STARBURST has been lucky enough to catch up with Juliet Landau and Mara Wilson, two of the stars from the upcoming audio series VAM PD. The show focuses on vampires tasked with keeping the peace between the living and the dead. Landau plays Catrin, an elder vampire and the leader of the group, while Wilson plays Jane, a human working with the vampires as an aide and assistant.
STARBURST: Juliet, the series producer Lizzie Worsdell has said that VAM PD has been created around you and your character. How does that feel?
Juliet Landau: I am deeply honoured. It is fantastic. Big Finish reached out and said that [series creator] James Goss had written the role of Catrin for me. I initially wasn’t sure I wanted to do another vampire project. But then I started reading the scripts and began laughing out loud, which isn’t something I generally do. I’m a person who thinks “that’s funny” rather than laughing. But I was guffawing. My husband Dev asked from the other room, “What’s going on in there? What are you doing?” And I said, “VAM PD! That’s what’s happening!”
It is a unique universe. It’s not like anything I’ve ever read before. The three main characters are so distinct. The world is wickedly funny. I think genre fans, Buffy fans, Big Finish fans and any listener who thrives on great material will love VAM PD.
SB: Mara, you’ve said previously that you have always wanted to play a vampire. Jane is, of course, very much human. Is there any disappointment at that or does Jane’s character make up for it?
Mara Wilson: When I got the script, my reaction was, “Finally!” People have been telling me for years that I’d make a great vampire. Then I quickly realised that they wanted me to play the one human, and I burst out laughing. Any disappointment I might have had faded immediately, though, because Jane is such a wonderfully deadpan character, with so many layers, and the script was so much fun that I knew I wanted to be part of it no matter what.
Usually, when you audition for something, you put a lot of work into it, but try not to be disappointed if you don’t get it. This project I knew I really wanted, though, and I was thrilled when I got it!
SB: Juliet, how would you describe Catrin? In the first episode, she comes across as authoritative and stylish, but also quite antiquated and disenfranchised with certain elements of the modern world.
JL: I love the words you are using to describe her. Catrin is one thousand years old. She is like cut glass – glacial, smart, imperious. She’s the boss of the trio. She’s lost all contact with human emotions. That’s why she employs human liaisons, like Jane, to cue her into appropriate responses and to read people. Catrin’s a fashionista who hides in plain sight with her specific looks. She dresses noticeably to be unnoticed. She loves Magnus [her colleague, played by Alimi Ballard] in her own way, and she loves her cats; Lugosi, Cushing, Faye Raye and the rest of her kittens.
Photo credits: Photographer: Deverill Weekes • Makeup: Shelby Michael Patton • Hair: Nicole Goulet • Wardrobe: Shrine Of Hollywood / Peter Graham Wright
SB: There is a distinctive 1990s appeal to the show, given the much-loved projects you have both worked on in the past and your co-star Alimi Ballard’s role in Sabrina the Teenage Witch. Do you think fans of those shows and that era have something to gain from VAM PD?
MW: I don’t think I put it together until we were all in the same room – “Oh, right, we all played magical characters in the ‘90s!” There’s definitely a nostalgic element to it, but I think that the characters we play here are different enough from the characters we’ve played before that fans will get to see a new side of us.
JL: I think fans of good writing and listeners who enjoy humour will love VAM PD. Each script is rife with drama, action and tremendous wit. The theme song is brilliant and brings you right into the tone of the show from the get-go.
SB: Mara, the reveal about Jane towards the end of the first episode is really something. You always seem to thrive when playing savvy, intelligent characters who have more to them than meets the eye. Do you enjoy playing characters like these?
MW: Thank you! My favourite characters to play are always the ones that have depth. I think it’s quite difficult to play a shallow character! When a lot is going on under the surface, there’s a lot more to work with. That makes it easier and more fun. And, selfishly, playing intelligent characters has the fringe benefit of making people think you’re a lot smarter in real life than you actually are.
SB: Juliet, would you like to engage with similar projects going forward? Are you tempted to go back to playing vampires again or is this enough for the time being?
JL: We’ve recorded two seasons of VAM PD. All of the scripts are stellar. I would love to come back for seasons three, four and beyond! There are so many stories to tell, so much that Catrin could get up to!
SB: And Mara, is playing a vampire still an ambition for you? If so, what kind of vampire do you think you would be?
