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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.

Dir. McG


Cast: Christian Bale, Sam Worthington, Moon Bloodgood, Helena Bonham Carter, Bryce Dallas Howard

When The Halcyon Company (the latest in a lineage of Terminator franchise owners) disclosed they were producing a new Terminator movie, to follow on from the monstrosity that was Terminator: Rise of the Machines, 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, Charlie’s Angels: Full Throttle, was not strictly the genre credentials everyone had envisioned for helming a righteous T2-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?

Dir. Jaume Balagueró & Paco Plaza

Cast: Manuela Velasco, Pablo Rosso, Ferran Terraza, Carlos Vicente, María Teresa Ortega

Sadly [●REC] is interminably and unjustly likened by reviewers to The Blair Witch Project, understandable given its plot, cast of characters and the cinematic mechanisms utilised, but that is undeniably where any similarity ends. Although The Blair Witch Project was a ground breaking film, particularly if we take into account it's pervasively cogent viral marketing campaign, if we were to assess the two movies essentially on their horror genre credentials then [●REC] is by far the exemplary title – if anything [●REC] is the film that Blair Witch should have been.

Dir. Michael Bassett

Cast: Sean Pertwee, Alex Reid, Stephen Wight, Luke Neal, Toby Kebbell

Wilderness is director Michael Bassett’s follow-up to his creepy little World War I horror opus Death Watch 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. Wilderness starts languidly then spins out of control into an orgiastic display of rancorous dogs, crossbows and deadly traps, think The Children's Film Foundation meets Severance and you are some way to assimilating the cinematic niche where this black-hearted little film dwells.

Dir. Herschell Gordon Lewis

Cast:  J.P. Delahoussaye, Mark McLachlin, Melissa Morgan, Toni Wynne

39 years to wait for a sequel is a long time. too long some would say. in 1963 Herschell Gordon Lewis bequeathed upon the world the prototypical gore film, Blood Feast, 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...

Dir. David Payne

Cast: Devon Gummersall, Derek Richardson, Tina Illman, Scott Whyte, Arielle Kebbel, Michael Ironside, Eric Mabius, Marcia Strassman, David Hadinger.

It's become increasingly more arduous to formulate something fresh and inventive within the horror genre of late, what with ceaseless remakes and reboots that only succeed in disquieting and piquing real genre fans. So it's invigorating to come across a film that is bold and tries something new and idiosyncratic, Dave Payne's Reeker plows the, as yet, unfurrowed turf of effluvium related horror... baffled? Well read on dear friends.

Born in Aberdeen, South Dakota, and raised in the northern suburbs of the Twin Cities, Minnesota Amber performed as an actor, dancer, and singer in America, Australia, Asia, and Europe. She trained at the Academy of Arts, QUT in Brisbane, Australia in Contemporary Dance and later at London Studio Centre, attaining a BA Honors in Theatre Dance (Musical Theatre). While in London she acted in various shorts, pilots, and features including the leading roles in TrashHouse and Cross-Eyed Waltz

Dir. Wes Craven


Cast: Heather Langenkamp, Robert Englund, Wes Craven, David Newsom, Miko Hughes, John Saxon

New Nightmare is the single most sure-footed entry in the Nightmare series since the original A Nightmare on Elm Street, made prior to that other self-reverential, post-ironic box office favourite Scream, 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.

Dir. Kim Dong-bin


Cast: Shin Eun-gyeong, Jeong Jin-yeong, Bae Du-na

Originating from Ringu 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 The Ring in as much as it is a remake that does little artistically to rationalize its existance at all. The Ring Virus 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.