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Precinct Seven Five ****

U.S./ Director Tiller Russell/ 102mins


Synopsis: A gripping documentary about corrupt NYC cops in the 1980’s.


The film focuses on the real-life story of dirty cops who worked at Precinct 75 in Brooklyn where they worked alongside notorious drugs gangs in New York in the 1980s.


A young patrolman Michael Dowd would develop from a smart young rookie into a criminal. He stole money and drugs with his fellow patrolmen as well as having a working relationship with a Dominican drug baron.


Interviews involve all the relevant parties who were involved at the time, from Federal agents to the drug gangs to Dowd and his crew. Giving an highly insightful and balanced point of view from all sides, along with interesting archive footage.


Dowd never makes any attempt to shy away from the deeds or make excuses for why he did it. He is a arrogant and greedy individual with no remorse.


Well researched and highly compelling, the whole story feels like some unmade Hollywood crime thriller.


Reviewed by Paul Logan

Love & Mercy *****


U.S./ Director Bill Pohlad/ 121mins

Synopsis: A biopic of The Beach Boys Brian Wilson which centres on 2 different time periods, one in the 60’s during the Pet Sound sessions the other during his problems in the 80’s.


A story of Wilson’s life seems to be a hard thing to bring to the screen with the amount of stories that had to be covered. Thankfully director Pohlad has focused on the two most interesting aspects of the time. The stories are interwoven between the time periods.


The 1960s story sees Wilson and the Beach Boys after their early successes. Brian decides to not go on the Japan tour to stay home and write something bold and new, which would eventually become “Pet Sounds.”


The 1980’s story involves Wilson (John Cusack) and his harmful relationship with Dr. Eugene Landy (Paul Giamatti), a man who claims to be his legal guardian and the person who saved his life. Events take a dramatic turn when he meets a young car saleswoman Melinda Ledbetter (Elizabeth Banks) who tries to uncover Landy’s sinister motives.


Even although both leads look nothing like Brian, they take on the mannerisms which eventually makes anyone forget about the physical traits. The actors give a fragile and innocent complexity to the man who is torn between his music and the strange voices he hears in his head. In fact Cusack’s performance is a return to form after years of disappointing roles.


The 60’s sequences are shot ins filtered style which gives it an almost archival feel. The sound design is exceptional with music and effects being used to encapture what Wilson is feeling in his mind. Bringing some sense and understanding of mental illness.


The film brings justice on bringing one of the greatest musical icons story to the big screen with terrific music and powerful performances.


Reviewed by Paul Logan


Big Gold Dream: Scottish Post-Punk and Infiltrating the Mainstream *****


UK/ Director Grant McPhee/ 94mins
Synopsis: After the Punk explosion of 1976 shockwaves were sent throughout the United Kingdom’s youth. In Scotland, Fast Product and Postcard records would herald in the birth of indie music sounds and fashion and build the template for BritPop. This would all begin from two small tenement flats in opposite coasts of Scotland.

After making an impressive debut with Sarah’s Room, Director Grant McPhee returns with an informative and interesting documentary about the Scottish music scene from 1977-1985.
In a tenement flat in Edinburgh Bob Last and Hilary Morrison through their record label FAST Product, would go onto sign the Fire Engines, Scars and Boots For Dancing.
They would go on to produce acclaimed DIY releases including The Mekons, Gang of Four, Joy Division and the Dead Kennedys.
Fast Product would later expand into publishing and management and eventually be responsible for the 1981 Christmas No.1 ‘Don’t You Want Me’ and parent album ‘Dare’ by The Human League.
Meanwhile on the west coast, Glasgow based Postcard Records run by the enigmatic Alan Horne with Edwyn Collins would release Orange Juice singles.
With Postcard the music press would travel to see them. While it was claimed that every London based A&R representative was travelling to Scotland to sign anyone with a guitar.
Audiences may not be aware of all or any of the bands, but after watching this extensively researched and compelling documentary there senses will be enlightened to this interesting time for Scottish music.
Although the film is full of information, at 94 minutes never feels dull or dragged out. The overall structure is completely well balanced with a equal amount of screen time for both sides to convey their recollections of past events.
The film is compiled ofinterviews, music videos and stock footage. The interviews range from Fast owner Bob Last to colour characters in the bands to music critics to legends like Joy Division’s Peter Hook. Unfortunately there is no new interview from Orange Juice’s Edwyn Collins, only archived footage. Even the present day footage is given an aged effect look which gives the film an authentic feel.
It does not really matter whether audiences are Scottish Indie music fans or not, this fascinating documentary has something for everyone with great music to tap your feet to.