MW: I do still want to play a vampire! I think that would be very fun. I’ve always been told that I look like the classic idea of a vampire. I am a very pale White woman with strong features and dark hair, so it could be a natural fit. But playing a vampire who looks completely different, maybe in an audio drama or animation, could be even better. I’d also be perfectly happy to be either a funny vampire or a genuinely scary vampire. I think sometimes “funny” and “scary” are closer than we think!
VAM PD is available to pre-order now from the Big Finish website. The full interview will be appearing in STARBURST Issue #488.
King’s Running Man, published in 1982 under the pseudonym Richard Bachman, is set in 2025 in an America under a totalitarian regime that uses violent game shows to placate the disenfranchised masses. The novel centres on one desperate man who needs money for his sick daughter and joins the most popular show, The Running Man, in which teams of killers hunt down contestants. The longer a contestant survives, the more money they are awarded.
Powell is playing the aforementioned “desperate man”, while Brolin stars as the ruthless producer of the show. O’Brian will play one of the contestants. Lee Pace is playing the brutal chief hunter for the network airing the game shows and tasked by the producer with tracking down Powell’s character.
James Gunn and the cast of the animated series Creature Commandos appeared at New York Comic Con to unveil the first trailer for the upcoming Max series, promising a new DC Universe entry that is “something beyond what any of us expected”.
The voice cast members include Frank Grillo as Rick Flag Sr., David Harbour as Frankenstein, Zoë Chao as Nina Mazursky, Steve Agee as Economos, Maria Bakalova as Princess Ilana, Alan Tudyk as Dr. Phosphorus, and Sean Gunn as GI Robot and Weasel.
Gunn also explained of the series: “It was written when I started as the CEO of DC Studios. I had talked to Max about creating something after Peacemaker did so well. I talked to Peter Girardi about creating an animated series. I like the Creature Commandos. I love monsters. I love Frankenstein, the story of Bride of Frankenstein. It seemed like the perfect thing to do,” he said.
Gunn jokes that the format of Creature Commandos was stolen from Lost. “The first episode is you see the team come together, but then every episode after that explores the backstory of one of these characters — not necessarily the origin, in some places, the origin — but just something from their past that we see about how they got to the place where they are today,” he said. “And we get to know these characters in a much more intimate way because of that. I think it’s a really fun way to get to know. You see that some of them are a lot better than maybe we think they are at the beginning of the series, and some of them are even worse.”
Linda Cardellini, Indira Varma, and Michael Rooker will also be among the voices appearing later in the series.
Tom Holland will star in Christopher Nolan’s latest feature, joining Matt Damon in the top-secret project. Nolan both writes and directs the feature, with Universal Pictures distributing. The studio has set a release date of July 17th, 2026.
Though plot details are being kept in a bunker under the Universal offices, sources say the setting is not in the present day. Not that it’s much to go on…
Nolan has cast Damon twice previously, as an astronaut in Interstellarand as the director of the Manhattan Project in Oppenheimer, but the new project will mark the director’s first collaboration with Tom Holland.
Nolan earned his first Academy Award for Oppenheimer last year, which was his first project with Universal after having remained loyal to Warner Bros. since 2002. Nolan moved to Universal after Warner temporarily abandoned exclusive theatrical distribution.
Holland’s onboarding the project may have some ripple effects: the actor will spend next year working on this project as well as Spider-Man 4 (with Shang-Chi and the Legend of the Ten Rings’s Destin Daniel Cretton on board to direct), and with a likely stop for Avengers: Doomsday. He was most recently seen in the psychological thriller from Akiva Goldsman, The Crowded Room, and recently completed a run in a stage production of Romeo and Juliet opposite Francesca Amewudah-Rivers in London’s West End.
Luca Guadagnino is in final negotiations to helm a new film adaptation for Lionsgate of author Bret Easton Ellis’ 1991 novel, American Psycho. The book was famously adapted to film by director Mary Herron in 2000, a critically acclaimed feature which starred Christian Bale as the iconic Patrick Bateman.
Scott Z. Burns is writing the script, which is said not to be a remake of the first adaptation but rather a new take on the novel. The project is being produced by Frenesy Films and by Sam Pressman of Pressman Films (his father, Edward R. Pressman, produced the 2000 movie).
“We are thrilled to add another elite filmmaker to our upcoming slate,” said Lionsgate Motion Picture Group chair Adam Fogelson in a statement. “Luca is a brilliant artist, and the perfect visionary to create a whole new interpretation of this potent and classic IP.”
