Time for a bit of an update. In the past few months I’ve been lucky enough to add to my portfolio of published work. Weeks of sending emails, researching, securing interviews and pitching features has lead to magazines such as Empire, Total Film and SFX running my work in various issues. What’s more, I was recently asked to take over the role of Film Editor for the dead funny alt-men’s mag Front which has been amazing. Below are some pics of my finished work as it appeared on shelves. Click the images for a better look.

I’ve read Empire for years, so to see my work printed on their glossy pages was pretty insane. This light-hearted Q+A to accompany the mag’s DVD/Blu-Ray review of Studio Ghibli’s Arrietty was the main purpose of my interview with Saoirse Ronan. During our chat she revealed her five favorite cartoon characters of all time, a couple of which were pretty left field. This interview was featured in issue 272.

Alex Winter is a busy guy. He’s spent the better half of the past decade chronicling the rise and fall of Napster and the slow death of the music industry for his upcoming documentary Downloaded. He was kind enough to chat to me between editing duties to discuss the long in gestation project and share his thoughts on the finished project. He also gave me an update on where things are at regarding the highly anticipated return of time-traveling dudes Bill and Ted. Word is that the script’s in, the tone’s right and everyone’s keen to get started on it. This mini news story was printed in SFX issue 218.

I always try to keep an eye out for upcoming films that cause a lot of noise online but don’t seem to get much movie mag attention. The David Fincher produced adaptation of Eric Powell’s cult comic The Goon fits the bill perfectly. Blur Studios put together a teaser trailer that’s drenched in cool and captures the tone and dark humor of Powell’s book perfectly. If you haven’t already seen it, do yourself a favor and check it out below. Author Eric Powell couldn’t have been any nicer and during our chat he revealed all about how The Goon spiked the attention of David Fincher and what we can expect from the finished project. As far as I know, a lot of the info spilled during our chat isn’t available anywhere else. I’ve recently completed a feature for SFX based on the same interview, so expect to see more of The Goon in coming months. This piece was featured in Total Film issue 190.

This is my first film section for FRONT. It just so happened to be the month that Arrietty arrived on DVD, so I decided to use the remainder of my Saoirse Ronan interview to accompany the review. Writing for FRONT is super fun. There’s no real restraints on what I can or can’t say and I get a couple of pages on which to ramble on about the movies that I think readers should check out each month. It’s a pretty sweet deal and something that I’m really enjoying so far. February’s Muppet-filled section should be on sale late next week.

Sometimes, just when you think you’ve got it all everything collapses around you. Sideways director Alexander Payne dives head first into this bittersweet subject matter with his melancholic new movie The Descendants. George Clooney plays Matt King, the last in a long line of beneficiaries due to inherit a large portion of scenic Hawaiian real estate and a father of two unruly daughters. He lives in a picturesque paradise, surrounded by postcard perfect beaches and tropical foliage but as he so eloquently explains in the film’s opening monologue, ‘Paradise can go fuck itself’.

You see Matt is in no position to relax. Whilst away on business his wife was involved in a severe boating accident sending her into a coma and leaving Matt to fend for himself. Now he’s forced to repair the rocky relationships he has with his daughters and deal with the very real possibility that his wife may not pull through. If that wasn’t enough, he soon discovers that his terminal partner may not have been 100% faithful. Matt couldn’t be more right. When the shit hits the fan, paradise can do one.

Payne’s latest work presents us with sand, sea and some heavy drama but unravels at its own relaxed pace. Its floaty ukulele soundtrack cushions the real villain of the piece: grief, which looms over everyone Matt comes into contact with. His money hungry cousins don’t make life any easier. Lead by seemingly toothless but secretly ruthless Cousin Ralph (a sarcastic Beau Bridges), they’re desperate for him to decide a financially suitable fate for their land. As a result, Matt finds himself unable to process his newfound allotment of grief.

Should his wife’s infidelity change his feelings towards her impending death? Should he tell his bitter father-in-law that his dying daughter was no angel?  Is her mysterious lover allowed the chance to say goodbye? Heavy stuff, but this is precisely where The Descendants excels. Almost every character is gifted their own quiet moment of pure anguish and each performance cuts to the bone.

