOWARD’S END  

HOWARD’S END (1992) is a magnificent movie and one of the greatest adaptations from novel to film. It’s a story that intertwines the lower, middle, and upper classes in an intriguing tale of love, pity, and pride. Margaret Schlegel (Emma Thompson) inadvertently gets involved in the affairs of the upper class Wilcox’s after befriending the eldest of them, Ruth (Vanessa Redgrave), while her sister Helen (Helena Bonham Carter) gets involved in the affairs of a lower class man named Leonard Bast (Samuel West). It’s a realistic portrait of how people acted in the ‘late 19th/early 20th century’. Forget Downton Abbey, HOWARD’S END is a much more interesting story. The acting is perfect. Emma Thompson never misses a beat. Every line that is spoken is calculated, heartfelt, and believable. She deserved her Academy Award for Best Actress. Helena Bonham-Carter actually upstaged Thompson in this film, for she played the more passionate and fiery character. Anthony Hopkins and Vanessa Redgrave also gave perfect performances as the upper-classed Wilcox’s, while Samuel Best gave a very sympathetic and likable performance as the lower class Leonard. Overall, HOWARD’S END is a brilliant story that is cast perfectly with well calculated performances. It contains brilliant costumes and cinematography, along with wonderful music to accompany it. You get transported into a time where the difference between classes are gigantic, and the women (no matter how intelligent or feminist they were) still felt the need to get married. It’s a beautiful film.

(PG) 136 mins Thursday 12th October 2017 7:30pm
Director: James Ivory
Stars: Anthony Hopkins, Emma Thompson, Vanessa Redgrave

(Please note we allocate seats for this performance. You will receive your seating confirmation in a separate email.)

THURSDAY 12TH OCTOBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00


 THE BEGUILED  

THE BEGUILED is an atmospheric thriller from acclaimed writer/director Sofia Coppola. During the Civil War, Union Corporal John McBurney (Colin Farrell) is wounded and is discovered in the woods by a young girl from a school for women in Louisiana. With a broken leg, he is nursed back to health with the help of the school owner Martha Farnsworth (Nicole Kidman) and the rest of the women who tend to him, fascinated by the proximity of a full-grown man. McBurney is aware he is behind enemy lines and manages to charm the women into allowing him to stay, even going so far as to pretend he is a visiting southern officer. One of the teachers at the school, Edwina (Kirsten Dunst), through her tending to McBurney, falls in love with the man and the soldier manipulates the woman's emotions convincing her that he loves her. McBurney also seduces Martha understanding that she misses her brother who helped her run the school and who also held an unusual place as romantic partner. One of the older students Alicia (Elle Fanning) approaches McBurney and openly shows her affections for him. Seeking new sensual experiences, she convinces him to make love to her. When McBurney is discovered by the other women in Alicia's room they make a concerted effort to ensure that the wounded soldier will not be allowed to return to Union Troops now occupying the southern territories of Louisiana. The house is taken over with sexual tension and dangerous rivalries, and taboos are broken in an unexpected turn of events. McBurney goes from being an angel to a devil, representing danger, and now the women need to get rid of him. THE BEGUILED becomes almost a psychological horror film, first for McBurney and then for the women.

(15) 94 mins Friday 13th October 2017 7:30pm
Director: Sofia Coppola
Stars: Nicole Kidman, Kirsten Dunst, Elle Fanning

(Please note we allocate seats for this performance. You will receive your seating confirmation in a separate email.)

FRIDAY 13TH OCTOBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00


 LAND OF MINE  

In 1945, after five years of Nazi occupation, Denmark faced the pressing issue of how to find and remove munitions and explosives that had been rigged - hidden beneath the landscape by the now defeated German forces. Someone, somewhere in the upper echelons of the Third Reich had evidently thought that the country's western coast was a likely site for an Allied invasion and 2.2 million landmines were planted throughout the Danish beaches and sand dunes. The morally dubious solution of the Allied forces was to use German prisoners of war to locate and defuse the explosive devices LAND OF MINE follows one such group of prisoners and their Danish military overseer, Sargent Carl Leopold Rasmussen (Roland Møller). A military man to his core, Rasmussen's hostility towards the departing occupiers is made clear in the opening sequence where he beats to the ground a German soldier who has the temerity to be clutching a Danish flag as he is being marched out of the country. Rasmussen's antipathy and bitterness only increase when he meets the prisoners assigned to clear a stretch of beach with 45,000 mines - they are barely men at all but boys still in their teens (in the case of a pair of twins - played by Emil and Oskar Belton - they are arguably still children) with little experience of war or bomb disposal. This is both a reflection of historical fact in the dying days of the war, the Nazis were reduced to conscripting younger members of the German population who therefore had minimal military training - but also a clever way for writer/director Martin Zandvliet to neutrally present perspectives from both sides. It is noticeable that there is no discussion of wartime activities or experiences and no mention of Hitler or the Nazis between the boys - instead the focus is on what they will do when they are allowed to go home (they have been told that once they have cleared this beach they will be returned to Germany). This focus on the future - alongside their youth and 'political neutrality', for want of a better phrase allows the audience to become invested in the characters as individuals (we learn of their hopes and plans) but also creates common ground between the boys and Rasmussen (who knows what it is to miss home). But if Rasmussen's attitude towards his team gradually changes, this is by no means a gentle depiction of the aftermath of the war if anything, it stands as a sharp indictment of the Allies' treatment of German prisoners. The film switches between sequences of high tension and out of the blue shock tactics as the young men are brutally picked off one by one, putting the audience through the wringer and wreaking emotional devastation amongst the group. LAND OF MINE is a well-made production which boasts solid performances from the ensemble with Møller as the standout, as befits his role - and the film's originality lies in the uncovering of a little-known story from a cinematically familiar period of history. (Danish/German/English with subtitles).

(15) 100 mins Wednesday 18th October 2017 7:30pm
Director: Martin Zandvliet
Stars: Roland Møller, Louis Hofmann, Joel Basman

(Please note we allocate seats for this performance. You will receive your seating confirmation in a separate email.)

