Review Category: DVD/Blu Ray

Following
2013’s enjoyable but humourless remake/sequel/reboot, Sam Raimi, Bruce Campbell
et al return Evil Dead to its gore-soaked roots. With (mostly) glorious
results.

When we last saw Ash – brief cameo aside –
he was either trapped in a post-apocalyptic future, or back working in the
S-mart, depending on which version of Army Of Darkness’s two endings you
prefer. After keeping us waiting for over 20 years (has it really been that
long?) we now find out that Ash did indeed make it back to his own time, and we
pick up with our reluctant hero: older, definitely no wiser, living in a
trailer and still working as a stock boy. (Interesting side note, Raimi reveals
here that one idea they considered for a fourth Evil Dead would have followed
Ash’s adventures in both time periods).

When Ash starts having visions of Deadites
at very inopportune moments, he remembers that he might – possibly – have got
stoned and read from the Necronomicon to try and impress a girl (who hasn’t?)
Before you can say “groovy”, Ash is reluctantly picking up his chainsaw and
boomstick, dismembering elderly neighbours, and setting off on a quest to find
out how to undo the damage he’s caused.

Joining Ash are two of his co-workers,
Pablo and Kelly (Ray Santiago and Dana DeLorenzo, both fantastic) who seem blissfully
unaware of what happens to every single person Ash meets. The trail of bodies
means they’re also pursued by the police, in the shape of detective Amanda
Fisher (Jill Marie Jones) and the mysterious Ruby (Lucy Lawless) who may have
sinister motives for wanting to catch up with Ash and the Necronomicon. Bruce
Campbell has been playing Ash for so long now that the character fits him like
a second skin. It’s good to know though that, despite their obvious affection
for him, Campbell and Raimi still resist the temptation make Ash in any way
heroic. He’s still a loveable idiot, forced into acts of heroism through his
own blundering. And all the more enjoyable for it.    

The longer storytelling format afforded by
television proves a mixed blessing. Whilst we’re treated to a richer story, new
demons, and a fleshed-out supporting cast, it lacks the relentless energy of,
say, Evil Dead 2. And after the first few episodes (including the Raimi-directed
pilot), things sag slightly mid-season. Fortunately, it recovers, as familiar
locations, characters and appendages make a welcome return, with the final few
episodes up there with the most entertaining stuff Evil Dead’s ever done.

Those worried that the series’ traditional
gore and humour would have be toned down for television need worry not. Evil
Dead’s creators were given complete creative control by the Starz network, with
whom they previously collaborated on the distinctly non-family friendly
Spartacus. Deadites are dispatched in a variety of creative, bloody ways, and the
cast are so frequently splattered with gore that, at times it’s like watching
an 18-rated, blood-soaked Nickelodeon. The humour’s a little broader than the
first two instalments, skewing closer to the more comedic Army Of Darkness, and
there’s the occasional jarring bit of CGI gore thrown in amongst the impressive
practical effects, but Ash vs. Evil Dead is off to a great start. The second
season’s about to land in the US and, and if it keeps up this standard, Ash
could be protecting us from Deadites for a long time to come. Hail to the king
baby.    

Extras: Commentaries on each episode, three
featurettes.

ASH VS. EVIL DEAD SEASON 1 / CERT: 18 /
DIRECTORS: VARIOUS (INC. SAM RAIMI) / STARRING: BRUCE CAMPBELL, RAY SANTIAGO,
DANA DeLORENZO, LUCY LAWLESS, JILL MARIE JONES / RELEASE DATE: SEPTEMBER 19TH 
 

Cosmos is the final movie from Andrzej Żuławski before his death earlier this year, and is an outpouring of the filmmaker’s brain as frustrating as it is crazy.

Witold (Jonathan Genet) has recently failed his law exams and his friend Fuchs (Johan Libérau) has quit his fashion job. They both take some time away and move in to a family guest house with eccentric owners. Witold falls in love with Lena (Victória Guerra), the married daughter of the house owners. He also becomes obsessed with finding out who is hanging animals around the area.

Honestly, giving a plot summary like this is a little bit misleading, as Cosmos doesn’t really have a plot. Cosmos is stitched together from random scenes that have little to no bearing on each other. It doesn’t really head anywhere and it doesn’t seem concerned about doing so. It’s a little bit of a mystery, a small dose of a romance, a dash of holiday farce (especially when the score comes in before completely cutting out again), and it’s a smearing of absurd comedy. It’s also not really any of these. We can’t tell you what it is or what it’s really about as nothing seems to mean anything and we’re not convinced Zulawski had a point to it either. It seems like he was just happy putting whatever popped into his head up on screen.

