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Amid the Civil War in 17th-century England, a group of deserters flee from battle through an overgrown field. Captured by an alchemist, the men are forced to help him search to find a hidden treasure that he believes is buried in the field.
Nearly a year after a botched job, a hitman takes a new assignment with the promise of a big payoff for three killings. What starts off as an easy task soon unravels, sending the killer into the heart of darkness.
ITS HALLOWEEN. LUCAS, A SEVEN YEAR OLD BOY IS HOME ALONE, HE FINDS OUT HIS PUMPKIN BAG IS MISSING, SOMEONE TOOK IT AND HAS EATEN ALL THE CANDY. LUCAS FOLLOWS THE WRAPPINGS PATH NOT KNOWING THAT IT LEADS TO A TRAP.
With nowhere else to hide, a group of mercenaries and their two prisoners take cover inside a long abandoned Bulldog tank. But, while they try to keep the forces outside at bay, the real ... See full summary »
After serving jail time for a mysterious crime, Bill and Karl get out of jail and become preoccupied with figuring out who turned them in to the police. On top of that, the "family business" is on the rocks, and the motley crew of criminals who operate out of Down Terrace aren't feeling terribly trusting of one another. It might look like an ordinary house, but at Down Terrace, the walls are closing in... Written by
Newport Beach Film Festival
Black Comedy of (Dis) Loyalty in a Gangster Family
Set in a mundane suburban area of Kent, DOWN TERRACE is the blackest of black comedies involving a family headed by Bill (Robin Hill) who in collaboration with his son Karl (Robin Hill) tries to discover the identity of an informant who shopped them to the police and thereby confined them to prison. There are several suspects among their intimate group, notably Eric (David Schaal), Garvey (Tony Way), and Councillor Berman (Mark Garvey). Meanwhile Eric and his wife Maggie (Julia Deakin) object to Karl's continuing relationship with Valda (Kerry Peacock).
Ably performed in semi-improvised style by a first-rate cast, Ben Wheatley's film emphasizes the culture of mistrust that permeates this so-called close network of criminals. Although professing loyalty to one another through frequent hugs and epithets ("You know I love you"), it's clear that no one really can rely on anyone else to be truthful either in their behavior or their responses to one another. This is a dog-eat-dog community in which only the fittest can survive. There are some gory moments in the film, but they are handled with such panache that we understand Wheatley"s purpose in including them - in a world where 'good' and 'evil' no longer exist, every behavioral move can be seen as absurd, even comic.
Tautly filmed with an astute use of close-up, pans and two-shots in tight spaces, DOWN TERRACE is a low (or perhaps) no-budget piece of work that nonetheless confirms the director's mastery of cinematic form. Highly recommended.
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