WEDNESDAY 18TH OCTOBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00


 ATOMIC BLONDE  

Despite director David Leitch’s ties to Keanu Reeves John Wick, ATOMIC BLONDE is no Lady John Wick. Cold War locales may radiate similar neon hues, but this espionage thrill-kicker is more about consequence then henchman disposal. Revenge is merely an underlying motivation as government agents fight to keep a power struggle concrete while the Berlin wall crumbles down. Berlin, 1989 a German city loaded with secret government operatives East/West tensions reaching their breaking point. Britain, France and America everyone has agents in Germany, but a rumored list could out every name if it were to be exposed. This is why MI6 Agent Lorraine Broughton (Charlize Theron) is sent to Germany, with a mission of retrieval. Her only contact is David Percival (James McAvoy), but the existence of a double-agent codenamed “Satchel” means there’s no one to trust. Can Broughton flush the list, expose a traitor and stay alive while on enemy turf? Or will the mean streets of Germany introduce a game where no national agency wins. Theron plays an international mistress of mystery, ready to dispatch whatever number of adversaries circle around her. Five police officers bash in an apartment door, only to be defeated by a rubber hose. Broken bottles or household appliances make for helpful weaponry, most times instead of gunplay or trajectory kills. “Realistic” action shows a human side to the undercover seductress, in that she bleeds and depletes energy just like the rest of us but nevertheless, she persists. Pain heals, chicks dig scars and glory lasts forever. ATOMIC BLONDE strikes a deafening blow thanks to enjoyable characters, furious fight-play and Charlize Theron’s brand of screen command. She’s always in control, whether toying with feminine wilds or slugging another glass of Stoli on the rocks. It’s never the female arc where messy emotions complicate everything, weakening an otherwise prototype agent. Lorraine Broughton makes her mark by saying “anything you can do, I can do better,” because she can.

(15) 115 mins Thursday 19th October 2017 7:30pm
Director: David Leitch
Stars: Sofia Boutella, Charlize Theron, James McAvoy

(Please note we allocate seats for this performance. You will receive your seating confirmation in a separate email.)

THURSDAY 19TH OCTOBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00


 DETROIT  

From Kathryn Bigelow, the Academy Award winning director of The Hurt Locker and Zero Dark Thirty, DETROIT tells the gripping story of one of the darkest moments during the civil unrest that rocked Detroit in the summer of '67. A police raid in Detroit in 1967 resulted in one of the largest citizen uprisings in United States history. The story is centred around The Algiers Motel Incident, which occurred in Detroit, Michigan on July 25, 1967, during the racially charged 12th Street Riot. A handful of rioters took over the city of Detroit following a police raid on an unlicensed bar. Army paratroopers, National Guardsmen and state and local police were called on to help put a stop to the rioting, which lasted for five days. What sparked the riots was the racism and discrimination by the police force that was felt within the city by the African American population. In the end, 43 people were dead, almost 1,200 were injured and over 2,000 buildings were destroyed. It involved the death of three black men and the brutal beatings of nine other people: seven black men and two white women. Recreating these events through the eyes of both rioters and police, DETROIT is a gripping and timely tale of a society in crisis.

(TBA) Friday 20th, Saturday 21st October 2017 7:30pm
Director: Kathryn Bigelow
Stars: John Boyega, Anthony Mackie, Algee Smith

(Please note we allocate seats for this performance. You will receive your seating confirmation in a separate email.)

FRIDAY 20TH OCTOBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00

SATURDAY 21ST OCTOBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00


 A GHOST STORY  

In director David Lowery’s A GHOST STORY, C (Casey Affleck) and M (Rooney Mara) are lovers and struggling young musicians. They just bought their first house out in the country and it’s perfect. Sure, it has creaky floorboards and the piano is always falling out of tune, but it’s their creaky floorboards and funky piano, which makes them perfect. The house is so perfect, in fact, that C refuses to abandon it, even after he dies in a car accident. Donned only in a white sheet with two impossibly black eyeholes the forever-silent C shambles around the house as M struggles to move beyond her formerly perfect life. There are innumerable moments of quiet power in A GHOST STORY. This is definitely not a film to watch on an empty stomach because the silence will betray you. We watch as a decimated M sits on the kitchen floor and devours an entire pie. The minutes silently accumulate; the only sound coming from the fork scraping the pie plate. It seems gratuitous, perhaps even pointless, until you understand the void she’s trying to fill. It’s the same void that prevents her from washing the bed sheets or emptying the trash can. How can she risk erasing the last traces of C’s essence? Eventually M moves out, leaving C behind to stew in his loneliness. Occasionally he lashes out at the house’s new tenants, tossing a plate across the room or striking a discordant note on the piano that M couldn’t bear to take with her. He strolls through vast fields of lush green or stares across endless cityscapes choked with neon and smog. Sometimes he meets one of his own kind and they exchange lamentations. “Who are you waiting for?” “I don’t remember.”
A GHOST STORY isn’t simply an artistic exercise to be enjoyed by daring cinephiles. It’s a beautiful and, quite literally, haunting portrait of our frail humanity. It might seem depressing were it not such a strident affirmation of our existence in this universe, no matter how fleeting. David Lowery has crafted a powerful film that will only improve with time.

(15) 87 mins Wednesday 25th October 2017 7:30pm
Director: David Lowery
Stars: Sonia Acevedo, Casey Affleck, Carlos Bermudez

(Please note we allocate seats for this performance. You will receive your seating confirmation in a separate email.)