Reviewed by Paul Logan


Maggie ****


U.S./ Director Henry Hobson/ 95mins


Synopsis: A father (Schwarzenegger) decides to look after his daughter (Breslin) after she is infected by a Zombie attack.


An alternative take on the overused horror genre that brings a different take to the story.


Arnold Schwarzenegger is a loving Midwest farmer who is determined to bring his daughter Maggie (Abigail Breslin) home after she is infected by zombies. As the disease begins to take hold, her father decides to stay by her side, fending other zombies and local law enforcement.


Even although this has a narrative revolving around a virus outbreak and zombies, it is strangely not a horror story. There are very little scenes with the walking dead with virtually no scary aspects. It is more about a father and daughter reuniting and bonding before they have to say their last goodbyes, while questioning the humanity of individual souls.


Casting the Austrian Oak at first appears to be a really bizarre bit of casting. However Arnie is exceptional and for the first time in his career gives an amazing restrained heartfelt performance of a man trying his best to keep the last aspect in his life safe from harm. Breslin yet again gives a great performance showing emotional pain through the sadness in her eyes.


Stunningly shot with a surprising good turn from the Governator, this slow but tender thought provoking piece of melodrama.

Reviewed by Paul Logan


Cop Car ****


U.S./ Director Jon Watts/ 86mins


Synopsis: two 10 year-old boys who are running away from home find an abandoned police cruiser and steal it with the Sheriff (Bacon) in hot pursuit.


Director Jon Watts low budget action drama arrives with hype after wowing audiences in Sundance.


In Midwest America, Travis (Freedson-Jackson) and Harrison (Wellford) stumble upon an empty cop car in the middle of nowhere. Initially spooked by the vehicle, the two kids eventually drive off. The owner of the said vehicle is a corrupt and murderous cop in the middle of taking care of dirty business.


Kevin Bacon has been prone recently to giving over the top performances, however thankfully he has reined in his tendencies for this role. The two boys are incredibly impressive especially in the scenes, where the kids are displaying a nativity and innocence of things they encounter and experience. The kids have to become adults in order to survive in the world.


The overall feel of the film seems to have been highly influenced by early 70’s chase movies Vanishing Point and Duel also with a hint of The Hitcher.


While the story may not be original it mixes together drama, humour, horror and tension without falling into the usual pitfalls. The characters are given no back stories with the filmmakers leaving the audience to fill in the blanks.


The desert palette widescreen shot landscapes bring the sense of loneliness and isolation which encapture the character’s personalities.


A slow stylish neo Western B-movie with great performances, to make this a highly entertaining piece of cinema.


Reviewed by Paul Logan


The Legend of Barney Thomson ***

UK/ Director Robert Carlyle/ 93mins
Synopsis: When a series of disappearances occur in Glasgow, the police turn their attention to a local barber.


The film begins in a barber’s shop near Glasgow Green where Barney Thomson (Robert Carlyle) has been working for the last twenty years. Despite his commitment, Barney lacks personality and is usually the customers’ last choice. When people start disappearing from his local area, Barney quickly attracts the attention of Detective Inspector Holdall (Ray Winstone) and his sidekick MacPherson (Kevin Guthrie).

The story appears promising initially but becomes more and more ridiculous as it progresses. While there are moments of good comedy and interesting characters, the basic story is weak and lacks any real structure.

While the writers attempt a few twists, these are likely to be anticipated and not come as huge surprises. Their final attempt to shock the audience seems bizarre and unbelievable and doesn’t really work.

