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Spaceman has landed online ahead of its debut at the 2024 Berlin International Film Festival in February.Adam Sander and Carey Mulligan lead the cast of the film which will be released on 1st March.Directed by Johan Renck and based on the novel ‘Spaceman of Bohemia’, the film also stars Kunal Nayyar, Lena Olin, and Isabella Rossellini.Six months into a solitary research mission to the edge of the solar system, an astronaut, Jakub (Adam Sandler), realizes that the marriage he left behind might not be waiting for him when he returns to Earth. Desperate to fix things with his wife, Lenka (Carey Mulligan), he is helped by a mysterious creature from the beginning of time he finds hiding in the bowels of his ship.

The Nun II. The studio will release the film in cinemas in September.

Arrow Video FrightFest begins its first online edition this Thursday (27th August) and in the run-up we’ve had a series of interviews with some of the talent behind some of the movies playing. First up is our chat with writer and director, Tyler Savage, about his Los Angeles-set film, Blinders. The film follows Texan, Andy (Vincent Van Horn), as he relocates to Los Angeles after a bad break-up.

Pascal Arnold and Jean-Marc Barr’s SEXUAL CHRONICLES OF A FRENCH FAMILY does exactly what it says on the tin. And, with it very obvious what you’re going to spend the next eighty-two minutes enduring, this is the only film I’ve seen that had no walkouts.With brother Pierre (Nathan Duval) taking part in multiple threesomes and sister Marie (Leila Denio) remarkably assured in her conquests, Romain (Mathias Melloul) feels left out and unfulfilled.

After losing her younger brother due to political crossfire, Colette McVeigh’s (Andrea Riseborough) life remains steeped in violence and uncertainty when we rejoin her in 1993. After being arrested for a failed bomb plot on the London Underground, Colette is given a lifeline in Mac (Clive Owen), who offers to protect her son if she cooperates as an informant.With barely a word spoken in the film’s opening and coolly tense sequence, director James Marsh ensures we know what to expect in regards to pace and tone for the remainder of SHADOW DANCER.

I will be sharing a few of my picks of the festival over the next few days, kicking off with the wonderful LIBERAL ARTS (pictured below), a Josh Radnor scripted and directed fare that screened to audiences for the first time on Thursday evening. The film was a fave from this year’s Sundance in Park City, and this evening Radnor turned up to the fantastic Cineworld at The O2 to introduce his film, which also stars Zac Efron, Elizabeth Olsen and Richard Jenkins.

Touching in parts, but never truly affecting, Clarissa Campolina and Helvecio Marins Jr.’s borderline documentary centres on embracing life before death and how we cope when those we love are no longer around.With very strong improvisational checkpoints used throughout, there is a lot of fun to be had in watching two octogenarians having a good old gossip on the doorstep or losing themselves to the beat of the drum-heavy music that is so very fundamental to the film’s heartbeat. We feel as if we are peeking into the lives of others from the shots through open doorways, but it is in its most simplest moments such as preparing dinner that the film really finds its magic.Although religious undertones are hinted at, the film never becomes too heavy, but relishes in taking its time to do as it pleases (which will not be to everyone’s taste) just like our leading lady.

Day 2 in Edinburgh saw the European premiere of William Friedkin’s KILLER JOE and the opportunity to talk to both director and one of the stars, Gina Gershon, about their time on the project.EIFF Artistic Director Chris Fujiwara spoke on his choice of KILLER JOE as the Festival’s opening film, saying that “there’s nothing wrong with being unconventional,” with his decision to choose Friedkin’s film down to the fact that it is both “accessible to a large audience and a beautiful piece of filmmaking.”While it may be accessible to a large audience, Friedkin made it very clear that his film was “not targeting teenagers,” and that it is “the kind of film that challenges an audience,” while joking that he hoped he hadn’t lowered the level of the Festival set in Edinburgh’s “casual blend of the old and new.”It is clear to see that Gina Gershon doesn’t believe Friedkin should be worried, stating how she wouldn’t “have done this movie with anyone else.” She went on to explain that she was “offered the play of this a long time ago, but doing eight shows a week would have been too brutal. But when I heard he was doing it, I thought that would be a great person to be directed by.”It is a constant point of amazement that KILLER JOE is directed by a seventy-six year old.