It’s absurd. It’s over the top and senseless. This would be ok if there was enjoyment to be had from all of this, but unfortunately there isn’t very much. The film only occasionally manages to hit funny, like when the entire household crawl across the floor picking up peas. The characters are probably the most entertaining part of the film, and the cast do gamely throw themselves into their performances, though they’re less characters and more figures for Żuławski to funnel his brand of absurdity through. Witold, with hair as floppy as Hugh Grant’s in a sauna, is prone to outbursts of violence or Gollum impressions. Fuchs comes back from unseen nights out with unexplained bruises. The guest house owner Madame Woytis (Sabine Azéma) becomes like a statue when she gets too excited. There is a character who dresses like Tintin. Nobody really talks like a real human and it sometimes feels like they aren’t even talking to each other. You could drop into any scene and have as much idea about what is going on as someone who has watched the film from the start. A bit of absurdity can be fun, but when it’s not really entertaining or interesting then an hour and forty minutes of it can seem quite tiring.

Cosmos is a disappointing swansong from Andrej Żuławski. The absurd outpourings of his mind unfortunately don’t add up to much. One for fans only.

COSMOS / CERT: 15 / DIRECTOR: ANDREJ ŻUŁAWSKI / SCREENPLAY: ANDREJ ŻUŁAWSKI / STARRING: JONATHAN GENET, JOHAN LIBÉRAU, VICTÓRIA GUERRA, SABINE AZÉMA / RELEASE DATE: OCTOBER 10TH

 

For generations, the Baskerville family have believed themselves to be cursed by the bloodthirsty ghost of a hound that prowls the fog-drenched moors of their Devonshire estate. When Sir Henry Baskerville falls victim to the curse, the great detective Sherlock Holmes embarks on his most famous case. 

Of all the Sherlock Holmes novels written by Sir Arthur Conan Doyle, The Hound of the Baskervilles is genuinely considered the best by Sherlockians. Set before the famous detective apparently fell to his death at the Reichenbach Falls, this was a rare example of Conan Doyle adding elements from his interest in the supernatural into a Sherlock Holmes adventure. Perhaps it is this combination of Britain’s most famous detective and the supernatural that has invited so many different film and TV adaptations.

Prior to Benedict Cumberbatch indelibly making the role his own to modern TV audiences, Ian Richardson made for a suitably incisive and enthusiastic Holmes in this exciting 1983 adaptation. Like Basil Rathbone and Peter Cushing, Richardson is blessed with the avian features that effectively capture Sidney Paget’s original likeness of Holmes. Though the detective’s anti-social personality traits are somewhat ignored, Richardson is still captivating in this most well explored of acting parts, recalling the electric wit and intelligence of Rathbone’s Holmes.

In addition to good production values, the film also benefits from a distinguished cast of British actors, including Brian Blessed, Denholm Elliot, and Martin Shaw. Also accompanying the film is an excellent audio commentary by renowned Holmes expert David Stuart Davies. Overall, this new Blu-ray release will not disappoint fans of Gothic Horror and the nineteenth century’s finest detective.

THE HOUND OF THE BASKERVILLES (1983) / CERT: 15 / DIRECTOR: DOUGLAS HICKOX / SCREENPLAY: CHARLES EDWARD POGUE / STARRING: IAN RICHARDSON, DONALD CHURCHILL, DENHOLM ELLIOTT, BRIAN BLESSED, MARTIN SHAW / RELEASE DATE: OUT NOW

We have seen good and bad horror films in the past few years (mostly bad), but Southbound is something else entirely. It follows five different stories that are sprawling and intertwined, including two criminals trying to get back home, a girl band staying at an eccentric couple’s home, a man trying to get home to his wife, a brother desperately trying to save his sister, and a family vacation that ends in bloodshed. In all of these stories, nothing ends well, and the common ground for these tales of horror is the actual ground itself and the fact that all are apparently set in one location. Referred to as “the middle of nowhere”, this location is used almost as an unlikely projection of Hell itself, with demons and floating skeletal creatures looming and watching over the characters, monitoring their every movement, and having dramatic effects on the stories that unfold.