Despite this, the performances are strong and save the movie from being a complete disaster. Carlyle is enjoyable and comic as the lead character while Emma Thompson is amusing and believable as an older Glasgow woman. Ray Winstone performs well and James Cosmo is a good supporting cast member.

The film was pleasant enough to watch, but would likely have been terrible without its gold standard group of cast members. Overall it was disappointing.

Reviewed by Lesley Logan


Jurassic World ****



Run Time: 124 mins.        Cert: 12A


Synopsis: Twenty two years after the events of the original film took place, “Jurassic World” is a popular holiday resort and theme park based on the island. When two young boys go to visit their aunt for the weekend, they are given a scary and eventful experience.


At the beginning of the movie Zach (Nick Robinson) and Gray (Ty Sympkins) set off to spend the weekend with their aunt Claire (Bryce Dallas Howard), who is the operations manager of the Jurassic World theme park. When they arrive, they are left to explore the resort with Claire’s assistant (Katie McGrath) while she meets with her boss and various other people involved in the park’s development. As the day progresses, an unpredictable creature escapes and the fate of the parks and its guests is uncertain.


“Jurassic World” could easily have been a reboot, but the story is well structured and entertaining with the plot being more modern and the characters different from those in the original. While there are times when events are a bit all over the place, particularly in the final 30 minutes, there is a good mix of comedy, drama and suspense that will keep the audience interested.


The film features some great performances. Chris Pratt is both likeable and comic as dinosaur expert Owen while Bryce Dallas Howard gives a believable performance as the vain and ambitious manager. Ty Sympkins and Nick Robinson also shine in the movie with their realistic portrayal of the relationship between brothers while Irrfan Khan is hilarious as the park’s eccentric owner.


The effects in the movie are great, particularly in 3D IMAX. The creatures look real and the scenes in which the characters are on attractions make the viewer feel like they are on the rides with them.


While the movie is not completely flawless, it is an enjoyable sequel that will likely appeal to the whole family.


Reviewed by Lesley Logan

Spy ****

 Run Time: 120mins Cert: 15

Synopsis: A desk-bound CIA analyst Susan Cooper (McCarthy) volunteers to be a field agent in order to find a nuclear bomb.

Melissa McCarthy is a great comedienne but the choices she has made for her film career have been questionable at best. For every Bridesmaids there is The Heat. Thankfully if this James Bond style spoof is anything to go by she is back on track.

She reunites with the Director of her previous movies Paul Feig who has also wrote the script. Feig understands that she works better when bouncing off other actors. Here he has hired Jude Law as a suave secret agent, Peter Serafinowicz as a sex obsessed Italian agent, Rose Byrne as a mobster’s daughter and Miranda Hart as her goofy best friend and colleague.

It pains to say it but Jason Statham’s exaggerating hot head spy steals the show. His comic timing is surprising and the deadpan delivery makes his character the funniest aspect of the film. After years of doing bland lifeless action pieces, the promise he showed in Guy Ritchie’s Snatch returns with this performance. Just goes to show that he is a better comedian.

The look & feel of the film is very much inspired by the camp cult classic, Casino Royale. Like that film, the strongest characters are the ladies, while the men are seen as inefficient and idiotic buffoons.

As would be expected of Feig, the direction and timing of the comedy are spot on, mix that with thrilling action scenes and the end result is something that is highly entertaining. Not only that but he has made bland actors Law and Statham more impressive and funny.

Feig’s next project with McCarthy is the female reboot of Ghostbusters. If this is anything to go by then this new version has suddenly become a lot more anticipated.

Reviewed by Paul Logan


Tomorrowland ***


Run Time: 130 mins              Cert: PG

Synopsis: After finding a collectors’ pin, a teenage girl finds herself transported to a futuristic place. 


The movie begins in 1964 when a young boy named Frank invents a jetpack which he takes to the New York World’s Fair. After being sent packing by David Nix (Hugh Laurie) he is given a pin by a little girl called Athena (Raffi Cassidy) and finds himself in a futuristic place called Tomorrowland. 50 years later, teenager Casey Newton (Britt Robertson) has a similar sequence of events occur and, along with Athena, seeks out the now middle aged Frank (George Clooney) to find answers.


