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Screenjabber Podcast: The guys go nuts

Posted by Stuart OConnor | Sat, 02/08/2014 - 17:39

Join Katie Wong, Amon Warrman, David Watson and host Stuart O'Connor for some movie chitchat and a look at a few of this week's UK cinema releases: Blackwood, The Nut Job and Guardians of The Galaxy.

You can listen to and download the podcast – or subscribe to it on iTunes ... plus you can follow us on Twitter and join us on Facebook.

PubQuest: We're looking to take the Screenjabber Pubcast on the road, and want your input. Know a great pub in London we should visit to record the show? Drop us a line and let us know.

WriterQuest: We're seeking some more writers, particularly those who want to cover video games for us. Please get in touch if you're keen.

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Small-Screen Jabber 2-8 August

Posted by Louise Bolotin | Sat, 02/08/2014 - 09:58

By Louise Bolotin

Playwright Kay Mellor’s In the Club (Tuesday, BBC1, 9pm) is a new six-part drama about a bunch of pregnant women who attend the same ante-natal class and have different hopes and fears about their impending motherhood. This has all the Mellor hallmarks – a group of people linked by a common thread, traumatic backstories, comedic moments and neat twists, delivered with formulaic lightness of touch that’ll keep you watching. The terrific ensemble cast includes Hermione Norris, Jill Halfpenny, Tara Fitzgerald and Will Mellor. Masters of Sex (Tuesday, More4, 10pm) returns for a second series, demoted from Channel 4 for its small audience. Shame, because this drama about 1950s sex pioneers Masters and Johnston has terrific acting from the leads Michael Sheen and Lizzy Caplan (left). Their on-screen chemistry is palpable, lifting what might have been a worthy tale of sexual research into something with real fizz.

Adrian Dunbar, so good as the hardnosed, anti-corruption copper in Line of Duty, is playing a police offer again in Walter (Friday, BBC1, 9pm), a one-off comedy drama about widowed DI Walter Gambon and his personal struggles. As he attempts to locate an undercover officer who has seemingly disappeared, under the watchful eye of his new boss, he’s also fighting off a repo order on his home and bringing up his wilful teenage daughter. The script doesn’t quite give the cast enough to get their teeth into and I can’t see this pilot being greenlit for a full series because it’s not funny enough but Dunbar holds it all together with his first-class acting.

In a refreshing change from what assorted monarchical dynasties did us, Melvyn Bragg’s Radical Lives (Saturday, BBC2, 9pm) aims to redress at least some of the balance, and in prime time too. In the first of two episodes, Bragg reviews what we know of the Peasants’ Revolt by focusing on the pivotal role of priest John Ball, who galvanised not just the peasants but merchants, artisans and others. Railways of the Great War with Michael Portillo (Mon-Fri, BBC2, 6pm) is the latest series of his charming meanders across the rail networks of Europe. Trains played a huge role delivering supplies and troops in World War One and evacuating the wounded. Portillo’s first leg of his journey is from Metz in France to Luxembourg, as he starts to draw the wider picture of the importance of the railways in this war.

Kids Behind Bars (Tuesday, ITV, 9pm) is a heartbreaking look at how Indiana treats young offenders. The boys in this film all committed very serious crimes, such as murder – the state tries them as adults and facing a 60-year sentence at 18, for example, seems cruel beyond measure. Who Do You Think You Are? (Thursday, BBC1, 9pm) returns for its 11th series of genealogical detective work. Julie Walters is the first of this year’s ten celebrities in search oh her ancestors.

Rod Stewart gets his own night on BBC4 this week. In an interview first shown a year ago, Imagine… Rod Stewart: Can’t Stop Me Now (Friday, 9.25pm), the singer discusses his lengthy career, from his earliest days working with Jeff Beck and the Faces in the 60s, through his disco and glam phases to his reinvention as a crooner. With contributions from Ronnie Wood, all eight of his children and  some excellent rare archive footage. The all-new compilation of songs and interviews, Rod Stewart at the BBC follows at 10.50pm, with clips from his finest BBC performances. There are tracks with the Faces, solo hits, footage from his 2002 Glastonbury gig and his versions of songs from Sings the Great American Songbook, which follows in full at 11.50pm.

