This documentary series follows actors Ewan McGregor and Charley Boorman on a motorcycle trip around the world. The two friends will travel through such places as Siberia, Kazakhstan, ... See full summary »
Young Dutch landscape architect Meneer Chrome comes to a remote English estate where Thomas Smithers lives with his wife, Juliana. Smithers is determined to leave as his legacy a fabulous ... See full summary »
Laura is trying to pick up the pieces of her life after the murder of her husband and son, and goes on vacation with her sister to Burma. After losing her passport at a political rally, she... See full summary »
U Aung Ko,
In a remote part of the countryside, a bungled kidnapping turns into a living nightmare for four central characters when they cross paths with a psychopathic farmer and all hell breaks ... See full summary »
Paul Andrew Williams
George Tompkins is tired of his impoverished life in an idyllic country village. He's desperate for some excitement. One evening he finds a strange metal box and discovers it contains not ... See full summary »
Hijacking a funky London cinema for the premiere of your first short film has to be the coolest move for a new film-maker wanting to make waves in the business.
I was first exposed to Frazer Lee's work at the Prince Charles cinema in Leicester Square, having paid to see Very Bad Things.
Before the main feature, though, four figures mounted the stage (one of whom was just recognizable as Doug Bradley, aka Pinhead, star of Lee's piece). After their stylishly rambling introduction, the curtains rolled back and we were treated to 15 minutes of some of the most promising and compelling horror to hit British cinema in decades.
A visit to the dentist goes horribly wrong when the patient (Charley Boorman) realises he's decidedly not in safe hands. The gruesome end product looks like a flossing incident conducted with barbed wire.
The dentistry theme is of course a winner for any horror movie, and Lee does not flinch on the emotive drill-work. Bradley excels as the twisted tooth-totaller, balancing humour and psychosis with expert skill.
The real treat, though, is Lee's tight script and taut direction. Not a second is wasted and the film is a perfect showcase for his consumate skill. Surely this talent must soon spill over into a feature-length production (by which time I may just have plucked up the courage to visit the dentist again).
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