The film is very different from what the trailer suggested. The first part of the story is a bit slow and the audience may feel it takes too long to get to the point. That said, once it gets going the movie is entertaining and has a number of interesting twists. Nothing is as it initially appears and the viewers are kept in suspense.


Both the lead actors give great performances, with Clooney being both entertaining and believable as a grumpy disenchanted man. Britt Robertson is slightly over the top but very likeable as the smart and optimistic Casey, while Raffi Cassidy is a joy to watch as Athena. Although Hugh Laurie gives a reasonably good performance, he is under utilised and more could have been done with his character during the movie.


The movie is nicely shot with effects that look spectacular on the big screen. While “Tomorrowland” is modern and has aspects aimed at younger viewers, the effects also give it a retro feel that will likely appeal to more mature members of the audience.


While “Tomorrowland” is a fun movie with a positive vibe, its slow start and the lack of screen time given to Hugh Laurie are the main things that let it down.


Reviewed by Lesley Logan

Edinburgh International Film Festival 2015 lineup announced

New Artistic Director Mark Adams announced details of the programme for the 69th edition of Edinburgh International Film Festival (EIFF). which runs from 17 to 28 June 2015. The Festival will showcase 164 features from 36 countries, including 24 World Premieres, 8 International Premieres, 16 European Premieres, 84 UK Premieres and 2 Scottish Premieres.

The Festival boasts 134 new features, with highlights including the UK premiere of Asif Kapadia’s striking documentary AMY, about the life of music legend Amy Winehouse, the latest Disney-Pixar animated sensation INSIDE OUT, screening as the Festival’s Family Gala; Arnold Schwarzenegger as a tormented father tending his zombie daughter in MAGGIEAndrew Mogel & Jarrad Paul’s THE D-TRAIN, starring Jack Black and James Marsden, while John Cusack and Paul Dano play different aged versions of Beach Boys legend Brian Wilson in  music biopic LOVE & MERCY. Classic Screenings will include a rare outing for Noel Marshall’s ROAR, a legendary bizarre cult 1981 big cat movie.

EIFF will also be presenting a series of In-Person events including local hero Ewan McGregor who will attend with his new film LAST DAYS IN THE DESERT, Jane Seymour and Malcolm McDowell for their  roles in BEREAVE, cult Hong-Kong director Johnnie To, with his accompanying feature EXILED and EIFF Honorary Patron Seamus McGarvey who returns with his cinematography ‘In Conversation’ series with two-time Academy Award® winning cinematographer Haskell Wexler.

A special In-Person talk celebrates the 60th birthday of one of Britain’s eminent animators, Barry Purves, and musician, writer and comedian, Neil Innes will present A Half of Innes, a live In-conversation event with musical accompaniment.