Burns most recently worked as creator on the Apple TV+ series Extrapolations, which starred Meryl Streep, Sienna Miller, Kit Harington, Edward Norton, Diane Lane and Daveed Diggs. Burns also helmed the 2019 Amazon movie The Report and has writing credits including The Bourne Ultimatum, Contagion, and The Laundromat.
Stay tuned for more updates on this new American Psycho adaptation as we hear it.
The new edition of Dungeons & Dragons has exceeded all expectations and confounded critics by becoming the fastest-selling D&D product of all time, outstripping Tasha’s Cauldron of Everythingand previous versions of the Player’s Handbook, aka the PHB.
This makes a lot of sense, as the PHB is the core rulebook for Dungeons & Dragons, featuring character creation rules, special abilities, spells and the like. The new book has an illustrated equipment section, and the game itself is more streamlined. It is compatible with the previous fifth edition of the game, which simply revises and improves on existing mechanics.
Jess Lanzillo, a spokesperson for Wizards of the Coast, told the press, “Our team has been analyzing feedback from players since the release of the 2014 Player’s Handbook and have worked hard and thoughtfully to implement it into the new core rulebooks to create something that we hope everyone will enjoy.”
With his newest Peacock horror show Hysteria!, Bruce Campbell feels he took the opportunity to make something truly worthwhile. The actor best known for playing Ash across the Evil Dead franchise wants to create great works outside that legacy. STARBURST got a chance to speak with him at New York Comic Con 2024 about his new show out now on Peacock.
When asked what drew him to Hysteria, Campbell was kind but short. “The writing.” “What about the writing?” we ask. “It doesn’t suck,” Campbell replies curtly, to appreciative laughter. “Look, it’s that simple. I’ve done tons of movies that suck. I had a writer declare one time that his dialogue was actor-proof, like it was so good that no actor could screw it up. I was like no, no, you got it wrong. It’s such shitty dialogue no actor can say the words. Your shitty words.” Does he care about his legacy then? “No that’s for pundits. I don’t curate my own legacy, I just try to make sure there’s not shitty pictures out there.”
Campbell holds himself somewhere between a rambling president’s authority and a classic rock star’s swagger, yet holds sincere care for his project. His focus on finding good scripts isn’t his only reason for taking on the show. “…writing stands out to me. If it’s a horror project I ask even more questions. Peacock is a good partner. I’ve worked with Universal over the years. Universal is the horror studio. They always were. So I remember them even if they don’t remember me…so that matters. Because when someone says ‘Hey, come be in my movie called Black Friday‘… Totally independent, privately financed… you don’t know if anyone is going to see that. And my wife is really good at pointing that out. She goes ‘really, is that such a hard decision between that dumb movie and Peacock?'”
The move from Peacock into this small town ‘80s horror comes a year before Netflix’s Stranger Things premieres its fifth and final season. It follows a small town discovering odd happenings around a band taking advantage of the satanic panic. “My character,” Campbell tells with pride, “is trying to figure out whether it’s real or not. And he’s a very rational individual… I’m playing him as the chief of police that you would want.” Campbell has so much respect for the character as he proudly states, “He’s not a doofus and he does not condescend to the teenagers either. He goes ‘dude just tell me what’s going on. What the hell, you carved a pentagram into your hand? Wow, that’s uh… that’s a little extreme, don’t you think?”
Campbell loses himself in enthusiasm as he talks about preparing for the role with real-life police officers. Talking about the show gives him so much energy, only stopped by comparison. Another reporter points out that Chief Dandridge is more wholesome than Campbell as Ash, to which the actor bristles. “Yeah, but see, it’s not Ash, right? You know I’m an actor. They give me certain words; I say the words. I don’t have to put Ash into my roles.”
The same reporter later asks him about the possibility of an Evil Dead animated show, which Campbell dismisses as “not even rumours… There’s nothing really to report, but we want to.”
Noticing his face falling into a robotic blank when talking Evil Dead, STARBURST asks Campbell if he feels it’s been a bit of a drag to come back to that well. “Well yeah, I don’t bring it up, you guys bring it up. Yeah, it gets old. I would pay, sometimes, a thousand dollars for a question I’ve never heard before. Which hasn’t happened yet.”
Campbell loves the idea of centring the chief as the heart of Hysteria! “Print that big!” he says grinning, ready to get off of old, Ash-covered projects as soon as possible.