New six-part sitcom Siblings (Thursday, BBC3, 10.30pm) has been made by Inbetweeners team and has Fresh Meat pedigree too, in writer Keith Akushie and actor Charlotte Ritchie, who plays lazy, selfish Hannah. Tom Stourton is her needy brother Dan. Together they wreak havoc on everyone around them.  Like most new sitcoms, this needs time to bed in but it has all the hallmarks of a goer with Akushie’s clean scripting and some great acting.

Foodies, ahoy! All the top entertainment this week focuses on eating. Big hitter Great British Bake Off (Wednesday, BBC1, 8pm) is now in its fifth series. For the next 10 weeks, contestants will be weeping over flat sponges and curdled crème pat while Mel and Sue gee them along, and Mary Berry and Paul Hollywood will be casting a stern eye over their efforts. (There’s also, Strictly stylee, GBBO an Extra Slice with Jo Brand on BBC2, 9pm, Fridays, where she and guest celebrities dissect each week’s episode.) Cooks’ Questions (Monday, More4, 9pm) offers home cooks the chance to grill (see what I did there) renowned chefs on how to cook things, special techniques and tricks of the restaurant trade. Sue Perkins (her again) fronts, so it’s big on the laughs but there’s enough there to keep the culinaires gripped. Game show Win It Cook It (Monday, C4, 4.30pm) makes this week’s column purely because I applied to go on it when its working title was Truffle or Tripe. Contestants answer food questions to win ingredients that they have to improvise a dish with.

No doubt some of you will be sighing with relief as the Commonwealth Games Closing Ceremony (Sunday, BBC1, 9pm) and normality is restored for the non-sporty and frustrated. Hampden Park is the setting for an extravaganza celebrating life in Scotland.

Best of the rest
Monday 4 August marks the outbreak of World War – the day is heavy with TV commemorations but the BBC has it nailed with its trio of World War One Remembered live broadcasts, all anchored by Huw Edwards. Across the Commonwealth (BBC1, 9.10am) is a church service from Glasgow Cathedral; From the Battlefield (BBC2, 6.30pm) marks an evening of ceremonies across London, Belgium and elsewhere – wreath-laying, testimonies read, poetry, choirs and a special joint performance by the London Symphony Orchestra and the Berlin Philharmonic; From Westminster Abbey (BBC2, 9pm) is a special candlelit service in which each flame is extinguished one by one in reference to Sir Edward Grey’s famed comment about the lamps of Europe.

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Interview: Hide Your Smiling Faces writer/director Daniel Carbone

Posted by Stuart OConnor | Thu, 31/07/2014 - 08:17

Hide Your Smiling Faces is a coming-of-age film that stands out from the crowd. By disregarding a traditional three act structure, the film becomes an enticing meditation on mortality, told through the eyes of two brothers after their close friend mysteriously dies. Screenjabber's Peter Johnson caught up with debutant writer/director Daniel Carbone, while trying not to have a conversation purely about the nature of human mortality and death – which the film does excellently.

Straight off the bat, how did you manage to coerce such remarkably convincing performances out of your duo of young actors, Ryan Jones & Nathan Varnson?
Well, our formula for the film, was not to have one. I'd had mixed results in the past with casting shorts, and they were a lesson in what not to do, so this time we turned to Craigslist and other open auditions to find actors. We were trying to see as many kids as possible and Ryan and Nathan came in, both so mature for their respective ages (10 and 14). The audition process was more of a thematic conversation around the film than a standard audition, we didn't do a table read or practice lines. They didn't fit the archetypal roles I'd written initially, but I was blown away by their honesty and openness.

How did they deal with the script? Did you bring them in at all?
There was a lot of silence and space left in the script, and the more we filmed, the more the kids improvised. Sometimes there would be a piece of dialogue that didn't fit the bill, because obviously an adult writing children doesn't always work, and they'd say to me “I don't the character would say anything here, it doesn't feel right”, so we'd leave it speechless. Instead they would start scrapping, or fighting, or just sit there, and it felt more natural, so they definitely became part of the creative process. It was very natural. They were more like co-writers by the end of filming, obviously it changed a lot in the edit, but they added a lot more to the film, it was better for them, and for the film.