Crushingly transparent, these scenes flit from resentment to humour in the same sentence and boast raw turns from Clooney and vet actor Robert Forster as the grief ridden father to Matt’s wife. However it’s not all doom and gloom. Some warm humour from feisty newcomer Amara Miller as Matt’s impressionable youngest and simpleton Nick Krause as a beach bum with a heart of gold and a nickel head make the whole bereavement experience an enjoyable one. Like the grieving process, The Descendants takes its sweet time to play out, but you’ll be better for it.

Originally featured on ThePlayground.co.uk.

There are loads of rubbish sequels and remakes floating about these days. It’s well annoying. So imagine how much our little faces lit up when we stumbled upon one that was actually dead good. Although technically Matthijs Van Heijningen Jr’s (try saying that pissed) The Thing is neither of the above, so maybe that’s why it’s so pant-crappingly fun.

This creepy claustrophobic horror is a prequel to John Carpenter’s ace 1982 remake, delving deep into a remote antarctic bunker and revealing the chain of events that led to Kurt Russell’s encounter with a shape-shifting alien nasty.   Mary Elizabeth Winstead is our guide this time round as Kate, a plucky scientist who’s flown into the icy wilderness to examine a mysterious find. It soon becomes clear that she’s dealing with an otherworldly creature that’s quite handy at mimicking anyone it comes into contact with. It’s not long before the pointy finger of accusation is being swung about at everyone on the base. And rightly so, as she explains to a returning technician, “Not all of us are human”.

Despite being an origin story of sorts, Heijningen Jr steers away from providing any new information, leaving all those expecting answers sorely disappointed. Make no mistake, the Thing remains just that, a thing. We don’t discover where it’s from or what exactly it’s after, however there’s plenty to admire here. Winstead adds to the arse-kicking persona she claimed for herself with Scott Pilgrim by playing a brainy gal who knows her way around a flamethrower. Think a young Ellen Ripley and you’re spot on. It’s jumpy too, with 1982′s slimy, gory puppet effects given the sleek 2011 CGI treatment. If grizzly two headed walking torso’s do it for you, then this’ll be right up your street.

What’s more, it manages to recapture the same claustrophobic sense of panic and paranoia that made Carpenter’s take so nail-biting. Tensions run high and no one can be trusted as we quickly discover during an innovative reinterpretation of the classic blood test sequence. It may have missed Halloween by a month or so but The Thing is guaranteed to keep you guessing and get you as close to wetting your pants as comfortably possible. Promise.

Originally featured on Zootoday.com

Brad Bird’s face looks massive, but then again, so does everything on the BFI IMAX. The Pixar director turned Mission: Impossible – Ghost Protocol mastermind has gathered a group of journo types here today to introduce a selection of exclusive scenes to whet the appetite. A sizzle reel, if you will, and they do indeed sizzle.

During Bird’s brief appearance he explains that we’ll see two sequences each shot in eye-dazzling IMAX. Special stuff considering that Ghost Protocol is the only film to shoot using this brand-spanking new technology since Nolan took to the streets of Gotham with The Dark Knight. And we don’t need reminding how effective (and just plain cool) that was. If that wasn’t enough we’re also treated to some last minute non-IMAX sequences that have just arrived overnight.

The first sequence throws us straight into the action. After the IMF is falsely linked to a plot to blow up the Kremlin, Ethan Hunt (Tom Cruise) and his team are forced to go rogue and work off the grid. We find them in the Middle East, hiding out in a fancy sky-rise hotel, hundreds of feet up. They’re eagerly awaiting the arrival of a mysterious woman when they stumble upon a flaw in their meticulously thought-out plan. A flaw that involves someone travelling up a few floors up without being seen. Cue that classic Mission Impossible theme…

Using a pair of Spiderman-like sticky-fingered gloves, Ethan begins to scale the building like a human-frog. Scenes like this were made for IMAX and Bird knows it. He dangles us, swings us around and tilts us precariously over the void. We’re with Ethan every nail-biting step of the way whether we like it or not – the only thing we don’t feel is the wind in our hair. It’s an experience that can only be likened to watching the scene play out live from the passenger seat of a helicopter. What do they say about not looking down? Don’t be surprised if you get a touch of vertigo as Bird puts this giant screen to work.