Those masters of the very pretty, limited edition boxed set, Beadle and Grimm, is now taking pre-orders for a premium edition of the forthcoming Critical Role / Darrington Press book, Horrors of the Fairelands. This is an adventure pack for the gaslight fantasy horror Candela Obscura.
The book will feature eight new assignments (the game’s fancy word for scenario), designed to be completed over the course of about two or three gaming sessions. This high-quality hardcover book comes in a box with other goodies, including regional maps, a Games Master screen (so you can hide your notes) and a big pile of in-world handouts, including flyers, membership cards, letters and the like. There’s also a nice pile of art cards so you can show your players what the horrible thing trying to eat them looks like.
Props include silver coins, which are literally plot tokens, and an amulet that ties into the ongoing narrative.
Sony brought the goods – and the guests – to its Friday night showcase at New York Comic Con, treating badge-holders to footage from the forthcoming Kraven the Hunter before getting to what it really wanted to flaunt: Venom: The Last Dance.
Writer/director Kelly Marcel joined stars Tom Hardy, Chiwetel Ejiofor, and Juno Temple on stage to give audiences a tease of what to expect. As fans who’ve followed the film’s marketing know, the inclusion of the eldritch god of darkness and symbiote creator Knull is especially exciting.
“This is just the introduction to Knull. He’s a massive, massive character so you can never be one-and-done with him,” Marcel said. “This is just a little taster of Knull.”
Created by writer Donny Cates and artist Ryan Stegman, Knull first appeared as an unnamed entity before formally debuting in Venom #3. The popular The King in Black crossover event featured Knull as its main antagonist, and when taking into account the character’s long list of abilities and advantages, it’s quite clear why.
In addition to his divine physiology, Knull can wield the “living abyss,” a wellspring of eldritch darkness that saves him a spot among Marvel’s strongest bad guys. He also sports a healing factor, self-sustenance, and temporal manipulation.
Marcel wouldn’t expand on what Knull’s inclusion in The Last Dance will look like, but she left the possibility of his recurrence in Marvel’s onscreen efforts wide open. “We get to meet him. What the future holds for him, who knows.”
VENOM: THE LAST DANCE is in cinemas from Friday, October 25th.
Adapted from Matt Haig’s novel of the same name, The Radleys steps away from vampire movie cliché with its dysfunctional, Modern Family-infused approach! When a tragic event rocks their suburban lives, a family of vampires attempting to live like humans are forced to embrace their natural, blood-filled powers. Damian Lewis (Band of Brothers) inhabits vastly contrasting twin brothers Peter and Will Radley, and he is here to tell STARBURST everything you need to know about his journey as an actor within this unpredictable vampire outing! As well as starring in and producing The Radleys, Damian has contributed a Halloween-soaked track titled Suck My Blood!
STARBURST: How did you get involved with The Radleys?
Damian Lewis: Very simple. I made a film with Euros Lyn a couple of years ago, called Dream Horse, and he asked me to do this, and I enjoyed working with him. And I’m a fan of Matt Haig. Euros asked me to play two roles, not just one, and I thought, “Sure”.
The film is adapted from Matt Haig’s novel of the same name. What did you enjoy the most about the book, and why do you think it works so well for a movie?
The book is playful. It explores themes of addiction. There are things in the book we couldn’t have in the movie. We wanted to concentrate it down into a film, and really, a family drama. It’s much more about interpersonal relationships between the family and their struggles with addiction, and trying to find happiness. Matt is always so playful, we were able to, I hope, retain the humour from the book, and the playfulness. Where the book becomes big, and you’ve got people flying everywhere and going off into different cities, there were things we had to take out of the book in order to reduce it into a movie that was containable within the length of a movie. I think we’ve done well.
There are a lot of really great vampire movies out there. Did you revisit any of them while preparing for the movie? And why those ones in particular?