It definitely comes through, almost everything seems to be geared towards simplicity and reality than any sort of constructed drama, could you speak briefly about how you went about that?
Well, I'm happy that came about because I was focusing on making a film I wanted to watch. I'm just as much a film watcher as I am a film maker, if not more so, so I definitely didn't have any sort of masterplan. I think audiences can respond and really lock in to films that make a point of not pandering to the “Hollywood” style, which a lot of coming-of-age films do, with clear 1-2-3 acts. Of course that's not a bad thing, but it's not the film I wanted to make. If a film can take its time and be sure about what its saying, and say it in a clear voice with a clear tone, you feel like you're in safe hands. I know I do when I watch films, so I tried to make something like that. I like to feel like the director has taken as much care as possible in making the film, so I tried to put myself in the audience's position and make a film that would make me feel like that.

Was that always the core of the film, the unique thing that sets it apart from other stories like this, or did that evolve naturally as you grew into the film?
Well, the film started out as a script of a series of important moments, or vignettes and conversations as opposed to fully constructed scenes. I wanted it to feel like the boys were remembering the important events of a summer, rather than everything that happened. I'd say that was the thing I tried to make sure came through all the time.

I definitely got the sense that you were going for the “less is more” approach, leaving lots of space for the audience to project on to the film instead of being spoonfed a narrative. It's almost disorientating, but magnetic at the same time.
Definitely! I wanted to focus on the parts that would've meant most to the boys, because no-one really needs to see the parents shouting at the kids for running off or playing around, that's all implied. The film basically got remade in the editing suite, that's where the more slow-paced, thoughtful side of the boys conversations about death and their insecurities get the weight they do. We didn't have time to film everything, sometimes it would rain when we had planned to be shooting a sunny scene, so we went with what we had, shot what we could, and restructured a lot of it in the edit. Bless the crew for helping us, I called in favours everywhere and the crew and budget were tiny, but they were excellent throughout the shooting – it was pretty hectic.

How was shooting with that small crew, and that tiny budget? Did you find it restricting, or was not having a big studio presence liberating, or maybe daunting?
It was a pretty hard sell to a studio anyway, tiny film, no massive star names, no obvious story, no clear overarching plot, so we didn't have much funding, and it my was debut film, but that meant that there was so much less expectation on the film, which is kind of nice for a debut feature. The filming process was pretty innovative, because of the restrictions, everything was a bit more “real”. We had two real boys, and the essence of actual boyhood was still there and they didn't look like they were acting, they were just being boys – which was great for the camera. We left them lots of room to breathe, nothing had to be perfect, so the whole thing was very open and independent.

Kind of like the nature of growing up itself…

Lastly, the obvious one – what's next for you?
I'm making a documentary about a similar subject to this, it's another film about male adolescence in a traditional “small-town” USA setting. It's another slice-of-life type film.

Hide Your Smiling Faces review

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Scar Tissue: Screening Q&A

Posted by Stuart OConnor | Wed, 30/07/2014 - 20:20

By Jessy Williams

The Scar Tissue Q&A took place after a special screening at London's Prince Charles Cinema, and featured writer/director Scott Michell, stars Danny Horn and Charity Wakefield, and composer Mark Ayres...

Mark: I've known you for many years Scott, but where did that come from?

Scott: They say it's always the quiet ones. I don't know, is the short answer. Somwhere deep buried within my psyche, there is obviously some very dark thoughts. Thankfully, I've been kind enough to put it on to paper. But, that story has been in development for 12 years in various guises and I think it got darker and darker.

Mark: I read a few drafts and it started off as more of a pure sci-fi.

Scott: It did. It mutated over a few years and got darker and more character-driven, probably more cerebral.

Mark: And you were lucky enough to get Charity (Charity Wakefield) involved in this.

Scott: Absolutely. We had quite a long search for our Luke and our Sam. We had many auditions, but we were delighted to find Danny who hadn't done that many films. I just felt that he had that duality and touch that would bring both the instant likeability to the character, but also that little bit of darkness. You're going to have a little sense of wonder about him; was he as straightforward and likeable as you think? With Charity, well we needed someone who could capture both elements of the Sam character well; the strength and toughness and scariness, but at the same time, vulnerability, warmth and the pathos making you really feel for this character.

Mark: When Mark said he cast you (Charity) I was like, "that's good" because I remember you, we all remember you, from the costume dramas Sense and Sensibility and such.