We stay in total immersion mode for IMAX scene number two: an action packed street chase during a raging sandstorm. Watching Hunt race after his mysterious target on foot and then on wheels is impressive, but it’s the ever present, swirling sandstorm that benefits most from this lush high definition. You’ll be squinting through fictional sand as this orange haze sweeps over the screen.

Drool-inducing visuals aside, Bird appears to have pumped the franchise with a whole load of fun. Every scene we were shown was gifted with the perfect mix of action and humour; after all, this is the same guy who helmed The Incredibles so he’s familiar with the format. Gadget-guy Benji Munn (Simon Pegg) provides ample laughs, especially during his back-and-forths with newcomer Brandt (Jeremy Renner). One scene in particular where they discuss a complex and dangerous plan causing Brandt’s stress levels to go through the roof will certainly bring a smile to your face. He’s also a bit of a realist, which provides a nice counterpoint to Ethan’s shoot from the hip action man status.

After a gun-toting underwater action sequence where the duo make a narrow escape, Brandt begins to pick apart Ethan’s unrealistic maneuvers that earned them their freedom. He’s fully aware of the implausible nature of what just happened, and his reaction to it adds a nice and humorous counterbalance to all the guns and explosions. Soon the lights come back on and everyone leaves the giant auditorium pleasantly surprised. From the looks of it, Ghost Protocol is an impossible mission we’d be glad to accept.

Originally Featured on ThisisFakeDIY.co.uk

The Walking Dead has been bugging the living recently. Well, all those in front of TV screens that is. Their main gripe? It’s a bit too slow, too wordy and lacking in the brain-piercing, blood-spurting zombie mayhem department. Personally I don’t agree. In my opinion, the show’s characters are interesting enough to allow for some story developing chit-chat whilst not losing my goldfish-like attention span. While the gratuitous zombie gore may have been fleeting, every time a grizzly undead meat-head lumbered into view this season it’s been more than memorable.  This week, these off-screen tensions spill over onto Hershel’s farm as all hell breaks loose just in time for the mid-season finale.

The group are divided. They’re all aware of the farm’s deadly barn and, led by a severely losing it Shane, want to take matters into their own hands. The others, led by Rick (who’s having a bit of leadership crisis), want to try to work out a solution that’s respectful of Hershel and his family. After all, they’re guests on his land. However, it’s not easy. The farm is a haven for the group, sheltering them from the hell that awaits beyond and with Rick recently discovering that Lori is preggo he’ll do anything he can to stay in Hershel’s good books. Including helping him humanely lasso some Walkers and return them to his wooden zombie zoo.

While Rick’s away Shane sees his opportunity and strikes. Convinced that his former partner’s compassion deems him unsuitable to lead the group in this new ruthless world, he flips out, stirring up panic in the rest of the group and convincing them to storm the barn, much to Dale’s dismay. Rick and Hershel return in the midst of the commotion and despite Rick’s desperate pleas for Shane to reconsider his actions, the barn door bursts open allowing the walking dead to pour out onto Hershel’s farm. The group are forced to open fire, shooting down the gnarled undead along with any chance they had of staying at his safe farmhouse. It’s a sorry state of affairs for the group to find themselves in and just when you’re wondering whether Shane is the ruthless leader the group need, Rick proves why his level-headed compassion makes him a better boss than his deranged buddy could ever be.

You may be wondering how exactly he does this but spoilers are no fun. Let’s just say this week’s finale answers all your burning questions, but you may not like what you hear. Once again the future of the group has been thrust into perilous uncertainty.  We’ll have to wait until February to feel the full effects of Shane’s actions but one thing’s for sure, they have a long, dark road ahead of them.

Originally featured on OnTheBox.com

Secrets. Glenn is well rubbish at keeping them. That’s what we learn from tonight’s episode as he blabs his newfound secrets about Lori’s pregnancy and Hershel’s barn-zombies to Dale almost instantly. It also happens to be the show’s title, which is appropriate. Well, sort of. Perhaps a more apt name would be ‘Revelations’ as this episode’s chock full of them. People find out all kinds of stuff whether they want to or not resulting in an even more uncertain future for this weary troupe of survivors.