British films in competition for the Michael Powell Award include Andrew Haigh’s beautiful portrait of a fractured relationship 45 YEARS, with performances from Charlotte Rampling and Tom Courtenay, relationship comedy BLACK MOUNTAIN POETS from Jamie Adams which was shot in just five days on the Black Mountains of Wales, Joseph Bull and Luke Seomore’s BLOOD CELLS about a farmer’s son and his nomadic lifestyle which he is forced to leave behind, the World Premiere of sci-fi thriller BRAND NEW-U from acclaimed documentary-maker Simon Pummell, Jake Gavin’s HECTOR with Peter Mullan as a homeless man, Martin Radich’s NORFOLK with Denis Ménochet, Steven Nesbit’s Romeo and Juliet style drama NORTH v SOUTH with Greta Scacchi, Steven Berkoff and Bernard Hill, BAFTA-Scotland award-winner Colin Kennedy’s directorial debut feature SWUNG; Jane Linfoot’s  psychological drama THE INCIDENT with Ruta Gedmintas and Tom Hughes,  Ludwig and Paul Shammasian’s THE PYRAMID TEXTS starring James Cosmo, author Helen Walsh’s debut as writer/director THE VIOLATORS, THE LEGEND OF BARNEY THOMSON, EIFF Honorary Patron Robert Carlyle’s directorial debut and the Festival’s Opening Gala, and IONA, Scott Graham’s  family drama and the Closing Night Gala.
 The International Feature Film Competition includes World Premiere LEN AND COMPANY from Tim Godsall, Rick Famuyiwa’s coming of age tale DOPE Oliver Hirschbiegel’s World War II drama 13 MINUTES, I STAY WITH YOU from Artemio Narro, Niki Karimi’s drama NIGHT SHIFT, Marielle Heller’s THE DIARY OF A TEENAGE GIRL with Kristen Wiig and Alexander Skarsgård, Doze Niu Chen-Zer’s PARADISE IN SERVICE, YOU’RE UGLY TOO, from  director Mark Noonan, Ole Giæver and Marte Vold’s OUT OF NATURE, 600 MILES, a crime thriller with Tim Roth from Mexican director Gabriel Ripstein, THE STANFORD PRISON EXPERIMENT from  EIFF Award Winner Kyle Patrick Alvarez, and MANSON FAMILY VACATION.

This year’s Festival hosts the Award for Best Documentary Feature Film, as well as introducing ‘Doc of the Day’, with each featured film supported by an associated event. Documentaries include PROPHET’S PREY from Oscar-nominated director Amy Berg looking at the megalomaniacal leader of a fundamentalist church, Tiller Russell’s  PRECINCT SEVEN FIVE, Marah Strauch’s tribute to founding father of BASE jumping Carl Boenish in SUNSHINE SUPERMAN, Ross Sutherland’s STAND BY FOR TAPE BACK-UP, based on his live Edinburgh Fringe show in 2014, WHEN ELEPHANTS FIGHT, a spotlight on Britain’s ties to the illicit trade in Congolese conflict minerals directed by Michael Ramsdell, Crystal Moselle’s Sundance sensation THE WOLFPACK documenting an extraordinary family of film lovers who rarely leave their Manhattan home, ABOVE AND BELOW a  portrait of existence lived on the fringes of American society directed by Nicolas Steiner, Ilinca Calugareanu’s CHUCK NORRIS vs COMMUNISM which charts a hustler creating a videotheque resistance in the face of 1980s Romanian communism, Damon Gameau’s  look at our everyday inadvertent sugar intake in THAT SUGAR FILM, Douglas Tirola’s DRUNK STONED BRILLIANT DEAD: THE STORY OF THE NATIONAL LAMPOON, David Nicholas Wilkinson’s  journey into the origins of cinema in THE FIRST FILM, José Luis López-Linares’ SHERRY & THE MYSTERY OF PALO CORTADO, Paul Goodwin’s look at the British sci-fi comic institution FUTURE SHOCK! THE STORY OF 2000AD; a love song to the rip-off Turkish pop cinema of the 60’s and 70’s REMAKE, REMIX, RIP-OFF directed by Cem Kaya, an insight into the Bedouin traditions of camel pageants and auctions with one woman breaking taboos in NEARBY SKY by Nujoom Alghanem, THE IRON MINISTRY a portrait of China’s railways by JP Sniadecki, Kevin Pollack’s look at what makes comedians tick in MISERY LOVES COMEDY, THE NEWSROOM – OFF THE RECORD directed by Mikala Krogh, Asif Kapadia’s critically acclaimed AMY and Grant McPhee’s BIG GOLD DREAM: SCOTTISH POST-PUNK AND INFILTRATING THE MAINSTREAM.


EIFF will also host the World Premiere of the English-language version of UNDER MILK WOOD  Kevin Allen’s adaptation of Dylan Thomas’ iconic classic starring Rhys Ifans and Charlotte Church,  Jon Watts’ thriller COP CAR starring Kevin Bacon, comedy THE OVERNIGHT directed by Patrick Brice starring Jason Schwartzman and Taylor Schilling, DESERT DANCER with Reece Ritchie and Freida Pinto about the story of choreographer Afshin Ghaffarian, actress Talulah Riley’s debut as writer/director SCOTTISH MUSSEL, David Blair’s supernatural thriller THE MESSENGER, Isabel Coixet’s LEARNING TO DRIVE starring Patricia Clarkson and Sir Ben Kingsley. 