Charity: Yeah, it was an amazing opportunity to play something completely different to anything I've done before. I didn't really have very long to get ready for it either *laughs* I had boxing lessons two weeks before getting the job. It's quiet strange watching it, because I don't feel like it's me up there at all.

Audience Question 1: Can I ask Scott, where did you see the film being set? You seem to have avoided all identifiable landmarks and such. Was that intentional; was it supposed to be hyper-real, almost like comic book?

Mark: I think you've answered your own question!

Scott: Yes, that's very perceptive of you. I did very consciously avoid setting it in a particular location. We avoided seeing any London landmarks; we shot the entire thing in London, but didn't want to go down that whole road of shots of the Gherkin, etc etc. I wanted that feeling of decay in society, I didn't want to pin that down, I wanted it to be a world that existed within itself. It's a story that can happen anywhere. The whole style of the film was slightly hyper-real with a very slight comic-book element to it.

Mark: We did that very much with the sound design, as well. We tried to avoid British police sirens, to try and take things out of the space as much as we could. We didn't want a very obvious number 9 bus going by or anything like that. So, Danny, what did you think when you got this part?

Danny: With Luke, a lot of things happen to him. He starts of in a very naïve place and that's how I approached it. A series of ridiculous things start happening to him and from the get-go he's in shock, really. He wakes up to find his friend dead! He doesn't really have time to focus on anything that's going on around him, because something else is always being thrown at him.

Mark: You've come soon out of playing the young Michael Gambon in Doctor Who. Was there a very different approach to this, in-terms of set-up of the film?

Danny: It was quite a different part, yeah. I hadn't done anything like this before or since. I remember reading the script and thinking it was creepy. It's one of those things where you read it for the first time and you try to take it all in. Then you get to the end and you realise that this guy's been clowned from this serial killer and you have to re-read everything. Everything that has come before that has a different meaning. I don't believe in the nature side of things, you decide your own fate. So, I don't think that he is the same as the killer. Nevertheless, he's going to have something there and I tried to work that in in the most subtle way possible.

Audience Question 2: I think there was a bit of Blade Runner in this, perhaps in one of the police characters.

Scott: I would be very happy if you thought that and any allusion to Blade Runner is one to be welcomed. There were a whole host of films that were influential when I was putting this together; Se7en was one of them which also had that thing of not being set in particular time or place. I was impressed by that element and the incredible claustrophobic, seedy flavour of the whole thing. Blade Runner, absolutely, with the hyper-real feeling and the colour palette. Although, we couldn't quite match the value of Blade runner *laughs*. I suppose The Girl With the Dragon Tattoo is another influence, with the strong female lead character and the overwhelming darkness and twisted humanity.

Mark: One of the things where I think we were really lucky was with our art department. They were just astonishing. Luke's flat is actually the morgue a couple of days later, that's how good they were at doing an enormous amount with very little.

Scott: Absolutely, at times they were working 24 hours a day. They were sleeping on-set and building things through the night. They did an absolutely phenomenal job.

Mark: Alarmingly, the fetish club was rather how we found it.

Scott: Yes, as part of the prep for the film we had to tour some seedy London clubs, which was interesting. That probably wasn't one of the seediest. There were much, much worse ones.

Audience Question 3: Does the music come after you've seen the film the first time or are you writing the music as you read the script?

Mark: It's a bit of both. Scott and I have worked together over a number of years and I've read this script in various incarnations. I did some writing in response to the script, but only about 10 minutes in total. I knew early enough where we thought it was going and that saves me a lot of time. Most of it was written afterwards. What I had written had to be, pretty much, re-written anyway as the synchronisation changes. I like working with a director from the start. All you can really do is react to the film, if you've actually been involved with it. If I've been on-set when Scott has been shooting a scene, I don't have to ask him what he's trying to do with the scene, because I already know.

Audience Question 4: Scott, how difficult was it to you to go to the producers and go, "Hey! This is my film, can we make this?"