WEDNESDAY 25TH OCTOBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00


 

In its early scenes, Francis Lee’s richly textured first feature, GOD’S OWN COUNTRY, is a bracing, mordant study of northern dourness and deep-seated repression. Josh O’Connor delivers a star-making turn as Johnny Saxby, a young man who’s been struggling to run his family’s remote Yorkshire farm since his taciturn father Martin (Ian Hart) was incapacitated by a stroke. Johnny has come to terms with his sexuality to the extent that he’ll indulge in the odd spot of discreet cottaging, but we see him virtually recoil in horror when one of his hookups innocuously suggests going for a pint. Presumably in a bid to keep a lid on his self-loathing, he spends his evenings drinking himself into oblivion, invariably rendering himself unfit for work the following morning, to the exasperation of his grandmother Deidre (Gemma Jones). Leaving little to the imagination when it comes to the graphic realities of livestock farming, Lee wryly demonstrates that Johnny’s is decidedly not the kind of job that should be tackled whilst nursing a stinking hangover. Family downtime is a comically miserable affair, with all three participants perpetually seething with unspoken resentment and frustration. Into this gloomy picture steps Gheorghe (Alec Secareanu), a Romanian migrant worker hired to provide Johnny with much-needed assistance during lambing season. While he’s sufficiently stoic and sober to win the tacit approval of Martin and Deidre, he also possesses a warmth and optimism that Johnny finds impossible to resist. Yet as their secret relationship blossoms, and as Johnny’s unappealing prickliness begins to dissipate, it’s hard to shake the feeling that this is all going to end horribly. This is largely down to the ominously bleak backdrop against which the affair unfolds – Lee and cinematographer Joshua James Richards evoke an untamed world of pummelling rain and eerie, mist-strewn wilderness. But things aren’t quite as grim up north as they may seem. In a deft act of willful misdirection, Lee orchestrates a sequence in which Deidre seemingly reacts to the revelation of the boys’ relationship with the anguished waterworks one might condescendingly expect from a countryside-dwelling pensioner. But moments later it becomes apparent that she’s upset about something else entirely – her actual response to her grandson’s dark secret is one of nonchalant acceptance. As it transpires that Johnny faces fewer obstacles to happiness than he evidently feared, Lee calmly builds to an emotional payoff that’s all-the-more satisfying for its simplicity and restraint. GOD’S OWN COUNTRY is surely one of the most assured, fully-formed British debuts of recent years.

(15) 104 mins Thursday 26th October 2017 7:30pm
Director: Francis Lee
Stars: Josh O'Connor, Alec Secareanu, Gemma Jones

(Please note we allocate seats for this performance. You will receive your seating confirmation in a separate email.)

THURSDAY 26TH OCTOBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00


 THE LIMEHOUSE GOLEM  

Nobody feels London's past coming up behind him quite like Peter Ackroyd. Among his many novels enjoying that sensation is his 1994 murder mystery, THE LIMEHOUSE GOLEM which brings together so many of his interests: music hall, travesty, occultism, the East End as it used to be, literary teasing and bloody slaughter. Now naughty minded Jane Goldman has adapted it for this exceptionally saucy, violent and entertaining film. In high Victorian London, a newly promoted, secretly gay police inspector, John Kildare (Bill Nighy) is charged with investigating a gruesome series of escalating Ripper-type killings in the East End, attributed to a terrifying "golem", a monster from Judaic mythology. Expected by his superiors to fail, Kildare, dressed in a series of incredibly tightly buttoned three-piece suits, assisted by a gamey constable, does his best, swiftly decoding a Latin inscription left at the scene of the latest mass killing as "he who observes spills no less blood than he who inflicts the blow". This ominous saying he traces to Thomas de Quincey's essay, On Murder Considered as one of the Fine Arts and when he goes to the British Library to consult the book, he finds it has been inscribed in a distinctive hand with the Golem's own diary. So his search turns into a graphological quest. The library keeps a record of its readers and the only possible candidates seem to be Karl Marx, George Gissing, the cross-dressing music hall star Dan Leno, and an unsuccessful playwright and journalist called John Cree. As Kildare tracks down each of these leads, we get to see each one of these candidates as the murderer - including Karl Marx vindictively sawing up a victim, a joy in itself. But there is a complication: John Cree is dead, apparently poisoned by his wife, Elizabeth. And she, aka Little Lizzie, is herself a star of the music hall, a protege of the very same Dan Leno (fancifully played by Douglas Booth) and the place's dodgy manager, "Uncle" (the ever-creepy Eddie Marsan). As Lizzie, betrayed by her rivalrous maid, stands to hang for the murder, Kildare works furiously to prove either that John Cree took his own life, unable to carry on with his murderous career, or that if Lizzie did do for him, she has the justification that she knew what he was, which should save her from the rope. THE LIMEHOUSE GOLEM is a fast-moving horror cum panto, nicely staged, all fog and darkness, with the melodrama and off colour humour of the music-hall itself. And it has a star turn: 22 year old Olivia Cooke, originally from Manchester, so magnetic and charming as Elizabeth Cree, a girl who has hauled herself out of desperate poverty on to the stage she loves. She's enchanting. You'd only want to protect her, wouldn't you? But this is London. "We're all part of London's tapestry sometimes threads get crossed." Oh, they do, they do. Just ask Peter.

(15) 109 mins Friday 27th, Saturday 28th October 2017 7:30pm
Director: Juan Carlos Medina
Stars: Bill Nighy, Olivia Cooke, Eddie Marsan

(Please note we allocate seats for this performance. You will receive your seating confirmation in a separate email.)

FRIDAY 27TH OCTOBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00

SATURDAY 28TH OCTOBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00


 

NORTH BY NORTHWEST (1959) is a Hitchcock classic, filled to the brim with grand set-pieces from the Master of Suspense at the peak of his skill and influence in Hollywood. Cary Grant plays Roger Thornhill, an oily, dislikeable advertising executive, who finds himself constantly mistaken for a government spook named George Kaplan. Of course, simply explaining the situation to the bad guys or authorities who pursue him relentlessly cannot convince them to leave him alone. In an effort to unravel the mystery single-handed, Thornhill follows Kaplan's clues and attempts to track him down all across the north-west United States, jumping onto planes, trains and automobiles to stay one step ahead of the men on his tail. Of course, this being Hitchcock, this is rarely straightforward. The cast all have a great time - Jessie Royce Landis, playing Roger's highly disapproving mother, who in real life was a mere eight years older than Cary Grant, Martin ("Call It My Woman's Intuition") Landau as Leonard, Vandamm's henchman, with white-hot gremlin eyes. Eva Marie Saint plays the femme fatale, blonde sex-kitten, Eve Kendall, who most certainly has secrets of her own. By throwing the disagreeable Thornhill into the "innocent man on the run" routine, we end up rooting for him regardless. Thanks to Grant's skillful and likeable screen presence, Thornhill rediscovers his humanity after being broken down by immutable forces, being hounded and abused for information he cannot possibly know. Hitchcock obviously loves telling the absurd story with such brazen confidence. NORTH BY NORTHWEST is fast-paced, funny and surprising. It's a nonsense, but when the storytelling is this good it doesn't matter.