Another connecting thread is the DJ to whom all the characters listen; this DJ seems to be aware of all their sins, struggles and hidden demons. Each and every character has a hidden secret, almost a dark omen inside of them, and as those layers bubble to the surface, the horror escalates. It’s an understated kind of horror, unnerving and deeply chilling, and by the time you get to the end of the journey, you understand that the deep moral of the story is that, no matter how hard you try, karma always catches up with you. Another underlying message in all of this is that everyone has skeletons in their closet, as personified brilliantly by the eerie, floating, corporeal demons. 

The design of these floating demons is outstanding; from the way they are shown in the distance to seeing their chilling design up close, all adds up to a suitably chilling menace. Also chilling is how the supporting characters who the protagonists encounter are in some way or form demons underneath; in the penultimate story where a man tries to save his long lost sister, we see demons in human form, and the results are unsettling, to say the least. There is some great cinematography throughout, with every single frame being unusual, precise and subtle, and the music harkens back to the classic scores from the John Carpenter era of horror.

Granted, this is not the kind of movie that will appeal to everyone’s tastes, as there will no doubt be some viewers left bored, confused or irritated by it, but there’s no denying that Southbound is an unsettling and chilling watch. It’s unique and unusual and will certainly strike certain horror crowds with an uneasy feeling of bewilderment and intrigue, and almost has the same unnerving vibe of Jonathan Glazer’s Under the Skin. Not for everyone for sure, but worth a watch nonetheless.

SOUTHBOUND / CERT: 18 / DIRECTOR: VARIOUS / SCREENPLAY: VARIOUS / STARRING: CHAD VILLELLA, MATT BETTINELLI-OLPIN, KRISTINA PESIC, FABIANNE THERESE / RELEASE DATE: OUT NOW

 

Set on native American soil, a vast and thick
forest is cursed by those who once lived in these hallowed grounds. A young
couple, Marcus and Stella, set out into the forest to seek out a secret
marijuana plantation. Stella’s sister, Lydia, has stowed away in their truck
much to their annoyance and is stuck with her for the rest of the journey.
Little do any of them know that this simple task for easy money will turn into
their worst nightmare.

Having shot
on location in a lush frozen forest, Max Perrier has created a chilling and
disorientating tale with beautiful cinematography by Ludek Kameny. It’s the
perfect setting for this thrilling take on the slasher/monster flick. Though
the scares won’t have you spilling your popcorn Feed The Devil is a very
suspenseful movie that will have you squirming and reeling in equal measures.
The film looks like a high budget flick with a brilliant original score that is
striking and atmospheric, though whilst it has all the perfect tone and style,
the story can be rather contradicting and lacking rationale.

Filled with
interesting character dynamics, Perrier breaks one of the staple conventions of
the genre. Instead of the typical “final girl” character we have Marcus (Jared
Cohn) as our main protagonist though he is no real hero or typical jockey that
you would find in most slasher films. To the contrary Marcus is a bit of a low
life, he’s foolish and all he really cares about is getting that stash of
marijuana even if his girlfriend runs off by herself in the formidable forest.
There is a fair amount of logic missing in this film but like most slashers,
logic tends to be one of those anomalies. It’s evident we’re not supposed to be
fans of Marcus but his idiotic decisions and dialogue really don’t make a whole
lot of sense. Marcus doesn’t have too much sympathy when his girlfriend Stella
is attacked by wolves and when he meets a mysterious girl out in the wild
wearing Stella’s shoes, he decides it’s best to run off with her leaving Lydia
behind to fend for herself.

Perrier has
mixed the paranormal with straight up slasher very well and has created an
original and ethereal story, it’s worth the watch if you enjoy a good slasher
in the wilderness despite the stupidity of the characters.

FEED THE
DEVIL / CERT: 18 / DIRECTOR: MAX PERRIR / SCREENPLAY: MATTHEW ALTMAN /
STARRING: JARED COHN, ARDIS BARROW, VICTORIA CURTAIN, BRANDON PERRAULT, NAKKA
BERTRAND / RELEASE DATE: OUT NOW

Something
strange is going on in the remote island community of Balfe. When the
ecological department ‘Doomwatch’ sends Dr Del Shaw (Ian Bannen) to the island,
to gather evidence following a recent oil tanker spill, he receives a frosty
reception – the islanders are more insular and inbred than expected and even
the local police make it clear he isn’t welcome. When Shaw finds the body of a
young girl buried in the woods, and is viciously attacked by a deformed man
while investigating the villager’s suspicious behaviour, he discovers that
illegal chemicals dumped in the waters around the island have infected the fish
the islanders are eating, causing hideous mutations in many of the population
which lead to random violent outbursts and eventual madness. Shaw enlists the
help of schoolteacher Victoria Brown (Judy Geeson) to try and uncover the
truth, not realising that the islanders will go to terrifying lengths to
protect their community and make sure that news of their condition doesn’t make
it back to the mainland. 