Scott: Pretty much everything in the British film industry is tough. Right in the beginning we tried to get off the ground and get the money. There's not many things in life where you go, "Give us...well, in our case, not a lot." It's a heck of an ask for something that's just come out of your head. So yeah, it's a long and difficult process. But, obviously, this is a fairly low-budget production and we managed to get it off the ground. Once we got started it barrelled along pretty quickly, we only had about 2 months prep and it was all madly coming together at the last minute. It actually moved quite quickly which is very very unusual for the film industry. Making the film is only half the problem. Once you've finished post-production you've got the other task of getting it out there and persuading people that this is something that they should buy or ship around the world. We really really wanted to get it in to cinemas. All the way through we very strongly tried to make it a cinematic project, so we tried for very long to try and get a distribution deal that, at least, got us in to some cinemas. Finally we're here, it's long road.

Audience Question 5: Were there any real serial killers that you got inspiration from?

Scott: No, thankfully I don't spend my days studying serial killer reports. It's more more of an overarching sense.... When you read newspapers or watch the news reports will come on and you will be just be watching them open-mouthed being like, "How on Earth does someone do something like that to another human being?" You just cannot relate to it. You just can't get in to that type of mind. I think that that general sentiment, what does make people do these things or turn them in to monsters was important. There wasn't one typ eof inspiration, just more of an over-arching sad feeling about the stories you see every day. Not just serial killers, everything you read every day.

Audience Question 6: Were trying to to get this in to a major film distribution or were you trying to aim this to an independent market? Awards like Sundance, Cannes etc.

Scott: That's an interesting question. I guess we sometimes thought that the British Film Industry sometimes feels a bit small, The cinematography is a little bit grey sometimes, the soundtrack is a little bit muted. So yes, I think we were thought, we'll push this and we'll try and make this a big, loud, cinematic experience. Just go that little bit further. At the same time, to expect a small British film like this to make a massive sum of money..you never expect this. But we were aiming for it.

Mark: We don't really have a British Film Industry. Every film is a start-up and the start of a new business. We do the best we can with the best we can get, really.

Audience Question 7: Charity, your character is a bit unstable, as you call it. How did you prepare, thinking about your previous roles as well?

Charity: Yeah it was very different. I found myself being quite angry on-set all the time. She's in a constant state of anger and wanting to fix things, that she's totally unable to. A) because she's not really capable and B) she doesn't have the information. All the way through the script they can't work it out and it's an obvious concern that she's making everything up in her head. All she's been thinking is killing this guy and getting revenge fr years and years. It wasn't very unenjoyable in a weird way, it was very hard for her. I quite enjoyed playing a character that doesn't let everything out all the time, I've done lots of really emotional parts and she keeps everything back. I really enjoyed the switch of gender stereotypes. It's really rare to get a part where you lead the action and the male character is left running behind. It's quite unusual and odd to play, and you realise that that very rarely happens on-screen. That was great. I suppose she sort of did get rescued sort of at the end, but that was kind of played around with.

Mark: Both of you, do you find it hard to leave a part like this at work when you go home at night?

Charity: Not hard at all, no. *laughs*

Mark: I find writing music for something like this, when I go to bed it's still churning around in my head.

Charity: I think did have some nightmares when I was shooting, because we spent all day in these grimy scenes that you saw. Even though they were sets, they were based around all the same parts of London.

Mark: It was only in a little art studio off Cable Street where we shot it, so it was really run-down area. There were lots of little studios in this one courtyard and yeah, it was a run-down area.

Danny: We shot quite a lot of it in an abandoned hospital, as well. Occasionally you;.'ll walk down a corridor and there'll be a few fake kids. *Laughs* It was a creepy place and we spent about a fortnight shooting there, didn't we?

Mark: There was a dungeon area we actually shot in, in that hospital and it wasn't very nice.

Scott: It felt like it had ghosts, so it was a great place to film something like this. We invested the day in that sort of spooky, menacing feel that maybe came through on-screen. It was an ideal place to shoot something like this.

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Win a copy of Ironclad 2: Battle for Blood on Blu-ray

Posted by Competitions | Tue, 29/07/2014 - 20:50

Ironclad 2: Battle for Blood, the bloodythirsty sequel to 2011’s Ironclad, storms onto Blu-ray and DVD on July 28. And thanks to Warner Home Video, we have THREE copies of Ironclad 2: Battle for Blood on Blu-ray to give away.

A tale of honour, Ironclad 2: Battle for Blood follows Celtic raiders who, scorned by the loss of their land and the abuse of their people, wreak their bloody revenge on the British – one village at a time.