Appearing to start off as a big budget version of Spooks, FLYING BLIND introduces us to lecturer and aeronaut, Frankie, played sincerely by Helen McCrory.A woman who throws herself wholeheartedly into her work, the constant pursuit from student Kahil (Najib Oudghiri) catches her completely off guard and serves as a welcome distraction from her daily routine. And, though she is initially very guarded with her student, it is not long after their awkward and amusing first date that we are subjected to the duo’s blistering chemistry.If you think you have an inkling as to where this relationship is heading, there is room for guesswork before Frankie’s father warns her of the implications an Algerian-Muslim boyfriend could have on her career.

After the rather intense subject matter of THE IMPOSTER and KILLER JOE, the World Premiere of Benjamin Pascoe’s roller derby documentary LEAVE IT ON THE TRACK was a welcome change of mood.With enough shots of backsides to challenge MAGIC MIKE, the film focuses on the love-hate bond between the women on and off the track while constantly reminding us that this sport is sisterhood epitomised.There are a lot of laughs to be had in the lead-up to the championship bout between the undefeated Cherry Bombs and their competitors, The Hellcats, but you never truly appreciate or experience it the way the fans do, leaving it a little lacklustre. But this doesn’t stop it from being incredibly real, with the amount of broken bones and tears disturbingly tangible at times.As we are introduced to different members of the League, we are gently and concisely taught the rules of roller derby without ever getting confused and discovering the backgrounds and talents of these headstrong girls.

Deadpool & Wolverine, the third film in the series of movies led by Ryan Reynolds.Hugh Jackman will reprise the role of Wolverine in the upcoming film and he can be briefly seen in this first look footage.Emma Corrin, Morena Baccarin, Rob Delaney, Leslie Uggams, Karan Soni and Matthew Macfadyen are also among thwe cast.Kevin Feige, Ryan Reynolds, Shawn Levy and Lauren Shuler Donner produce with Louis D’Esposito, Wendy Jacobson, Mary McLaglen, Josh McLaglen, Rhett Reese, Paul Wernick, George Dewey, Simon Kinberg and Jonathon Komack Martin serving as executive producers.

The overwhelming thought as the credits roll of Sean Durkin’s The Iron Claw is why on Earth is it not a serious awards contender? Featuring a career best performance from Zac Efron, The Iron Claw expertly and sensitively explores one of the wrestling world’s most tragic families – the Von Erichs. Based upon the real life story of Kevin Von Erich (Efron) and his brothers, The Iron Claw recounts their shared passion for wrestling, and the consequences that brought. The men in the family believed that they were the victims of a family curse. Whilst initially that sounds silly, as events unfold, it is easy to see how they began to believe this.

Bob Marley is a figure in music who has transcended his genre to become a global icon, a face and voice known by many, even if reggae isn’t quite their jam. A biopic of the artist, who sadly died at just 36 in 1981 was always inevitable – and it has come in the form of a family-approved (and produced) drama that casts Kingsley Ben-Adir in the role of the cultural icon.Having such a global appeal, and being so well-known, makes the task of a biopic an undeniable one – particularly for star Ben-Adir.

If Scott Mann’s 2022 ball-tingler Fall gave you a sense of vertigo then we advise you to stay clear of this new documentary feature from director Jeff Zimbalist and co-director Maria Bukhonina, a Sundance debuting white knuckle love story about a couple of Russian climbers who fall for one another atop some of the world’s tallest buildings.Skywalkers: A Love Story starts with a trigger warning. Actually, two.