Rick and co have been at Hershel’s secluded ranch house for some time now and tensions are running high. Despite trying to keep their affairs separate, the two groups are beginning to clash. Last week ended on a bit of a cliffhanger with Glenn stumbling upon a gaggle (is that the correct term for a group of zombies?) of brain-eaters locked in Hershel’s barn. Needless to say we weren’t the only ones crying out for answers and Glenn wastes no time getting to the bottom of things, putting strain on his budding relationship with Maggie in the process.

Turns out, those aren’t just random walkers, in fact it’s quite the opposite: Hershel’s transformed his barn into a housing unit for turned loved ones. As an inquisitive Dale soon discovers, it’s a touchy subject to say the least and one that Glenn learns about during a supply run that almost costs his new squeeze her life. It’s the only considerable flesh-eating action we get this week but like always it’s gory and memorable. Just how we like it. Whilst searching for Lori’s medical supplies, Maggie gets grabbed by a hidden walker. Luckily Glenn, the master of escaping tight spots is there to save her skin, bashing the walkers head in with a store shelf. Grizzly stuff.

Speaking of Lori, she finally tells Rick about her newfound pregnancy and brief relationship with Shane. Yep, there’s a lot of stunned silences this week. Rick handles this mind-bending info-load quite well, but we’re still not sure how living with this knowledge will effect things from now on. Shane on the other hand is getting harder and harder to predict. He’s teaching Andrea how to shoot, which is good as she gets some real-life experience during a search for Sophia (she’s still missing) that’s interrupted by a wandering horde. The adrenalin rush causes the duo to randomly knock boots on the ride back. The ever protective Dale instantly suspects something and decides to give Shane a talking to. What’s revealed in their intense conversation is the ever growing dark side of Shane’s psyche. Recent events have changed him, and not for the better…

Originally Featured on OnTheBox.com

Tensions run high in Carnage, a painfully funny dissection of relationships and human interaction from the master of claustrophobic cinema Roman Polanski.  Based on Yasmina Reza’s play God of Carnage, it invites us to spend an eventful afternoon with two sets of parents who’s children have recently gotten into a bit of a scuffle. What starts as a polite meeting of reconciliation slowly devolves into a battle of wills. As the polite smiles fade, an unbearable tension fills their tiny apartment setting, eventually spilling out of the mouths of these four seemingly concerned parents.

On the surface our two couples couldn’t be any different.  Bohemia duo Penelope and Michael (Jodie Foster and John C.Reilly) are the anxious parents of the victim, accommodating and eager to smooth things over but on their own terms. Meanwhile, sterile city slickers Nancy and Alan (Kate Winslet and Christoph Waltz) try valiantly to keep their cool while their son is being labeled a thug. The smiley-facade doesn’t last long and soon they’re revealed to be just as bad as each other. From Alan’s constant phone call distractions to Micheal’s decision to set his daughters hamster free just because he’s afraid of rodents. There’s no clear hero here.

It soon becomes clear that there’s two versions of each character on display here which Polanski hints at through his subtle use of mirrors. They appear constantly, framing each character’s uncensored alter-ego. Events take place in real time with our on-the-edge foursome never actually leaving Penelope and Michael’s urban-apartment, despite their many attempts. As a result, they’re caged in a middle-class purgatory, where being civil becomes a real chore.

Maybe it’s because the subject matter is so relatable (who hasn’t been forced to interact with people they’d love to avoid?), or maybe it’s the superb performances on display but Carnage is one of the funniest situation-comedies of recent years.  What begins as a mature quest for peace ends with a vomit covered coffee table and a drunken dissection of each couple’s marriage. There’s no good or bad party and no one really to root for but ultimately it doesn’t matter. As Polanski explains, kids will be kids and care much less about playground fights than their overbearing parents. This is a prime example of just such an occasion but one you’ll enjoy every minute of.