The American Dreams strand features Gina Prince-Bythewood’s enthralling musical melodrama BEYOND THE LIGHTS starring Gugu Mbatha-Raw, Minnie Driver and Danny Glover, FRANNY starring Dakota Fanning, Theo James and Richard Gere as a billionaire philanthropist. WELCOME TO ME starring Kristen Wiig,  Jamie Babbit’s dark comedy about the life of a sex addict in FRESNO, Alex Holdridge and Linnea Saasen’s comedy-romance MEET ME IN MONTENEGRO with Rupert Friend, road trip drama THE ROAD WITHIN starring Robert Sheehan, Dev Patel and Zoe Kravitz and Leslye Headland’s hilarious SLEEPING WITH OTHER PEOPLE with Jason Sudeikis, Alison Brie and Adam Scott.

Directors’ Showcase includes David Gordon Green’s tale of loneliness and longing, MANGLEHORN with Al Pacino and Holly Hunter, Amy Berg’s  crime story EVERY SECRET THING starring Diane Lane and Elizabeth Banks, Peter Bogdanovich’s sex comedy SHE’S FUNNY THAT WAY,  Masaharu Take’s award-winning story of a young Japanese woman who morphs in to a boxer in 100 YEN LOVE and Nobuhiro Yamashita’s romantic comedy LA LA LA AT ROCK BOTTOM.


Night Moves films include multi-award winning director Bruce McDonald’s  tale of evil trick-or-treaters HELLIONSCorin Hardy’s debut feature THE HALLOW, Hungarian director Károly Ujj Meszáros’ fantasy film LIZA, THE FOX-FAIRY, director Justin Trefgarne’s NARCOPOLIS starring Elliot Cowan.

 The Young and The Wild strand is includes THE SISTERHOOD OF NIGHT about one girl’s lie leads to a small American town becoming the scene of a modern-day Salem Witch Trial, documentary PIRATES OF SALÉ which follows four young performers in Morocco as they join the country’s first professional circus, plus a selection of Shorts. The FilmFest Junior strand has family film PAPER PLANES about a boy who wants to enter the world of junior paper planes championship and LABYRINTHUS which tells the story of a boy’s friends who are trapped inside a computer game.  

The New Perspectives strand offers INDEX ZERO by Italian filmmaker Lorenzo Sportiello, about a couple struggling to stay together in a futuristic Europe, Emily Ting’s IT’S ALREADY TOMORROW IN HONG KONG a romance set on the streets of Hong Kong, SAND DOLLARS by Laura Amelia Guzmán and Israel Cárdenas; MELBOURNE a drama set within a Tehran apartment by Nima Javidi and Olympic boxing drama KOZA from Ivan Ostrochovský.

Focus on Mexico strand features Gabriela Dominguez Ruvalcaba’s documentary THE DANCE OF THE MEMORY, Ernesto Contreras’ THE OBSCURE SPRING and THE BEGINNING OF TIME by Bernardo Arellano which looks at ageing and survival during economic and social unrest in Mexico. A selection of Classic Mexican films will screen as part of the Focus, including Roberto Gavaldón’s supernatural drama MACARIO the first Mexican film to be nominated for the Academy Award for Best Foreign Language Film and Carlos Enrique Taboada’s POISON FOR THE FAIRIES, an unusual gothic tale of witchcraft, told from a child’s point of view.   

As well as the usual focus on British shorts, the Animation strand features cult favourite Ralph Bakshi, who will appear via Skype after a screening of FRITZ THE CAT and will also present an exclusive work-in-progress preview of his new short LAST DAYS OF CONEY ISLAND. Now it its 26th Year, The McLaren Award for Best New British Animation continues to charm audiences with two programmes of the best new short animations from the UK. Other highlights include Ralph Bakshi’s THE LORD OF THE RINGS and his post-apocalyptic feature WIZARDS. There will also be an opportunity to explore linternational animation from around the world in INTERNATIONAL ANIMATION: PANORAMA.  