Art is often inspired by real people and events, and this is especially true in Josh Margolin’s Thelma. The film sees a 93 year old Thelma (June Squibb) duped by scammers pretending to be her grandson Danny (Fred Hechinger). This idea was born after Margolin’s own grandmother Thelma, aged 103, almost met the same fate. Thelma presents a fictionalised account of the story in which the scammers pull off their con. However, not one to be easily had, Thelma channels her inner action hero and sets off on an adventure to take the crooks to task. Viewing so close to The Beekeeper, one can’t help but see the early comparisons of a plot focused on scammers getting their comeuppance.

A Quiet Place: Part One. The film is an off-shoot in the popular sci-fi series and is directed by Michael Sarnoski from his own screenplay.

Although they have been around forever, slasher movies are still met with a lot of snobbery from some genre fans. These films are often viewed as nothing more than gratuitous violence with disposable characters, weak plots, and watery visuals. Over the years there has been the occasional innovation, but the sub-genre remains a source of negativity for some. Writer and director Chris Nash seeks to change opinion with In a Violent Nature.As slasher movies go, In a Violent Nature truly is innovative.

It’s January and whilst most are focused on awards season being in full swing, it is also the start of festival season. Right now the fortieth edition of Sundance is underway, and while THN can’t be there in person, we will be bringing you a round up of what we have been able to access virtually. First up for review is the rather eccentric Krazy House from Dutch duo Steffan Haars and Flip Van der Kuli.Krazy House screens as part of the Midnight strand of programming, which embraces films with an affinity for the macabre or weird.

Accomplished filmmaker Bao Nguyen takes us on a trip back to 1985 and the historic recording of one of the biggest charity records of all time, ‘We Are The World’, which united dozens of A-list artists to raise money for the African famine.Produced by Lionel Richie, one of the iconic artists and co-writer of the original song, Nguyen’s film uses archive material and contemporary talking heads (some interviewed in the original studio in which the record was made), including Richie himself.Headed to Netflix one day off of the recording’s 39th anniversary, the film is a nostalgic trip back to the heyday of ’80s music, the year in which the likes of Cyndi Lauper, Prince, Michael Jackson, Huey Lewis, Billy Joel, Journey, Kenny Loggins and more were dominating the American and international charts, and all are included here in some form.

Folklore and found footage horror go hand in hand, and since the ground-breaking and game changing The Blair Witch Project scared us all half to death in 1999, filmmakers have been sending their subjects off into the wild, shaky cam in hand, all hoping to capture proof of the unprovable. Due to the elusiveness of their nature, cryptids or legendary creatures make for perfect found footage fodder, from Butterfly Kisses to Willow Creek. In Frogman, which premiered at Telluride Horror Show last fall, Director Anthony Cousins (the eclectic mind behind such classics as The Bloody Ballad of Squirt Reynolds, Fat Fleshy Fingers and Every Time We Meet For Ice Cream Your Whole F*cking Face Explodes) sends his characters on a hunt for a subject more elusive than them all: the Loveland Frogman. The film follows Dallas Kyle (Nathan Tymoshuk), a man suspended in arrested development – jobless, mooching off his sister and her husband, unable to move on from grainy, 3-second clip of ‘Frogman’ he captured as a youth.

The Goldfinger ( or maybe just ‘Goldfinger’) where Tony Leung is re-teaming with Andy Lau and director and screenwriter Felix Chong for the first time since the Infernal Affairs movies. The film is described as a crime movie and will reportedly be set in the 1980s.Simon Yam, Philip Keung, Alex Fong Chung-sun, Charlene Choi, Chin Ka-lok, and Carlos Chan are also among the cast.The synopsis is as follows: Set in the 1980s, the film depicts cut-throat machinations between Hong Kong’s jostling business elites amidst the backdrop of the tail end of British colonial rule. It tells the story of the rise and bust of a fictional Hong Kong company called Jiali Group, following the travails of its chairman Cheng Yiyan through 15 years of investigations by the Independent Commission Against Corruption as murders are committed, billions in market value evaporate and millions are spent on litigation fees.No release date as yet for this one but we’ll keep you posted.