Released in 1972, Doomwatch was a big
screen version of the popular BBC TV series created by Gerry Davis and Kit
Pedlar, the brainchildren behind Dr. Who’s iconic Cybermen. Despite its horror
movie trappings (there’s a decidedly ‘Wicker Man’ quality to this island, even
though The Wicker Man wouldn’t be released until almost two years later) it’s
really a cautionary thriller that is probably more relevant now than it has
ever been, plugging into our primal neuroses about chemically tainted or suspiciously
bio-engineered foods, chem trails, pollutants and other government / big
business conspiracies.

At the time of its release, fans of the TV
series were upset by the sidelining of their favourite characters in favour of
Ian Bannen and Judy Geeson, neither of whom had featured in the small screen
incarnation. Although the stars of the television show did appear, their
presence in the story was significantly reduced but that’s probably just as
well because the TV cast seem a pretty dull bunch whereas Bannen makes for a
convincing and sympathetic leading man, and his chemistry with Geeson is
excellent. The island location is terrific as well (the exteriors were actually
shot in Cornwall) and director Peter Sasdy, a horror stalwart at the height of
his powers (he had recently completed Hammer’s ‘Hands of the Ripper’ and his
next project would be Nigel Kneale’s legendary ‘The Stone Tape’) makes a fine
job of ramping up the atmosphere.

But it’s the screenplay, which is
peculiarly credited to the much-underrated English screenwriter Clive Exton as
the ‘final screenplay’, suggesting that too many cooks might have already
spoiled the broth before Exton even arrived on the scene, which is the problem.
It doesn’t seem to know what kind of movie it wants to be, and the ending –
despite a commendable injection of pathos during a town meeting, when Shaw
desperately tries to convince the islanders to accept outside help – doesn’t
carry the punch this story deserved. It also reduces Geeson’s character to a
cowering damsel-in-distress, which is a disservice.

Still, it’s heart-warming to see
‘Doomwatch’ finally get a bluray release. The print is in good condition, apart
from some strange ghosting during the opening night time scene that’s so brief
it seems unfair to mention, but the only extra is a trailer which is a little
bit of a shame considering the film’s quirky importance in the annals of 70s
horror / sci-fi cinema. But, despite the lack of extras, this is well worth
adding to your collection. Even with its flaws, Doomwatch is a highly watchable
and occasionally fascinating movie. 

DOOMWATCH / CERT: 15 / DIRECTOR: PETER SASDY / SCREENPLAY: CLIVE EXTON / STARRING: IAN BANNEN, JUDY GEESON, JOHN PAUL, SIMON OATES, JEAN TREND / RELEASE DATE: OUT NOW
 

Erica Falck (Claudia Galli Concha) is a best-selling crime novelist.
After her parents die in a car accident, Erica and her policeman husband Patrik
(Richard Ulfsater) inherit their house in the picturesque fishing village of
Fjallbacka, where Erica and her sister Anna grew up. Even before Erica has
completely moved in a strange man suddenly wanders into her living room,
declaring that he is the older brother Erica knew nothing about. Erica sends
him away and, by the time she has a change of heart and tries to find out more,
the man has been murdered. A DNA test of the corpse proves that he was telling
the truth, and when Erica investigates further she unearths disconcerting
secrets from her mother’s past involving a prominent Neo-Nazi and a Swedish war
hero. Meanwhile, people around her are starting to be killed.

The other stories in the series
include the sudden death of Fjallbacka’s local photographer (who may not have
been as sweet as many people think), the disappearance of a young girl during
the Christmas ‘Queen of Light’ celebrations, the death of two divers that may
be connected to a two centuries-old shipwreck and a supposedly cursed nautical
map and, when Erica’s sister returns to the village and falls for the host of
an ‘Antiques Roadshow’ type TV programme, she finds herself implicated in a
murder.