A couple of the old classics, Nosferatu, I watched again. The Lost Boys, I sort of grew up with, it’s my generation. I love Jim Jarmusch’s movie Only Lovers Left Alive, which is basically about vampires being bored because they’ve seen everything. They’ve been around for so long that nothing entertains them any more. I wanted to watch that, because, you know, what is the classic vampire movie? It’s difficult to know what that is because vampires are used as platforms and metaphors for our own lives, and that’s why I particularly wanted to watch Only Lovers Left Alive and because I love Jim Jarmusch films. It spoke to me because our film is not a classic vampire film; it’s not a gore fest or a fright fest. It’s not camp-like vampire films can be, sort of, wildly over the top. It’s a bit like Modern Family, this dysfunctional, interesting, funny, varied family out in the suburbs who are all sort of miserable and pale, and then you realise why. It’s because, essentially, the parents have put them in the vampire programme because they’re desperately trying to reform, like, they’re in AA and live a normal, sensible life. And of course, everybody is miserable as a result, it’s like being on a horrible diet. So, I just liked the comic premise of that. There’s an event that happens about ten minutes into the movie, and all hell breaks loose, and then the only way it can be fixed is by calling in the naughty vampire twin brother, who is a committed, hedonistic, eternal living bloodsucking vampire. Which means he retains all of his powers. So he comes in, fixes the problem, but then of course, he spreads absolute carnage because slowly, bit by bit, he introduces each of the family members to their darker sides, to their darker selves. Then suddenly, everyone is having a ball, they’re all having the time of their lives, but, at a cost. That’s sort of the delicious thing about vampire movies: the mixed messaging. Essentially saying, “Live a sensible, normal life, and be miserable” or “Fill your boots, and have fun”, but “Do it with caution, because the dark side is never far away.” It’s sort of a dramedy, a drama-comedy about this family, and the vampire aspect of it is almost like, “Oh, and they’re also vampires, by the way!” it tickled me.
Brilliant! You act as twin brothers Peter and Will Radley within the movie, so what was that whole experience like for you, and how do you go about making something like that feel realistic on-screen?
Peter is a doctor trying to live a normal life; he moved his family to the suburbs, and then Will is committed, an immortal vampire brother who is an English lecturer at university, so Matt, in the book, has tried to base them on real life. So I suppose what I’m saying is that the differences are subtle. They’re clearly different. One shows up looking like Keith Richards after a big night out, and Peter is sort of an uptight, sort of, slightly overly sensitive man, trying to do the right thing, but he is in a miserable, dull marriage because no one is happy. We tried not to step into cliché or anything that was too archetypally a vampire. We tried to make the differences about attitudes to life, although they clearly look very different, they do behave differently within the film. It’s all within the context of an odd suburban reality, if you like, which was part of the challenge for me, not to just… you know, embrace the temptation of playing a vampire, where it’s like, “Oh great! I can chew the scenery here” Just be this malevolent, blood-sucking, over-the-top, camp presence in the film. Although there are moments when Will is clearly those things, he is also, an English lecturer at university, and that was sort of interesting to me. So, it plays within the reality of the film.
And going on from that, what were Kelly Macdonald (Helen Radley), Harry Baxendale (Rowan Radley) and Bo Bragason (Clara Radley) like to work with, and what did you all want to see from that family dynamic?
Well Kelly is an absolute joy, I hadn’t worked with her before. We met previously, and we had done some fancy photo shoots back in the day, such as“Young actors on the rise!” or something like that. Half of us currently residing in the “Where are they now?” file. You always worry when you do those photo shoots, you think “Well, this could be it!” a group of young actors doing really well, let’s put them in Vogue, and you think, “Well, that’s that. That’s the end of it!” So I had met her once before, and she’s an absolute delight, I loved working with her. I shouldn’t have been surprised; she’s so good, and I’m a fan anyway. And then, working with the young and upcoming actors! Who are probably in a photo shoot today, doing something similar. Bo Bragason, Jay Lycurgo, Harry Baxendale, they’re all going to be big stars, they were fantastic. Their energy, enthusiasm, curiosity about acting, craft, and being on film sets, all of which they’re doing now, in their own right. There was that lovely, hungry enthusiasm that comes with being young actors, in something that’s exciting. It was an exciting project for all of us, to be part of. The family dynamic is, the event in the movie which happens to Bo’s character, Clara Radley, and then there’s a very funny scene where the kids sit around with the parents and they say “What’s just happened? I was being attacked in the woods by a nasty boy from school and I ate him! So could you please explain that to me? Because I just started drinking blood from his neck!” and Harry has this fabulous line, where he is like “Sorry, is this a metaphor for something?” So the film is comedically knowing at the same time, about the genre that it’s in. Then, simultaneously, Rowan, the young boy played by Harry, the son, he then starts having this lovely relationship with Jay’s character, Evan Copeleigh. So there’s this lovely coming-of-age love story as well, which is also part of the movie. So the family dynamics are very rich, it’s quite Modern Family. The younger and older generation are coming to terms with their new selves, the seemingly new people that they’re all suddenly living with, they thought they knew, and they don’t really any more. As I say, they just happen to be vampires, that’s the sting of the tale.
