Category: New Movies

To hell with “all is calm.”

From the bare-knuckle producers of Nobody, Bullet Train, Nobody, John Wick, Atomic Blonde and Deadpool 2, comes a coal-dark holiday action-comedy that says you should always bet on red.

When a team of mercenaries breaks into a wealthy family compound on Christmas Eve, taking everyone inside hostage, the team isn’t prepared for a surprise combatant: Santa Claus (David Harbour) is on the grounds, and he’s about to show why this Nick is no saint.

The film also stars John Leguizamo, Cam Gigandet, Alex Hassell (Cowboy Bebop), Alexis Louder (The Tomorrow War), Edi Patterson (The Righteous Gemstones) and the legendary Beverly D’Angelo.

Directed by razor-edged Norwegian Tommy Wirkola (Dead Snow) and written by Pat Casey and Josh Miller (Sonic the Hedgehog), VIOLENT NIGHT is Christmas movie that will give Die Hard

“Sent before my time into this breathing world, scarce half made up, and that so lamely and unfashionable that dogs bark at me.”

Trumpeting soundtrack and a medieval map – it doesn’t get more English than the opening credits for The Lost King.

‘Based on a true story,’ the titles state, adding ‘Her story’, in a nice pointer to the patriarchal writing of history.

The story is about the search for the remains of King Richard III of England (1452-1485) – first aired to the public in 2013 telemovie The King in the Car Park – in Leicester to be exact, which gives the game away as to where the remains were found. To be fair, the trailer to The Lost King isn’t coy either. Instead, the film focuses on the determined struggle of its main character, amateur historian Philippa Langley, when her obsessive search to find Richard has

The photographer discusses his film project, Blaze.

Australian landscape artist Murray Fredericks is renowned for his large-scale photographs of remote and difficult locations.

Working in both Australia and overseas, Fredericks’ photo-series have taken him to the landscapes of Greenland, Lake Eyre and the Himalayas.

His latest project is Blaze, an observational documentary, which accompanies a series of landscape photographs with fire as their central theme.

Made with Academy Award-nominated team Bentley Dean (co-director) and Tania Nehme (editor), both of Tanna fame, the film depicts blazing trees, and often the flame itself, against flooded lakes and rivers, which have been pervasive in Australia over the La Niña cycles of 2021 and 2022.

Fredericks discusses with FilmInk how it all began.

How did Blaze come about?

“This is a completely accidental film. I asked Bentley Dean to come along, if he could make a five minute behind the scenes sort of

If your taste buds tingle at cinema’s more macabre offerings, then you might want to sample The Menu. It tells the story of an elite chief, Julian Slowik (Ralph Fiennes), who is hosting a group of wealthy diners on his remote island restaurant.

Among them, foodie Tyler (Nicholas Hoult) and his date Margot (Anya Taylor-Joy), arriving for a fine-dining experience they will never forget.

Behind the film is British director Mark Mylod, whose work includes episodes on such hit HBO shows as The Affair, Game of Thrones, and Succession.

Joining FilmInk for a chat, he talks about what drew him to The Menu, his thoughts on watching rich people squirm and his own gastronomic encounters.

Your last movie was 2011’s What’s Your Number? Why did it take so long to return to features?

I made a choice, about probably ten years ago, just to try

You’ve knocked over our country. That’s for sure. Everybody I know who has seen Smile has just been like… wow!

I love that.

You worked with a couple of Australians on the film, managing to make Caitlin Stasey one of the scariest faces in Australia and also the incredibly talented cinematographer Charlie Sarroff, who worked on Natalie Erika James’ Relic.

Yes. Actually, our colourist on the film, Dave Cole, is also from Australia.

Are you surprised at how well the film has done?

I mean, gosh, yes. This was my first film, and I just didn’t know what to expect. I was just so grateful for the opportunity that I was given to even make the film. You have no idea how audiences are going to react to it or engage with it and seeing the way that it seems that audiences have embraced the film and connected to