If you think The Fjallbacka Murders
sounds like a stylish collision of ‘Midsomer Murders’ and ‘The Killing’, you’d
be right. It’s a good-looking and undemanding crime melodrama that’s as
comfortable as your favourite pair of (gum)shoes, with a terrifically likeable
heroine who’s almost a grown up version of Nancy Drew. Based on a series of
books by author Camilla Lackberg, it’s inevitable that some episodes are better
than others and the stories quickly fall into formula with villains that are
often easy to predict, but there are generally enough twists and turns to keep
things interesting.

As far as visuals are concerned, the
photogenic locale of Fjallbacka (which is a real place, so it would be
interesting to know what effect this series – with dead bodies seemingly on
every corner – has done for tourism) is markedly less gloomy than we’re used to
seeing in other Nordic dramas, and the frequent flashbacks to historical events
are particularly well handled, especially during the shipwreck episode.

Sure, fans of TV crime drama will
have seen all of this many times before, but isn’t that half the fun? With
excellent performances, sharp writing and some occasionally beautiful
cinematography, ‘The Fjallbacka Murders’ is well worth checking out.

THE FJALLBACKA MURDERS / CERT 15 /
DIRECTORS & SCREENPLAY: VARIOUS / STARRING: CLAUDIA GALLI, RICHARD
ULFSATER, SOFIA ZOUAGUI, EMMA SWENNIGER, LENNART JAHKEL / RELEASE DATE: OUT NOW
 

During his lifetime, Edvard Munch was
Norway’s most controversial and critically reviled artist. He was also
something of an enigma, and the fact that Peter Watkins’ remarkable 1974
documentary was able to give the mystery of Munch some clarity is one of the
many reasons the film is so fascinating to watch. With the menu option to view
the film in two parts or to play it for the whole uninterrupted three and a
half hours, there might be an understandable feeling of dread when this disc
first slips into the blu-ray player, but you’ve really no need to worry. This
is a very fine film indeed.

Beginning at the start of Munch’s life when
the young Edvard almost died from consumption (a disease that killed both his
mother and his little sister), the film quickly follows him into adulthood where,
as a struggling painter, Munch’s doomed affair with a married woman was
unconsciously set to dominate him and his work for the rest of his days. From
here, Watkins charts Munch’s development as an artist and his evolution through
the different artistic mediums – from paint to etching to woodcuts to
lithography. But there wasn’t a moment when the majority of the critics (and,
seemingly, the public) didn’t despise him. Even when Munch moved to France and
then to Berlin, his art was almost universally maligned. More than that, many
people regarded the frequent exhibitions of his work as scandalous, and the
product of an insane mind. It is remarkable that he persisted, and that two of
his best known masterpieces, ‘The Scream’ and ‘The Vampire’ (not the original
title, it was renamed by one of Munch’s contemporaries), were born during that
period when Munch’s critics were most vociferous.

Watkins dramatizes everything using a cast
of mostly amateur actors, all of whom look convincingly authentic. Geir Westby,
as Munch, and Gro Fraas, as his married lover Mrs Heiberg, are particularly
striking. But the actors rarely speak and, when they do, it is often
direct-to-camera, in heavily stylised monologue. It is an unseen narrator (Peter
Watkins, himself), who tells the story.

But it isn’t just Munch who is documented.
Plenty of time is given to the other men and women who orbit Munch’s world like
discordant satellites, often breaking the fourth wall to stare out at us –
sometimes coy, sometimes confronting – in a way that is deliberately
reminiscent of one of Munch’s portraits. Watkins is also mindful of the passage
of historical time, telling us what is happening in the rest of the world while
Munch’s story unfolds, subtly reminding us that these events are taking place at
a time of massive global unrest. It’s a neat trick that not only sets Munch’s
life in context, it also gives the film nuance and texture.

Having said all of that, and although the
film is also packed with complex social and philosophical themes that mirror
the often morbid psychology of Munch’s art, this is a surprisingly easy
documentary to watch. It is obvious why the great Ingmar Bergman called it “a
work of genius”.

Very highly recommended.