(PG) 133 mins Tuesday 31st October 2017 7:30pm
Director: Alfred Hitchcock
Stars: Cary Grant, Eva Marie Saint, James Mason

(Please note we allocate seats for this performance. You will receive your seating confirmation in a separate email.)

TUESDAY 31ST OCTOBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00


 

In BORG VS McENROE, Award-winning Danish director Janus Metz brings to the screen the story of one of the world’s greatest icons, Björn Borg, and his biggest rival, the young and talented John McEnroe - and their legendary duel during the 1980 Wimbledon tournament. The film stars Sverrir Gudnason as Borg and Shia LaBeouf as his tennis court rival John McEnroe. Playing Borg’s trainer, the legendary Lennart Bergelin, Stellan Skarsgård returns for a major part in a Swedish film for the first time in almost a decade. It's a story about two men who changed the face of tennis and who became legends and the price they had to pay. If you love tennis, you will love BORG VS McENROE.

(15) 103 mins Wednesday 1st November 2017 7:30pm
Director: Janus Metz
Stars: Stellan Skarsgård, Shia LaBeouf, Sverrir Gudnason

(Please note we allocate seats for this performance. You will receive your seating confirmation in a separate email.)

WEDNESDAY 1ST NOVEMBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00


 

VICTORIA AND ABDUL tells the story of Queen Victoria’s unlikely friendship with a young Indian clerk named Abdul Karim. Tall and Handsome, Abdul Karim (Ali Fazal) was just 24 years old when he arrived in England from Agra to wait at tables during Queen Victoria’s (Judi Dench) Golden Jubilee. An assistant clerk at Agra Central Jail, he suddenly found himself a personal attendant to the Empress of India herself. Within a year, he was established as a powerful figure at court, becoming the Queen’s teacher or Munshi. Devastated by the death of John Brown, her Scottish ghillie, the queen had at last found his replacement, but her intense and controversial relationship with the Munshi led to a near revolt in the royal household. VICTORIA AND ABDUL explores how a young Indian Muslim came to play a central role at the heart of the Empire at a time when independence movements in the sub-continent were growing in force. Yet, at its heart, it is a tender love story between an ordinary Indian and his elderly queen – a relationship which survived the best attempts to destroy it. (Advance booking highly recommended)

(12) 112 mins Friday 3rd, Saturday 4th November 2017 7:30pm
Director: Stephen Frears
Stars: Judi Dench, Olivia Williams, Michael Gambon

(Please note we allocate seats for this performance. You will receive your seating confirmation in a separate email.)

FRIDAY 3RD NOVEMBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00

SATURDAY 4TH NOVEMBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00


 

“It’s a long story.” So says Una, a young woman with a going-nowhere office job and an emotionally devastated past, when asked about her relationship with Peter — the man she knew as Ray. Indeed, it is a long story — a morally complex and cruelly realistic one, too. The debut feature from theatre veteran Benedict Andrews, UNA is an astonishing success. Anchored by two exhilarating performances from Rooney Mara and Ben Mendelsohn, the film is also harsh, moving, and extraordinarily riveting. The storyline — a woman in her twenties confronts the man who sexually abused her as a thirteen-year-old. Mara gives her finest performance to date. Una has a dull office job, a complicated social life, and an uneasy relationship with her mother. Una still lives at home, with the former residence of Ray a daily sight. It is unsurprising, then, that she has a desire to confront him fifteen years after their encounter and his conviction. He is now a married factory boss going by the name of Peter, and his facial features visibly sink when the now-adult Una appears at his workplace. No introduction is necessary; even fifteen years later, “Peter” knows who stands before him. The scenes between Una and Ray have the force of a cannon blast. Una has not travelled to see Ray for public embarrassment or shaming. She has real unanswered questions, and a piercing desire to know what followed their relationship. On her end, that meant status as a social pariah and familial pain that led her father to an early grave. Running through UNA is a sense of sombre reflection and an innate understanding of the track marks left by abuse. Ultimately, this is the reason the performances are so unforgettable. The film culminates with a uniquely powerful, darkly humorous party scene, yet there is no clear resolution or tidy conclusion. Nor should there be. It’s hard not to desire one more emotional beat, perhaps an additional moment of confrontation. But simple catharsis is impossible. UNA is, simply stated, a sharp, discomforting stunner.

(15) 92 mins Wednesday 8th November 2017 7:30pm
Director: Benedict Andrews
Stars: Ruby Stokes, Rooney Mara, David Shields

(Please note we allocate seats for this performance. You will receive your seating confirmation in a separate email.)

WEDNESDAY 8TH NOVEMBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00


 

Screenwriter turned director Taylor Sheridan draws on actual events to deliver WIND RIVER, a sucker punch of a movie that’s visceral, unflinching and brooding. In the bitterly cold wilderness outside the Wind River Indian Reservation in Wyoming, US Fish and Wildlife Service agent Cory Lambert (Jeremy Renner) discovers the frozen body of a young woman. Rookie FBI Agent Jane Banner (Elizabeth Olsen) recruits Lambert as a tracker to help her navigate the harsh landscape, uncovering a web of violence and darkness that is at stark odds with the whiteness of the snow. As with Sheridan’s previous work (Sicario, Hell or High Water), WIND RIVER explores the line between society’s edge and what pushes people over it. The coldness of the Wyoming wilderness is a landscape that takes a certain level of determination to survive. Or as Lambert succinctly puts it, “Luck doesn’t live out here.” Renner’s straightforward pragmatism as Lambert (“I hunt predators”) masks a world of pain, with a character we slowly learn is still reeling from the emotional gut-punch of his own loss. It’s one of his most nuanced performances to date. Olsen similarly continues to explore her range, and as one of the few female leads in a sea of primal men, shows fierce determination.  Yet it’s Gil Birmingham who gives an unforgettable turn as the grieving father, proudly keeping his emotions locked down until he is ready to let them pour out. Cinematographer Ben Richardson shoots a magnificent landscape with a crisp lens, showcasing a seemingly endless tundra of mountains, snow-covered fields, and woods. Nick Cave and Warren Ellis once again join forces for an atmospheric score, with fragmented voices blowing through the audience like the bitter winds buffeting the cast. At times brutal, and at others filled with sudden and frenetic action sequences and stand-offs, WIND RIVER elevates the mystery/thriller genre. It’s a testament to the people who may not have chosen to live in impossible conditions, but still manage to fight for the very air in their lungs. 