When the raiders set their sights on The De Vesci castle walls and patriarch Gilbert De Vesci (David Rintoul) is gravely injured, he sends son Hubert (Tom Rhys Harries) to call on his battle-weary and reluctant cousin Guy (Tom Austen) – a survivor of the 13th Century Great Siege of Rochester Castle – for aid.
As the conflict escalates and Gilbert dies, his desperate wife Joan (Michelle Fairley) begs Guy to take any action necessary to defend her beautiful young daughters from the scourge of the Celts. Stirred by loyalty and love for the young Blanche De Vesci (Roxanne McKee) can Guy finally put the past behind him in order to save his family?

For a chance to win, just follow @Screenjabber on Twitter and tweet the following text:

Follow @Screenjabber and RT for a chance to win Ironclad 2: Battle for Blood on Blu-ray.

For an extra entry, just pop over and LIKE the official Screenjabber Facebook page.

The competition will close at NOON on Sunday August 10, 2014. The judges' decision is final and no correspondence will be entered into.

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US Box Office Report

Posted by Stuart OConnor | Tue, 29/07/2014 - 14:59

Lucy shows more muscle than Hercules

By Rich Matthews

Feminine thrills beat out masculine machismo this weekend at the US box office as Scarlett Johansson's sci-fi-boosted heroine Lucy debuted to $44m while Dwayne The Rock Johnson's mythic Hercules came second with $29m.

Lucy is now something of a triumph for director Luc Besson, and represents a return to La Femme Nikita and Leon form. Produced by Besson's EuropaCorp and distributed by Universal, Lucy is the latest in a string of female-focused movies that have out performed expectation, including Angelina Jolie as Disney's Maleficient. Whether it can match La Jolie's legs or will decline quickly, like The Fault In Our Stars, will be one of next weekend's points of interests.

Meanwhile, Paramount and MGM's Brett Ratner-helmed $100m-plus swords'n'sandals epic, Hercules, did reasonable business, and is the first true test of Johnson's leading man potential post-Fast & Furious. Following the increasing trend, Hercules has already grossed $28.7m internationally for an opening global gross of $57.7m.

However, the success of both films still hasn't stemmed the summer's overall decline, which now stands at 20 per cent down from last year. The other two new releases landed a distant eighth and tenth, with Rob Reiner's silver surfer rom-com And So It Goes starring Michael Douglas and Diane Keaton grossing $4.6m and A Most Wanted Man, starring the late Philip Seymour Hoffman, $2.7m, respectively.

At three, Fox's Dawn Of The Planet Of The Apes declined 55 per cent with $16.4m, taking its domestic tally to $172m and its worldwide haul to $354m. Spots four to six were populated by some of the low grossers that have contributed to the summer's malaise – horror sequel The Purge: Anarchy ($9.9m, $51.3m), Disneytoon sequel Planes: Fire & Rescue ($9.3m, $35.1m, $56.1m global) and Cameron Diaz/Jason Segel disappointment Sex Tape ($6m, $26.9m, $37.1m).

At seven, Michael Bay's not-really-a-reboot Transformers: Age Of Extinction took in another $4.6m for a US tally of $236.4m, which remains a good $60m less than the first Transformers at the same point (not adjusting for inflation) and a hefty $100m-plus behind the two atrocious sequels. However, globally, the fourth entry in the franchise is already nearing the $1bn mark (with $966.4m) thanks in no small part to being the first film to gross more than $300m in China. That makes it the biggest film of the year by more than $200m, while domestically it remains $20m off the top spot, behind Captain America: The Winter Soldier and The LEGO Movie. Finally, nestled in between the two low-performing new releases at nine, Melissa McCarthy's Tammy laughed up a further $3.4m for a homegrown tally of $78.1m.

We can be pretty certain that Lucy's rise to the top will be halted next weekend, with Marvel's Guardians Of The Galaxy pretty much a sure thing to take number one – the question is by how much? Something of an unknown quantity, even to many comic-book fans, Guardians is one of Marvel's biggest gambles yet, so it's not likely to hit sequel numbers, but anticipation is pretty high, especially with hopes that it will be one of the few "good" summer blockbusters on offer this year.

