it's in cinemas and on curzon home cinema now. whoa, whoa, whoa, whoa! the ridiculous and honest thief, a preposterously silly offering starring liam neeson, who surely has better things to do than waste his time on this sort of post—taken tosh. my girlfriend, she had nothing to do with this. i'm coming for you. having recently reminded us of his brilliance in ordinary love, neeson is back in slumming mode as tom, the bank robber with the unfortunate nickname the in—and—out bandit. no, really. i've robbed 12 banks in seven states, made $9 million in cash. i want to turn myself in. when tom meets kate walsh's annie, he decides to put crime behind him and go straight, but only after attempting to turn himself in to the fbi. instead he's double—crossed and finds murder added to his rap sheet. so now tom has to run around chasing people, punching people, shooting people, threatening people on the phone and blowing up their houses in order to prove that he's just a really nice honest guy who should be left alone to live a quiet life. my way. perfunctorily rea

it's in cinemas and on curzon home cinema now. i know about witches. they're real! novel the witches was memorably filmed by nic roeg in 1990, an adaptation notable for its weird atmosphere and for its botched finale which wimped out on the source material. now, back to the future director robert zemeckis has cooked up a new version of the witches which moves the action to ‘60s america. when young orphan charlie hanson goes to live with his grandma agatha, played by octavia spencer, she teaches him that witches are real and takes him to the fancy—schmancy hotel where a spectacular showdown of mice and men ensure. originally envisaged as a stop motion animation to be directed by guillermo del toro, who now shares screenwriting credit, this live—action cg—heavy roller—coaster romp lacks the beautiful strangeness of roeg's version, with anne hathaway's strangulatedly scandi—inflected grand high witch proving no match for anjelica huston's legendary incarnation. what happened to us? elsewhere, there's plenty of stuart little style kinetic mouse action, but little of the

you can find being a human person on curzon home cinema and in theatres, along with a touring retrospectivendersson's features. imagine if you could bottle a memory like scent... ..and whenever you wanted, you could open it. be like living the moment all over again. daphne du maurier‘s novel rebecca was first filmed by alfred hitchcock in 1940, withjoan fontaine as the young woman swept off her feet by laurence olivier's wealthy widower maxim and installed in his palatial home manderley as the second mrs de winter. now, ben wheatley, director of sightseers and high—rise, has revisited du maurier‘s 00:06:50,1000 --> 00:06:51,531 novel via a screenplay co—written byjane goldman, whose impressive credits include kick—ass and the woman in black. may i present mrs danvers. welcome to manderley. in this new version, in cinemas now and on netflix from the zist, lilyjames is the heroine haunted by the ghosts of armie hammer‘s past, while kristin scott thomas steps into the iconic role of housekeeper mrs da nvers, previously and memorably filled byjudith anderson. she could wear anything with a figu

it's in cinemas and on curzon home cinema now. whoa, whoa, whoa, whoa! this sort of post—taken tosh. my girlfriend, she had nothing to do with this. i'm coming for you. having recently reminded us of his brilliance in ordinary love, neeson is back in slumming mode as tom, the bank robber with the unfortunate nickname the in—and—out bandit. no, really. i've robbed 12 banks in seven states, made $9 million in cash. i want to turn myself in. when tom meets kate walsh's annie, he decides to put crime behind him and go straight, but only after attempting to turn himself in to the fbi. instead he's double—crossed and finds murder added to his rap sheet. so now tom has to run around chasing people, punching people, shooting people, threatening people on the phone and blowing up their houses in order to prove that he's just a really nice honest guy who should be left alone to live a quiet life. my way. perfunctorily directed by mark williams and played by neeson with the air of a man waiting for his paycheque to arrive, this is straight—to—video fare that someho

it's in cinemas and on curzon home cinema now. i know about witches. they're real!aptation notable for its weird atmosphere and for its botched finale which wimped out on the source material. now, back to the future director robert zemeckis has cooked up a new version of the witches which moves the action to 60s america. when young orphan charlie hanson goes to live with his grandma agatha, played by 0ctavia spencer, she teaches him that witches are real and takes him to the fancy—schmancy hotel where a spectacular showdown of mice and men ensure. 0riginally envisaged as a stop motion animation to be directed by guillermo del toro, who now shares screenwriting credit, this live—action cg heavy roller—coaster romp lacks the beautiful strangeness of roeg's version, with anne hathaway's strangulatedly scandi inflected grand high witch proving no match for anjelica huston's legendary incarnation. what happened to us? elsewhere, there's plenty of stuart little style kinetic mouse action, but little of the eeriness which made dahl‘s source such an anarchic treat. yet, for