BLACK BOX returns with another round of experimental films, plus the return for a third year of BLACK BOX LIVE which sees James Holcombe’s film, TYBURNIA accompanied by a live performance at the Traverse Theatre by Dead Rat Orchestra. Amongst the highlights are the World Premiere of Telemach’s Wiesinger KALEIDOSCOPE, a selection of shorts screenings in BLACK BOX SHORTS 1/2/3/4 and Félix Dufour-Laperrriè’s TRANSATLANTIC a  documentary  about life on a cargo ship.

 ‘LITTLE BIG SCREEN brings classic titles in the strand include Michael Mann’s THE JERICHO MILE, Steven Spielberg’s DUEL and Tobe Hooper’s SALEM’S LOT. The Festival also celebrates the work of Walter Hill in WALTER HILL: THE EARLY YEARS which will features  screenings of his finest early works including 48 HRS, THE DRIVER, HARD TIMES, THE LONG RIDERS, SOUTHERN COMFORT, STREETS OF FIRE and THE WARRIORS.


A chance to revisit a selection of films with their own distinctive cinematic stamp, CLASSICS offers audiences a rare chance to see some of these cult hits on the big screen, including Mark Christopher’s belated director’s cut release of his cult disco film, 54: THE DIRECTOR’S CUT, a remastered version of Carol Reed’s classic film THE THIRD MAN starring Orson Welles, and a screening of Joseph Sargent’s THE TAKING OF PELHAM ONE TWO.

CINEMATIC TV presents two new exciting productions offering entertainment on TV. These include a sneak-peek at the second season of DOLL & EM, the comedy series following real-life friends Emily Mortimer and Dolly Wells and acclaimed artist Jake Chapman’s THE MARRIAGE OF REASON & SQUALOR starring Rhys Ifans in a satire of the paperback romance.

EIFF Honorary Patron Mark Cousins’ documentary 6 DESIRES: DH LAWRENCE AND SARDINIA he explores a journey through Sardinia where Lawrence travelled with his wife in 1921. Cousins will be taking part in a Q&A session following the screening of the film on Monday 22 June. Suitable for younger audiences, LIVE LIVE CINEMA: THE LITTLE SHOP OF HORRORS sees four talented performers create an entire live soundtrack to Roger Corman’s popular 1960 B-movie (THE LITTLE SHOP OF HORRORS). The Edinburgh Schools Film Competition, now in its seventh year, invites young people from Edinburgh nursery, primary, secondary and special schools to submit their short films to EIFF whose selected films are then screened during the Festival for all to see. Screenings take place at Filmhouse on Saturday 27 June (Primary schools) and on Sunday 28 June (Secondary schools). 

EIFF presents a very special 30th anniversary screening of BACK TO THE FUTURE with live accompaniment from the Royal Scottish National Orchestra on Saturday 27 June.

Mark Adams, EIFF Artistic Director, said: “We are delighted to be presenting such a thrilling, fun, challenging, provocative, exciting and balanced programme. There really is something for everyone and we hope that filmgoers will get a lot of pleasure out of this year’s Festival.”

Fiona Hyslop, Cabinet Secretary for Culture, Europe and External Affairs, said: “The Edinburgh International Film Festival has produced another excellent programme in 2015, showcasing Scottish talent alongside some of the best of world cinema. The film festival attracts visitors to Edinburgh and Scotland, as well as giving local residents the opportunity to see wonderfully diverse and creative films on their doorstep. It also invests in the future of filmmaking though the important delegate programme as well as the Festival Short Film Challenge, and Talent and Animation Labs. By nurturing talent within the industry the EIFF has an important role to play in developing skills to support the future of Scottish filmmaking. The Scottish Government is pleased to support the EIFF with Expo funding of £115,000 in 2015.”