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Guardians of The Galaxy: London press conference

Posted by Stuart OConnor | Tue, 29/07/2014 - 07:48

Listen to the hilarious London press conference for Guardians of The Galaxy, and learn why Chris Pratt wants his character, Star Lord, to kill Iron Man. And whether the lovely Zoe Saldana found it easy being green ...

Listen to and download the press conference

Marvel’s Guardians of the Galaxy stars Chris Pratt, Zoe Saldana, Dave Bautista, Vin Diesel as the voice of Groot, Bradley Cooper as the voice of Rocket, Lee Pace, Michael Rooker, Karen Gillan and Djimon Hounsou, with John C Reilly, Glenn Close as Nova Prime Rael and Benicio del Toro as The Collector. James Gunn is the director of the film with Kevin Feige producing. Guardians of the Galaxy is out in UK cinemas on July 31.

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Win a copy of Cheap Thrills on Blu-ray

Posted by Competitions | Mon, 28/07/2014 - 15:56

What doesn’t kill you makes you richer! From the producers of You’re Next comes Cheap Thrills, one of the blackest comedies you are ever likely to see. And thanks to Koch media, we have TWO Blu-ray copies of Cheap Thrills – out now to buy on Blu-ray and DVD – to give away.

Unemployed and down on his luck, Craig (Pat Healy) finds himself drowning his sorrows in an attempt to forget the mounting debts threatening to tear his family apart. When a chance meeting with an old friend (Ethan Embry) leads to one drink after another, the pair find themselves drawn into an innocent game of dare by a thrill-seeking couple with money to burn – Violet (Sara Paxton) and Colin (David Koechner).

As the night progresses both Vince and Craig become the victims of their own greed, as the initially fun game escalates into something far more sinister. When the money is on the table, how far will two friends go to ensure their futures?

For a chance to win, just follow @Screenjabber on Twitter and tweet the following text:

Follow @Screenjabber and RT for a chance to win Cheap Thrills on Blu-ray.

For an extra entry, just pop over and LIKE the official Screenjabber Facebook page.

The competition will close at NOON on Sunday August 10, 2014. The judges' decision is final and no correspondence will be entered into.

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Win a copy of Noah on Blu-ray

Posted by Competitions | Sun, 27/07/2014 - 21:14

Darren Aronofsky, the Academy Award-winning director behind Requiem for a Dream and Black Swan, takes the helm of the epic re-telling of the biblical tale, Noah.

And thanks to Paramount Home Media Distribution, we have FIVE Blu-ray copies of Noah to give away. But that's not all. One lucky winner will also recieve a copy of the Noah Graphic Novel!

Oscar-winner Russell Crowe stars in the film inspired by the epic story of courage, sacrifice and hope. In addition, the supporting cast features such talents as Jennifer Connelly, Anthony Hopkins, Logan Lerman and Ray Winstone.

Mankind – led by Tubal-Cain (Winstone) – has spread like a cancer across the world, consuming all in their path and living in smoggy, ashen cities. "The Creator", in his infinite wisdom, decides to send a great flood to cleanse the earth of his creation and start anew. He does, however, choose to save Noah (Crowe), last patriarch of the antediluvian age, and his family, who must build an ark that will house two of every living creature.

With Noah, director Aronofsky has crafted a daring, phantasmagorical interpretation of the Old Testament tale as we've never seen it before.

For a chance to win, just follow @Screenjabber on Twitter and tweet the following text:

Follow @Screenjabber and RT for a chance to win Noah on Blu-ray.

For an extra entry, just pop over and LIKE the official Screenjabber Facebook page.

The competition will close at NOON on Sunday August 10, 2014. The judges' decision is final and no correspondence will be entered into.

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Trips of the Week

Posted by Stuart OConnor | Sun, 27/07/2014 - 19:33

By Stuart O'Connor

Each week, the Screenjabber inbox gets overloaded with emails containing new film trailers, or clips of films or upcoming Blu-ray/DVD/VoD releases. Here are a few of those trailers and clips (hence trips) that caught our eye this week ...


Mad Max - Comic-Con First Look

The Simpsons/Family Guy Crossover

Hot Tub Time Machine 2 Red Band Trailer

Let’s Be Cops clip: Controlling The Situation

LEGO Batman 3: Beyond Gotham trailer

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