(15) 107 mins Thursday 9th November 2017 7:30pm
Director: Taylor Sheridan
Stars: Kelsey Asbille, Jeremy Renner, Julia Jones

(Please note we allocate seats for this performance. You will receive your seating confirmation in a separate email.)

THURSDAY 9TH NOVEMBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00


 

"Kingsman: The Secret Service" introduced the world to Kingsman - an independent, international intelligence agency operating at the highest level of discretion, whose ultimate goal is to keep the world safe. In KINGSMAN: THE GOLDEN CIRCLE our heroes face a new challenge. When their headquarters are destroyed and the world is held hostage, their journey leads them to the discovery of an allied spy organization in the US called Statesman, dating back to the day they were both founded. In a new adventure that tests their agents' strength and wits to the limit, these two elite secret organizations band together to defeat a ruthless common enemy in order to save the world, something that's becoming a bit of a habit for Eggsy. Featuring Taron Egerton, Colin Firth, Julianne Moore, Mark Strong and, yes, Elton John, KINGSMAN: THE GOLDEN CIRCLE is an espionage thriller which definitely does not take itself too seriously.

(15) 141 mins Friday 10th, Saturday 11th November 2017 7:30pm
Director: Matthew Vaughn
Stars: Taron Egerton, Colin Firth, Mark Strong

(Please note we allocate seats for this performance. You will receive your seating confirmation in a separate email.)

FRIDAY 10TH NOVEMBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00

SATURDAY 11TH NOVEMBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00


 

SCRIBE is an outstanding French thriller featuring a mesmerizing performance from Francois Cluzet who so impressed in the remarkable Intouchables. When unemployed Duval (Cluzet) is offered a job transcribing phone calls for a suspiciously vague “security firm”, he blindly accepts, desperate to prove his worth in the world and get back to a life of stability. His is a life of rituals, both at work and at home. From making coffee in the morning to completing jigsaw puzzles at night, Duval’s days are structured in a way to stop himself falling back into unhealthy habits. Obviously, things do not go smoothly for Duval in his new job as he begins to unravel a whole world of political upset, finding himself the middle man in a terrifying situation. Director Kruithof lets it all unravel in such a carefully guided way that you find yourself completely absorbed within the first few minutes. The sickly yellow lighting and monotonous beiges and greys only heighten the level of general unease felt throughout, with paranoia on the rise at every turn. The dialogue throughout is tight and succinct, with Kruithof instead leaning heavily on Cluzet to do his thing and own the show while not saying very much at all. Cluzet is truly mesmerising throughout, perfectly portraying a man who unwittingly finds himself completely out of his depth and desperate to survive. Undeniably influenced by 1970s spy dramas, SCRIBE is wonderfully stylised and meticulously crafted. At just 91 carefully constructed minutes, this taut thriller showcases a stunning lead performance from Cluzet and a gripping storyline that keeps you hooked until the final showdown. (French with subtitles)

(15) 89 mins Wednesday 15th November 2017 7:30pm
Director: Thomas Kruithof
Stars: François Cluzet, Denis Podalydès, Sami Bouajila

(Please note we allocate seats for this performance. You will receive your seating confirmation in a separate email.)

WEDNESDAY 15TH NOVEMBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00


 

HOME AGAIN stars Reese Witherspoon as Alice Kinney in a modern romantic comedy. Recently separated from her husband, (Michael Sheen), Alice decides to start over by moving back to her hometown of Los Angeles with her two young daughters. During a night-out on her 40th birthday, Alice meets three aspiring filmmakers who happen to be in need of a place to live. Alice agrees to let the guys stay in her guest house temporarily, but the arrangement ends up unfolding in unexpected ways. Alice's unlikely new family and new romance comes to a crashing halt when her ex-husband shows up, suitcase in hand. HOME AGAIN is a story of love, friendship, and the families we create. And one very big life lesson: Starting over is not for beginners.

(12A) 97 mins Friday 17th November 2017 7:30pm
Director: Hallie Meyers-Shyer
Stars: Reese Witherspoon, Nat Wolff, Lake Bell

(Please note we allocate seats for this performance. You will receive your seating confirmation in a separate email.)

FRIDAY 17TH NOVEMBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00


 

With a deep reverence for the most important space mission of the 20th century, THE FARTHEST is a fascinating, profound and beautiful celebration of a landmark in human exploration. In the late 1970s, NASA launched the Voyager space missions - a pair of probes sent on a one-way trip from Earth to become the first human-made objects to leave the solar system. This documentary interviews the scientists and engineers who created the probes and explores the vision behind the mission. In this age, where NASA always seems to announce the discovery of another new planet orbiting a star, light-years away, it seems weird to consider a time when scientists - not just everyday people - did not know much about even Jupiter or Saturn. THE FARTHEST takes a step back to offer context - that within a lifetime, humans went from sending no objects beyond the Earth to sending a pair of probes beyond the most distant planets. It's only from that starting point that the importance and significance of the Voyager missions begins. The interview subjects eloquently convey the staggering obstacles the probes had to overcome in sending a machine the size of a bus with pinpoint precision through the solar system. The film balances a loving, lyrical excitement for space exploration with a totally accessible explainer of engineering and astrophysics. Veteran scientists eloquently put the immensity and scale of the mission into perspective. As the probes approach Saturn, Jupiter and the outer planets - for the first time - the film beautifully shows a progression of images as the probes approach the planets. Small fuzzy dots eventually grow into larger, stark images. The magic of this documentary is its poignancy for the amazing engineering feats overcome as well as the historic ramifications, for all humanity, of sending a human-made object into interstellar space. A pure excitement and passion permeates the film. A lesser version of this documentary would be a straightforward, dry history lesson – but THE FARTHEST is a love letter to scientific curiosity and a pioneering spirit and is an inspiring celebration of science and exploration.