Last week we saw the most chilled out edition of The Walking Dead. It seemed too good to be true, and guess what, it was. This week’s show puts on a brave face, valiantly trying to maintain the ‘it’s not so bad’ tone, but lets face it, what we really want to see is chaos. And chaos does indeed strike, however while the chillaxed mood lingers we’re treated to some scenes that will actually leave you smirking. What’s that you say? Chuckles? In a zombie TV show? Sounds as unrealistic as the dead rising from the grave, right? And yet there were a couple of reasons to smile this week.

For starters, master escapist Glenn has turned into a bit of a horndog. Last week we saw him do the no pants dance with Maggie during a romantic supply run and now he’s developed a bit of a thing for her. Watching Glenn bumbling and fumbling in an attempt to impress his zombie apocalypse sweetheart provides some much-needed comic relief. Their note passing during the most awkward dinner scene in zombie history adds that extra touch of tension to a series already hung up on dealing with human interaction over zombie mayhem. Maggie’s keen but her over bearing father Hershel is holding her back, just like he’s holding back some valuable information from the group, but more on that later.

Even Shane and Rick have a quick giggle. Whilst continuing the search for Carol’s daughter Sophia (Madison Lintz) the duo take a trip down memory lane, discussing the ghosts of girlfriends past. It doesn’t last long though, as Shane’s ever-growing pessimism quickly takes over. Which brings us once again back to the crux of the season so far, hope. Sophia has been missing for so long now that she’s become the embodiment of that word. Rick’s determined to find her. Shane thinks their wasting time and risking the safety of the group. One thing’s for sure, a lot rides on her safe return. Group moral depends on it and the empty space she’s left behind has allowed our two leaders to show let their differences show.

Good thing we have a third leader then, ay? That’s right, while Rick and Shane quarrel about the right thing to do, underdog Daryl has been getting the job done, only this week he stumbles on a bit of trouble. Whilst tracking Sophia he accidentally gets thrown from his horse sending him tumbling down into a hidden ravine. He regains consciousness only to discover that he’s been impaled by one of his own arrows. A nasty bang on the head combined with the summer heat and extensive blood loss sends him spiraling into a fever dream hosted by a hallucination of his lost brother Merle (Michael Rooker). Merle slowly dissects his kid brother’s psyche, exposing his regret of not thoroughly searching for his missing sibling and jealousy that he’s not considered a natural leader. Turning his angst into energy Darryl eventually manages to make it back to the farm compound bleeding, limping and battered only to be mistaken for a walker and almost taken out by a trigger happy Lori. However having found Sophia’s raggedy doll during his ordeal, Darryl once again manages to bring the group back a reason to hold onto hope, something Rick and Shane have yet to do.

And if the climax of this week’s show is anything to go by, the group will soon need all the hope they can get. Remember that awkward dinner scene, well turns out the note Maggie passed to Glenn indicated that she actually did want to take things further. It also turns out that old man Hershel does indeed have a dark secret. As Glenn arrives at the farmhouse barn looking for some late night love he instead finds a shack full of ravenous walkers. Why exactly does Hershel have an army of walkers in his barn? Guess we’ll have to wait until next week to find that out…

Grab hold of your sick bags it’s time to check out Tom Six’s controversial Human Centipede follow up. The Human Centipede II: Full Sequence turns the tables on its predecessor, proudly revelling in the fact that it’s ‘100% Medically Inaccurate’. And it is, but in all honesty, that’s the least of its worries.  Round two contains so many grizzly sequences; the whole human centipede bit looks tame by comparison.

This time Six drags his nightmare into the real world.  It’s here where we meet Martin, a severely disturbed individual who’s obsessed with his DVD copy of The Human Centipede. That’s right, things get Meta. Martin spends his days using his boggled peepers to watch part one and being a rage-sponge for everyone he comes into contact with. Sexually abused by his father, hated by his mother and shunned by society, he’s a ticking time bomb. If there was ever anyone deranged enough to take Six’s debut literally, it’s Martin.