EDVARD MUNCH / CERT: PG / DIRECTOR &
SCREENPLAY: PETER WATKINS / STARRING: GEIR WESTBY, GRO FRAAS, JOHAN HALSBOG,
LOTTE TEIG, GRO JARTO / RELEASE DATE: OUT NOW
 

Jeffrey Combs stars in a H.P. Lovecraft adaptation by
Full Moon Pictures! Don’t get your hopes up though; prolific Lovecraft adaptor
Stuart Gordon is nowhere to be seen. The film has very little to do with Mister
Lovecraft either, save for the name, barest bones of an idea and a fear that,
indeed, lurks.

A cheap cult
Gothic, Lurking Fear is very much a
film of its time, a Full Moon picture from the early nineties. In a great time
for lurid Lovecraft adaptations, it rides the rip tide of such successes as From Beyond and Re-Animator and its sequel, and coming just before the underrated Castle Freak. It may share Combs and
producer Charles Band with this g(l)oriously motley lot, but there’s no small
wonder Lurking Fear is (much) less
well remembered.

Not Dunwich,
the small town of Leffert’s Corners is beset by a history of supernatural
terrors, leaving it as something of a Ghost Town. Enter brooding ex-con John
Martense (Blake Adams, looking then like Scott Eastwood and sounding like Daryl
Dixon do now), a man returning to the town to reclaim his heritage. What he
finds instead is a town full of ghouls, a priest, Doctor (Combs!) and
understandably traumatised woman. Holed up together, the group must attempt to
survive bombardment from all quarters, both human and not.

Grizzled
criminals and grisly monsters battle for attention in a film with plenty of
style but little substance. It ably apes the visuals of Stuart Gordon and Brian
Yuzna, but struggles to hold their audience. Even the magnificent Combs is
given relatively little to do, save for smoke and be sarcastic, sidelined in
favour of a bland Clint Eastwood lookalike. Thankfully, once the lurking stops
and the action starts, it livens up nicely; a cheap, less cool precursor to From Dusk Till Dawn. Director C.
Courtney Joyner handles this and the atmospherics well, but there’s no denying
the fact that his story isn’t very good – Jeffrey Combs or no, there’s nothing
Lovecraftian about gangsters and hot dames with guns.

Lurking is
all very fine and well, but, like its unfortunate choice in leading man, this
is a film very much lacking in presence.

LURKING FEAR
/ DIRECTOR & SCREENPLAY: C. COURTNEY JOYNER / STARRING: BLAKE BAILEY,
ASHLEY LAURENCE, JON FINCH, JEFFREY COMBS, VINCENT SHIAVELLI / RELEASE DATE:
OUT NOW

Alan Clarke is
a name synonymous with grit, violence and social realism; he told the truth
about life in Britain, even if the more conservative and commercial audiences
at the time didn’t want to hear it. And at long last, an extended collection of
work for the BBC created by Clarke has been released in a compelling 13
disc-set. Starburst takes a look at
the collection…

Dissent &
Disruption brings together 24 of Clarke’s films
from the BBC, including the following famous titles: Scum (1977), a harsh look at the brutal borstal system as seen
through the eyes of a young Ray Winstone, Baal
(1982), an adaptation of a Bertolt Brecht play featuring David Bowie as a
musician expressing his angst, and The
Firm (1989), a cruel look at football hooliganism, inspired by the Inter City
Firm of the 1970s and 80s, with Gary Oldman in a menacing lead role.

What is stark about Clarke’s work is that it is still
(even by today’s standards) incredibly graphic in the way it portrays violence.
The point of Clarke’s work is not to either sugar-coat the matters he is trying
to portray, nor is it to look for a way to try and shock the audience, instead,
Clark uses these graphic moments to add substance to the points he is trying to
make, as opposed to a superficial sock. What is also just as stark is the way
that actors are immersed in their respective parts; Scum in particular gives Ray Winstone his best opportunity to show
his capabilities as an actor, before he was lost in the “ diamond geezer” roles
that he is known for today, meanwhile with Gary Oldman, you see the beginnings
of the numerous villains that he has portrayed on screen since as an actor.

These wonderful performances, coupled together with
discs of director’s cuts, interviews and other rarities, offer a very gritty,
very enjoyable viewing experience.

DISSENT & DISRUPTION: ALAN CLARKE AT THE BBC /
CERT: 18 / DIRECTOR: ALAN CLARKE / SCREENPLAY: VARIOUS / STARRIN: GARY OLDMAN,
DAVID BOWIE, RAY WINSTONE, PHIL DAVIS, JANE HORROCKS / RELEASE DATE: OUT NOW