(PG) 121 mins Wednesday 22nd November 2017 7:30pm
Director: Emer Reynolds
Stars: Frank Drake, Carolyn Porco, John Casani

(Please note we allocate seats for this performance. You will receive your seating confirmation in a separate email.)

WEDNESDAY 22ND NOVEMBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00


 

Chronicling the adventures of an eccentric, resilient and tight-knit family, THE GLASS CASTLE opens with Jeannette Walls (Brie Larson), a successful gossip columnist living on Park Avenue, one of New York City’s most prestigious addresses, in a taxi on the way to a party. Gazing out the window, she catches sight of her mother, Rose Mary Walls (Naomi Watts), rifling through a dumpster for something to eat. We begin to learn, little by little, the roots of the family’s current situation. Dad (Woody Harrelson) is brilliant in math and physics and possesses a sharp engineering acumen, but he prefers to stick to odd jobs rather than submit to the rules of a manager. Mom, in turn, is curious and open-minded, though often considers her children a distraction from her artistic interests. The family never spends more than a few months in one place before Dad announces, usually in the middle of the night, that the family is leaving. Mom and Dad are often on the run from bill collectors, and hold some wild conspiracy theories about government corruption. They prefer to live in the most isolated towns in the desert of the American Southwest. While Jeannette is young, she enjoys this lifestyle: she and her siblings are free to explore and rarely enroll in school. Dad regales the kids with stories of his adventures in the Air Force and wrestling enemies around multiple states. He also delights them with the intricate architectural blueprints of the palace he’s planning to build in the desert: the Glass Castle. Dad does drink too much sometimes, but initially this doesn’t seem to hurt anyone, and it’s more than made up for by his enchanting stories. Against Dad’s wishes, Mom decides to move the family to Welch, West Virginia, where he’s from. It’s in Welch where the adventurous lifestyle of the Walls family starts to disintegrate into squalor and dysfunction. Dad spends more and more time drinking outside the house, and is almost never home. Mom isn’t interested in finding a way to feed the kids or keep the house clean either, preferring to spend time on her various art projects as Jeannette and her siblings forage for food and fend for themselves. Their house on Little Hobart Street is dank, rotting, and literally falling apart. It lacks electricity or running water. Jeannette’s illusions about her father and her family’s ability to create a better life for itself are ruined after she and her brother spend weeks digging a foundation pit for the Glass Castle behind the house—and Dad tells them to fill it with garbage, since they can’t afford the trash collection fee. Eventually the children escape from their parents and build an entirely different life for themselves. Jeannette’s attitude toward her parents continues to be deeply ambivalent—they were creative and adventurous but also wildly irresponsible. She has suffered a great deal through her childhood because of them, but her turbulent process of growing up has also shaped her into the person she’s become, living at last in THE GLASS CASTLE.

(12A) 127 mins Thursaday 23rd November 2017 7:30pm
Director: Destin Daniel Cretton
Stars: Brie Larson, Woody Harrelson, Naomi Watts

(Please note we allocate seats for this performance. You will receive your seating confirmation in a separate email.)

THURSDAY 23RD NOVEMBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00


 

GOODBYE CHRISTOPHER ROBIN gives a rare glimpse into the relationship between beloved children's author A. A. Milne (Domhnall Gleeson) and his son Christopher Robin (Will TIlston), whose toys inspired the magical world of Winnie the Pooh. Along with his mother Daphne (Margot Robbie), and his nanny Olive (Kelly Macdonald), Christopher Robin and his family are swept up in the international success of the books; the enchanting tales bringing hope and comfort to England after the First World War. But with the eyes of the world on Christopher Robin, what will the cost be to the family? As Milne's success grows and he becomes an internationally known author and his books become beloved by children around the world, the lives of Christopher Robin, his mother and his nanny are changed forever. Nostalgic and heart-warming, GOODBYE CHRISTOPHER ROBIN is a must-see film for 2017. (Advance booking highly recommended)

(PG) 107 mins Friday 24th, Saturday 25th November 2017 7:30pm
Director: Simon Curtis
Stars: Margot Robbie, Domhnall Gleeson, Kelly Macdonald

(Please note we allocate seats for this performance. You will receive your seating confirmation in a separate email.)

FRIDAY 24TH NOVEMBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00

SATURDAY 25TH NOVEMBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00


 

From BBC Earth Films, the studio that brought you Earth, comes the sequel – EARTH: ONE AMAZING DAY - an astonishing journey revealing the awesome power of the natural world. Over the course of one single day, we track the sun from the highest mountains to the remotest islands to exotic jungles. Breakthroughs in filmmaking technology bring you up close with a cast of unforgettable characters. Told with humour, intimacy and a jaw-dropping sense of cinematic splendour, EARTH: ONE AMAZING DAY highlights how every day is filled with more wonders than you could possibly imagine- until now.

(U) 95 mins Thursday 30th November 2017 7:30pm
Directors: Richard Dale, Lixin Fan
Stars: Robert Redford, Jackie Chan

(Please note we allocate seats for this performance. You will receive your seating confirmation in a separate email.)

THURSDAY 30TH NOVEMBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00


 

Internationally acclaimed crime writer Jo Nesbø’s antihero police investigator, Harry Hole (Michael Fassbender), is back in THE SNOWMAN - a bone-chilling thriller that will take Hole to the brink of insanity. Oslo in November. The first snow of the season has fallen. A boy named Jonas wakes in the night to find his mother gone. Out his window, in the cold moonlight, he sees the snowman that inexplicably appeared in the yard earlier in the day. Around its neck is his mother’s pink scarf. Hole suspects a link between a menacing letter he’s received and the disappearance of Jonas’s mother—and of perhaps a dozen other women, all of whom went missing on the day of a first snowfall. As his investigation deepens, something else emerges: he is becoming a pawn in an increasingly terrifying game whose rules are devised—and constantly revised—by the killer. Fiercely suspenseful, its characters brilliantly realized, its atmosphere permeated with evil, THE SNOWMAN is the electrifying work of one of the best crime writers of our time.