Things get even dodgier when he starts abducting people and dumping their naked and unconscious bodies into his makeshift warehouse-turned-operating theatre. It’s here where he plans to break the ass-to-mouth conga record set by his twisted hero Dr Heiter.  That’s the crux of the film and as you may expect, it’s not easy viewing.  Almost every scene in this taboo sequel features something unpleasant.  Whether it’s the extremely over-the-top sounds of Martin’s pet centipede, the shocking get-away of a heavily pregnant abductee or the bordering on atrocious acting talents on display, it’s a fair assumption that 99% of people will find something to take offence at here.

But you can’t help but notice that that’s the whole point. Six is cleverly carving out a niché, it just so happens that that niché disgusts the general public. It’s almost as if the grinning director concocted a list of all the most repugnant, degrading acts he could think of and then sculpted a story around them.  As such, blood, guts, faeces and self-degradation feature prominently but to such an extent that it’s actually hard to take any of it too seriously.

It’s not surprising that the BBFC flipped out over the original cut (who knows what nastiness wound up on the cutting room floor), but perhaps they were missing the irony. Six’s sequel is so self aware that it instantly disarms anyone willing to suggest that it actually poses any real threat. It’s nudge-and-a-wink twist ending ensures that. And while it’s by no means a horror genre gem, it’s grotesque enough to keep you talking and thinking about it for hours after watching.  What’s more, the BBFC may have inadvertently secured many more installments. After all, is there a better way to drum up horror movie buzz than by saying audiences can’t watch it? So make keep hold of those sick bags, this surely won’t be the last time Tom Six makes us wretch.

Originally featured on Horrortalk.com

Zombie movies are one thing, but a zombie TV show is a different beast entirely.  With so much time to kill, ensuring that you find the right balance of plot development and over-the-top blood-spurting gore is essential. Over indulge in one of these two areas and chances are you’ll bore the viewer. Luckily, as this week’s show proves, The Walking Dead walks this tightrope with ease.

We’re four episodes into season two and it’s finally time for our downtrodden survivors to relax somewhat.  Rick’s son Carl is slowly recovering from the gunshot wound that almost took his life.  Daryl uses his expert tracking skills to locate a promising lead regarding Carol’s lost daughter. Shane is learning to cope with the dark decision he was forced to make last week and risk-taker Glenn finds love during a supply run with Maggie (Lauren Cohan), daughter of Hershel (Scott Wilson) the kindly vet who saved Carl’s life.

What’s more, Rick has managed to get Hershel to consider letting the group stay at his secure farmhouse retreat.  There’s no doubt about it, this has been the most positive show so far. But don’t get too comfortable. Let’s not forget that when society breaks down, trouble is never far away.  For starters, the farm’s water supply has an unwanted guest.  Whilst pumping fresh water Dale (Jeffrey DeMunn) and T-Dog (IronE Singleton) discover a water-bloated walker lurking at the bottom of the well.  Queue this week’s shot of grin-educing zombie gore and like most of The Walking Dead’s undead death scenes, it’s pretty inventive.

They can’t shoot the walker for fear of contaminating the well; nor can they hook it with dangling chunks of meat, what they need is live bait. That’s where Glenn, the show’s go-to escape artist and Short Round look-alike comes in to save the day.  After a predictable but still nail-biting sequence where he almost gets stranded down the well and pulled to pieces, the group being to yank the successfully hooked aqua-zombie to the surface. Pulling and tugging, they try their best to save their precious water only for the chubby flesh chewer to get caught on the well’s cover and split in half. Rancid guts and infected blood spew back down the well, plopping into the water while the walker’s torso grabs for fresh meat undeterred. A miffed T-Dog quickly puts him out of his misery.

This episode’s title, Cherokee Rose, signals the return of hope, epitomised in the floral gift Daryl gives to Carol, boosting her faith that she’ll find her daughter alive and well. Yet ominous undertones lurk. Why does the seemingly good-natured Hershel refuse to discuss why Rick and his group can’t stay? Is he hiding a dark secret? Rick’s shelved his sheriff uniform, has he turned his back on his leader duties? Lori’s discovered she’s pregnant, but who exactly is the father? Have we mistaken smooth waters for the quiet before the storm? Only time will tell.

Originally featured on Onthebox.com