Free tickets available to see Halo movie on the silver screen at exclusive fans' showcase.
27 January 2010: Warner Bros Home Video is delighted to invite fans to one-off exclusive preview screening of brand new animated movie
Halo Legends. Taking place at the Moving Picture Company, Wardour Street, at 6.30pm on 3rd February 2010, this will be the only chance to see Halo Legends on the big screen in the UK.
"We're delighted to be putting
Halo Legends on the silver screen at this one-off event," says Dan Gilson, Warner Bros Home Video. "Seeing the film in a state-of-the-art cinema will be a real treat for Halo fans, and we're pleased we've been able to offer them this once-in-a-lifetime opportunity."
The super-exclusive event will be golden ticket only, with those interested in attending able to enter a prize draw in a number of ways. Simply follow
@HaloScreeninguk, on Twitter, where the latest giveaways will be publicised.
John Howard Carpenter (born January 16, 1948) born in Carthage, New York, and raised in Bowling Green, Kentucky, the son of a college music professor, enchanted by movies, particularly Westerns, from a very early age, he enrolled in the University of Southern California's School of Cinema. After winning an Academy Award for his 1970 short subject, THE RESURRECTION OF BRONCO BILLY (completed while a film student at USC), Carpenter went on to direct a series of low-budget, highly-commercial and critically-acclaimed movies.
and 
are essentially nauseous, inelegant, and of virtually no redeeming cinematic value, whereas films like 
, 
, and now, 
, albeit sharing similarities to the former in tone, brutality and grittiness, have much more depth of story and cogency of execution to just be demeaned by a hip epithet.
, it seemed like the series was destined to be bastardised once again. Then, as if to add insult to injury from the perspective of the already disenfranchised fanbase, they inexorably announced that this fresh chapter would be directed by McG, who's solitary big budget experience, 
, was not strictly the genre credentials everyone had envisioned for helming a righteous 
-worthy sequel. Add to this no Governator and some unknown actor constituting the lion's share of the screentime, could this truly be the film to extricate what seemed like a stagnant franchise?
is interminably and unjustly likened by reviewers to 
, understandable given its plot, cast of characters and the cinematic mechanisms utilised, but that is undeniably where any similarity ends. Although 
is director Michael Bassett’s follow-up to his creepy little World War I horror opus 
and follows a multifarious band of juvenile delinquents and their custodians as they fight for their lives on a remote island against a lone, revenge-driven ex-special forces soldier. 
and you are some way to assimilating the cinematic niche where this black-hearted little film dwells.
, engendering drive-in screens across a whole nation to drip scarlet and interminably altering the face of horror cinema forever. Every gross-out, effects laden murder to grace the screen in the proceeding four decades have this low budget beacon to thank for it. Now take a minute and reflect on this, dear friends, this was NOT a case of a film that just happened to be shocking at the time, even by today's digitally embellished horror standards, this unpretentious little film, squeaking in at a mere 67 minutes, has more bloodshed per frame than all the slasher films that followed in it's wake. So the question remains, why a 39 year gap between this genre-shifting archetype and it's sequel? Well let's take a look at the evidence and see what turns up...
plows the, as yet, unfurrowed turf of effluvium related horror... baffled? Well read on dear friends. 
is the single most sure-footed entry in the Nightmare series since the original 
, made prior to that other self-reverential, post-ironic box office favourite 
, it once again asserts just how authoritative Wes Craven can be at envisioning hauntingly potent, conceptual horror movies. The film within a film paradigm has been applied many times before and since but here under Craven's dexterous touch fabricates a very interesting sojourn indeed.
the Japanese horror novel by Koji Suzuki and the eponymous 1998 film by Hideo Nakata, this South Korean take is more or less a facsimile of 2002's US remake 
in as much as it is a remake that does little artistically to rationalize its existance at all. 
tersely rehashes the prototype with a new cast, a new language, some praiseworthy moments and the integration of some of the novel’s plot points that were absent from the anteceding film. This adds up to an passable movie that may prove interesting for aficionados of the franchise (or for anybody curious in glimpsing how the same story can be filtered through the lens of contrasting filmmakers), but overall it is little more than a banal accomplishment.