(18) Friday 1st December 2017 7:30pm
Director: Tomas Alfredson
Stars: Rebecca Ferguson, Michael Fassbender, Chloë Sevigny

(Please note we allocate seats for this performance. You will receive your seating confirmation in a separate email.)

FRIDAY 1ST DECEMBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00


 

The original Blade Runner wasn’t exactly defined by its plot, being more of an experience. The basic story was that Harrison Ford’s blade runner Rick Deckard comes out of retirement to hunt down four rogue replicants – artificial humans with four-year lifespans made for off-world labour, with director Ridley Scott’s hard-baked sci-fi noir really being more about exploring the nature of life and creation. Set thirty years after the events of the first film, BLADE RUNNER 2049 introduces us to a new blade runner, LAPD Officer K (Ryan Gosling), who unearths a long-buried secret that has the potential to plunge what’s left of society into chaos. K’s discovery leads him on a quest to find Rick Deckard (Harrison Ford), a former LAPD blade runner who has been missing for 30 years. Fans of the original film and those new to the Blade Runner experience will not be disappointed with BLADE RUNNER 2049.

(15) 163 mins Saturday 2nd October 2017 7:30pm
Director: Denis Villeneuve
Stars: Harrison Ford, Ryan Gosling, Ana de Armas

(Please note we allocate seats for this performance. You will receive your seating confirmation in a separate email.)

SATURDAY 2ND DECEMBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00


 

The characters in Luca Guadagnino’s quietly staggering CALL ME BY YOUR NAME are members of an incredibly wealthy family. These “Jews of discretion” whose family tree covers most of Western society and who spend summers and holidays at their country home outside a small Northern Italian town live in a separate stratosphere from the everyday ham-and-eggers who make up what we proudly think of as “the real world.” But there are reasons other than financial ones to hold them in high regard. For one thing, with their rustic antique furniture and simple but casually elegant wardrobes, they have exceptionally good taste, something that no amount of money can buy. Most importantly, they are intellectuals and lovers of art and history, traits Guadagnino suggests are responsible for their being understanding, respectful and compassionate people. It’s the summer of 1983 and only son Elio (Timothee Chalamet) is bored. He is, by his own admission, just waiting for the summer to be over when Oliver (Armie Hammer), a young scholar, arrives to assist Elio’s professor father (Michael Stuhlbarg) with paperwork and other studies. Guadagnino takes his time, luxuriating in the warm weather and the languorously accumulating tension but, eventually, Elio and Oliver find themselves in a deep physical and emotional love affair. Chalamet is quickly becoming one of the most reliable young actors around. In CALL ME BY YOUR NAME, he embodies his character. Elio is smart and attractive and aware of those traits without being arrogant about them. Still, he knows he’s no match for Oliver in either the brains or looks and he also knows he is unprepared for the feelings and impulses that crop up after Oliver’s presence. Chalamet spectacularly reveals this burgeoning uncertainty while never forgetting to channel it through the self-assuredness that is Elio’s trademark. Meanwhile, Hammer gives his most robust performance yet and Stuhlbarg presents a sturdy and tactile patriarch who reveals unexpected grace in a late, quietly climactic monologue. The influence of grandmasters such as Renoir, Rivette and Rohmer can all be felt in the film's clear articulation of furious desire, but it's the exchanges between Elio and his father where the film is at its most heart-breaking. Arguably a more poignant relationship than the one between Elio and Oliver, a conversation between the two towards the end of the film will no doubt go down as one of the greatest father-son moments in cinema history. Capturing the agony and ecstasy of young love, CALL ME BY YOUR NAME is a deeply felt movie that's bittersweet, tender and true.

(15) 132 mins Wednesday 6th December 2017 7:30pm
Director: Luca Guadagnino
Stars: Armie Hammer, Timothée Chalamet, Michael Stuhlbarg

(Please note we allocate seats for this performance. You will receive your seating confirmation in a separate email.)

WEDNESDAY 6TH DECEMBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00


 

MARSHALL is based on the true story of Thurgood Marshall who became the first African-American Supreme Court Justice. In 1941, a young African-American lawyer named Thurgood Marshall (Chadwick Boseman) partners with a young Jewish lawyer Sam Friedman (Josh Gad). They take on the case of a black chauffeur who has been accused by his wealthy socialite employer of sexual assault and attempted murder. In a career-defining performance of rare power and intensity, Chadwick Boseman delivers a powerful performance as the angry, highly intelligent, and driven young black lawyer who took on the racial prejudice of the 1940’s and broke through every glass ceiling imaginable to become one of the most respected and historically important judges ever to sit on the bench of the American Supreme Court. MARSHALL is a must-see film and highly recommended.

(15) 118 mins Friday 8th, Saturday 9th December 2017 7:30pm
Director: Reginald Hudlin
Stars: Dan Stevens, Sophia Bush, Chadwick Boseman

(Please note we allocate seats for this performance. You will receive your seating confirmation in a separate email.)

FRIDAY 8TH DECEMBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00

SATURDAY 9TH DECEMBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00


 