Obviously, the parents are hiding the fact that they’re vampires, so as an actor, it must have been quite fun to capture that secretive atmosphere.
Yeah, I suppose the other way of looking at it is, what if the family that you live next door to are vampires in real life? They’re all abstaining from something and hiding in plain sight. It’s a bit like that series The Americans, about double agents being sent to America, who assume identities in American suburbs, they’re all working for the Russians. I love that secret, clandestine world, but it blows up in their face. The daughter is vegan; she can’t understand why she is always vomiting. She’s ill! Because what she really wants is just bacon, and pork sausages, steaks. They’re all miserable and pale because they’re denying themselves, they’re denying themselves oxygen. They’re vampires, they need blood, they want it.
The movie is set in Whitby, England, which has links to Dracula. What do you think this particular location brings to a vampire story, and what was it like to work there?
For anyone that knows about vampire lore, and the genre will all know exactly why Whitby is important. It’s where Bram Stoker wrote parts of Dracula, the OG of vampire stories. So, for us, it adds a texture, a little sense of an inside joke, that can be shared with the viewer as well. But it’s very evocative, being right out there on that northeast coast. It’s beautiful, so it was great to be there.
You have a great career in music as well, so we have to ask, when did you decide that you wanted to contribute a track to the movie? Through Suck My Blood.
I offered a track, and everybody was keen on the idea, so I wrote a track that, in its original form, is very different from what it sounds like now. I gave it to Keefus Ciancia, who is the composer of the score, and he fell in love with it, and just went to town on it, so it’s very much a collaboration between myself and him, and he turned it into this fantastic, high octane, essentially, dance track. I hadn’t written it in time for it to by synced into the movie unfortunately, but it will be there on the soundtrack, it should be just a fun additional part of the soundtrack I hope. It was fun to do.
Can you tell us how the track came together? And, as it was for a movie, then how did the creative process compare to what you normally do as a musician?
I sit and write at home, with my guitar or the piano, and I write melody and lyrics, and song structure, and in this case, I called up Keefus. I said “Look, I’ve got this song, I’m not sure if stylistically, it was a bit more bluesy the way I had written it, and I just don’t know stylistically if that would fit with your composition” which I had already heard at that point, “if you want this to sit somewhere on the soundtrack, maybe we could do something together?” He just started working on it, he just started adding sounds, changing the texture of sounds, essentially, turning it into an electronic version of what I’d written on my telecaster, my electric guitar at home, it just transformed into something else, and it was just brilliant. I’ve never had something so radical done before to one of my songs. I feel like I’m learning all of the time in music composition and music production because I’ve come to it quite recently, so it was a really good lesson. A really fun experience of getting together with a producer, and they hear something, and they want to take it in a certain direction, just letting them do it, seeing where the song ends up, it was really fun to watch him work on it.
Finally, why should STARBURST readers watch The Radleys?
I’m guessing the readers really like their vampire and fantasy films, and they will know all of the different kinds of vampire films that exist out there. What I would say about The Radleys is that it is a bit like Modern Family; it’s a group of slight misfits, funny individuals, who find themselves in this dead-end, suburban existence because the family have been brought there by the parents in order to live essentially in the programme, like vampires anonymous, just trying to live a sensible life, and there is an event that turns the whole thing upside down, and it spreads carnage and chaos, especially with the arrival of the wicked twin brother, who is a committed vampire. I think people will get a kick out of the fact that it is a comedic family drama about vampires, and that’s where it sits. I think it’s a brilliant film actually, because it’s not a gore fest, and it’s not a fright fest, I think it’s a brilliant film to go and watch as a family, actually. It’s not too upsetting and scary for mum and dad, but it’s just scary enough for the kids, it’s just got some of those serious themes thrown in, that vampire films have, about addiction and love, lust, and longing. It’s got love stories in there, and it’s funny as well. I’ve made it sound like every movie you’ve ever seen, but it’s got these elements in it, it’s a fun ride. I came out of it thinking “That was really fun!” and my teenage children really enjoyed it as well, so I think that’s what I’m saying, “mum and dad take your kids, you can all go together.”
THE RADLEYS is released in cinemas nationwide today, and you can watch it via Sky Movies.