LOVING VINCENT is a truly awe-inspiring portrait of the great Dutch artist Vincent van Gogh that boasts the distinction of being “the world’s first fully painted feature film.” That means every one of the nearly 65,000 frames in this near-lunatic labor of love was rendered by hand with oil paints, following a style intended to mimic that of the master — which has precisely the effect you might imagine, pulling audiences into the delirious, hyper-sensual world suggested by van Gogh’s oeuvre. LOVING VINCENT uses van Gogh’s canvases as both form and function, animating them into a saga tracing his last days in Arles, where he made his greatest artistic breakthroughs, to his stay in Auvers-sur-Oise, where he died in 1890 after shooting himself in the torso. Or so goes the story. In this production, the death of van Gogh turns into a murder mystery that revisits his suicide from multiple angles, with a young man named Armand Roulin (Douglas Booth), who was the subject of several portraits by the artist, serving as both detective and narrator. Employing many of the tools of a standard TV thriller, from flashbacks to re-enactments to scenes viewed from van Gogh’s troubled point of view, the script has Roulin fils traveling from Arles to Auvers at the request of his father, postmaster Joseph Roulin (Chris O’Dowd), to deliver a last letter to Theo. But when Armand arrives up north, he finds that Theo is dead as well, having succumbed to the effects of syphilis after being crushed by his brother’s demise. Piqued by curiosity, Armand decides to stay in town to find out what really happened to Vincent. He receives different versions of the story from various subjects of van Gogh paintings, from legendary Impressionist art supplier Pere Tanguy (John Sessions) to Adeline Ravoux (Eleanor Tomlinson), whose family ran the local inn where van Gogh stayed and eventually died, to Marguerite Gachet (Saoirse Ronan) and her father, Dr. Gachet (Jerome Flynn), who treated the artist during his turbulent final months, all the way up to his deathbed. Each character has a diverging opinion of the painter and what may have happened to him, and in that sense LOVING VINCENT does offer up a complex portrait of a man whose more inexplicable acts — the film kicks off with the infamous ear incident in Arles — will never be fully understood. LOVING VINCENT is an artistic homage that admirably tries to resurrect the painter through the glorious work he left behind.

(12A) 93 mins Tuesday 12th December 2017 7:30pm
Directors: Dorota Kobiela, Hugh Welchman
Stars: Saoirse Ronan, Jerome Flynn, Aidan Turner

(Please note we allocate seats for this performance. You will receive your seating confirmation in a separate email.)

TUESDAY 12TH DECEMBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00


 

Although its theology probably isn’t sound, THE BISHOP’S WIFE (1947) nevertheless utilizes its central plotting device wonderfully. Imagine if on a whim an angel came to your rescue, and then imagine that the angel is named Dudley and looks and acts like none other than Cary Grant. In this case, the person in need is a distraught Bishop named Henry Brougham (David Niven). He is right in the middle of a major undertaking to build a new cathedral, and his primary benefactor Mrs. Hamilton (Gladys Cooper) is being a thorn in his side. The building project has consumed all his time and efforts, causing him to neglect his radiant wife Julia (Loretta Young), their little daughter Debbie, and the people from their old parish. Dudley is a character who exists outside of worldly convention. He is constantly kind, always patient, never hurries, and is always helpful to everyone in need be it blind man or bishop. In truth, everyone adores him, because after all he is an angel. Everyone, that is, except Henry who needs him most. Henry unwittingly asked for help and now he has an angel in his midst, but Dudley will not allow that to be revealed to anyone else. It’s an unnecessary detail, and besides he has much more pressing matters like attending to Julia and assisting Henry with his work. To her, he is purely a radically pleasant and good-hearted individual. With such positives there hardly needs to be any explanation, only wonderment. Thanks to Dudley’s interventions, the world is set right, just in time for Christmas. Dudley takes one final approving look and walks off in the snow. His work here is done. Peace on Earth and Goodwill towards men. What this all boils down to is that THE BISHOP’S WIFE is a wonderful, feel good movie which radiates amusement and warmth. Through a lovely storyline, some equally lovely performances and by capturing a bit of Christmas magic it will leave you feeling satisfied, entertained and happy.

(PG) 109 mins Wednesday 13th December 2017 7:30pm
Director: Henry Koster
Stars: Cary Grant, Loretta Young, David Niven

(Please note we allocate seats for this performance. You will receive your seating confirmation in a separate email.)

WEDNESDAY 13TH DECEMBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00


 

In the uncompromising terrains of the old American West, BRIMSTONE introduces us to mute midwife Liz who enjoys a humble existence with her young daughter, independently minded stepson and loyal, devoted husband. Seemingly content with her life, Liz’s eyes nonetheless betray a quiet sadness, suggesting a previous life fraught with pain and anguish. One day in church, her delicate peace is shattered when she hears the ominous, Dutch-tinged drawl of the town’s new preacher. Instantly recognising the man that she had so desperately hoped to have escaped, Liz must prepare to protect both herself and her family from the reverend’s merciless grasp. Told in four distinct chapters, writer/director Martin Koolhoven’s extraordinary western is a ferociously rendered, richly-evocative tale of bloodshed and retribution driven by Dakota Fanning’s remarkable turn. Imbuing Liz with a quiet fragility and steely determination, Fanning’s tenacious frontierswoman instantly joins the ranks of cinema’s most compelling Western heroines. Memorable support is provided by a stellar cast including Kit Harington and Carice van Houten, while special mention must go to Guy Pearce for his terrifying portrayal of Liz’s unrelenting nemesis. With a visual lyricism in striking contrast to the gruelling violence on screen, BRIMSTONE is a deeply affecting tale of moral reckoning which is often difficult to watch, but impossible to forget.

(18) 149 mins Thursday 14th December 2017 7:30pm
Director: Martin Koolhoven
Stars: Carice van Houten, Kit Harington, Dakota Fanning

(Please note we allocate seats for this performance. You will receive your seating confirmation in a separate email.)

THURSDAY 14TH DECEMBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00


 

Based on the true story of British advocate for the disabled Robin Cavendish, BREATHE stars Andrew Garfield and Claire Foy. Cavendish (Garfield) was paralyzed with polio at the age of 28 and given just three months to live. Against all advice, his wife Diane (Foy) brought him home from hospital and inspired him to lead a long and fulfilled life. Cavendish died in 1994 at the age of 64. This inspiring true love story of an adventurous couple who refuse to give up in the face of a devastating disease has the makings of a true Oscar contender. A heart-warming celebration of human possibility, BREATHE also marks the directorial debut of Andy Serkis.

(12A) 117 mins Friday 15th, Saturday 16th December 2017 7:30pm
Director: Andy Serkis
Stars: Diana Rigg, Claire Foy, Andrew Garfield

(Please note we allocate seats for this performance. You will receive your seating confirmation in a separate email.)

FRIDAY 15TH DECEMBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00

SATURDAY 16TH DECEMBER
Adult £6.00
Concession (Under 16, Students, Unwaged, Over 60) £5.00

Whitgift Film Theatre Grimsby North East Lincolnshire UK Whitgift Film Theatre follow us on Facebook Whitgift Film Theater follow us on Twitter