This is a good week to be a horror fan who collects home media, because we have some killer releases headed our way on Tuesday. Personally, I’ve been waiting ever so patiently for Scream Factory’s Collector’s Edition release of Paul W.S. Anderson’s Event Horizon, and my patience is finally going to pay off tomorrow, as not only are we getting a 4K scan of the film, but the Blu is also chock-full of special features I cannot wait to dig into. Scream Factory is also giving Julia Ducournau’s Raw a stateside Blu-ray release finally, and Arrow Video is showing some love to Patrick Picard’s The Bloodhound this week as well.
We also have two Steelbooks that will be available this Tuesday: Gattaca in 4K as well as the 40th anniversary release of Friday the 13th Part II, and if you need to play catch-up,...
We also have two Steelbooks that will be available this Tuesday: Gattaca in 4K as well as the 40th anniversary release of Friday the 13th Part II, and if you need to play catch-up,...
- 3/22/2021
- by Heather Wixson
- DailyDead
If you've listened to our Corpse Club podcast, then you know that several of us here at Daily Dead are very passionate fans of Event Horizon, so we're extra thrilled that Scream Factory will release the 1997 sci-fi horror film on a Collector's Edition Blu-ray. Previously slated for a release last fall, the Event Horizon Collector's Edition Blu-ray is now coming out on March 23rd (due to efforts to find lost footage from the film), and the full list of special features indicate that it will be well worth the wait.
We have the official press release with the complete list of bonus features below. Longtime Event Horizon fans may notice that the extensive bonus features don't include the movie's lost footage, but there is still a lot of new content to look forward to, and Scream Factory discussed their efforts to find the lost footage in a post on Facebook...
We have the official press release with the complete list of bonus features below. Longtime Event Horizon fans may notice that the extensive bonus features don't include the movie's lost footage, but there is still a lot of new content to look forward to, and Scream Factory discussed their efforts to find the lost footage in a post on Facebook...
- 2/11/2021
- by Derek Anderson
- DailyDead
Filming on the romantic thriller set for spring 2014.
British director Suri Krishnamma has come on board to direct Megan’s Game, an adaptation of Tony Drury’s romantic thriller.
Filming is set to begin in spring 2014 with a theatrical release next autumn.
The story is described as “a love story with a murder twist” set against the backdrops of Snowdonia, the Welsh coast, Cote d’Azur and London.
Krishnamma’s latest thriller, The Dark Tourist starring Melanie Griffith and Michael Cudlitz, opened in the Us this summer and premiered in London at Frightfest 2013. Other recent features include Bad Karma starring Ray Liotta and Dominic Purcell, Locked In’ with Ben Barnes and Eliza Dushku, Good Karma with Billy Connelly and New Year’s Day’ for which Suri won the Jury Prize at the Raindance Film Festival.
Megan’s Game will be led by producer Paul Tucker alongside screenwriter Crispian Sallis and co-producer Jonathan Stafford. Production and post...
British director Suri Krishnamma has come on board to direct Megan’s Game, an adaptation of Tony Drury’s romantic thriller.
Filming is set to begin in spring 2014 with a theatrical release next autumn.
The story is described as “a love story with a murder twist” set against the backdrops of Snowdonia, the Welsh coast, Cote d’Azur and London.
Krishnamma’s latest thriller, The Dark Tourist starring Melanie Griffith and Michael Cudlitz, opened in the Us this summer and premiered in London at Frightfest 2013. Other recent features include Bad Karma starring Ray Liotta and Dominic Purcell, Locked In’ with Ben Barnes and Eliza Dushku, Good Karma with Billy Connelly and New Year’s Day’ for which Suri won the Jury Prize at the Raindance Film Festival.
Megan’s Game will be led by producer Paul Tucker alongside screenwriter Crispian Sallis and co-producer Jonathan Stafford. Production and post...
- 9/4/2013
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
The final series of 'The Tudors' saw wins for two of its four nominations at this year's Creative Arts Emmys. Joan Bergin and Susan Cave won the prize in the category of Outstanding Costumes for a Series whilst Tom Conroy, Colman Corish and Crispian Sallis took the Outstanding Art Direction for a Single Camera Series prize. The Awards ceremony took place on Saturday, August 21st. The Outstanding Costumes for a Series Costume saw 'The Tudors' Irish costume designers Joan Bergin and wardrobe supervisor Susan Cave scoop the prize. The pair won for the outfits seen in episode 408 of the fourth and final series of Showtime's 'The Tudors' which wrapped shooting late last year. The other costume teams nominated included those working for 'Glee' in the episode entitled 'The Power of Madonna', 'Mad Men' and '30 Rock' for the episode 'I Do Do'. The pair previously won...
- 8/23/2010
- IFTN
Irish television talent has come away with six well-deserved Primetime Emmy nominations. 'The Tudors' has been nominated for its art direction, cinematography, costumes and hair and make-up whilst Michael Gambon's acting has been lauded as has 'Celtic Woman's David Downes for his music direction. The awards will take place on August 29th. The Ifta winning show, 'The Tudors' has received four Primetime Emmy nominations for its fourth and final series. In the category of Outstanding Art Direction for a Single-Camera Series the Irish co-production sees a nod for production designer, Tom Conroy, art director Colman Corish and set decorator, Crispian Sallis. The team, nominated for their work on episodes 407 and 408, will face competition from the artistic teams behind 'Glee', 'Heroes', 'Lost', 'Modern Family' and 'True Blood'.
- 7/8/2010
- IFTN
It's a good day for funny people, especially if your name is Tina Fey or Seth MacFarlane.
Fey's series, 30 Rock, was handed 22 Emmy nominations this morning, which stands as a record for a comedy series. She and Alec Baldwin were also nominated for acting awards. Plus, for the first time some of the other actors on NBC's laffer were recognized. Jane Krakowski, Jack McBrayer and Tracy Morgan all picked up supporting nominations.
MacFarlane's Family Guy was also nominated for best comedy series, the first time an animated show has cracked that category since The Flintstones in 1961. Two years ago MacFarlane decided to pull his show from contention in the animated series category to have it considered for best comedy.
Mad Men, the drama about the advertising world in the sixties, picked up 16 nominations in the drama categories, including a best actor nod for Jon Hamm. Hamm is also nominated as...
Fey's series, 30 Rock, was handed 22 Emmy nominations this morning, which stands as a record for a comedy series. She and Alec Baldwin were also nominated for acting awards. Plus, for the first time some of the other actors on NBC's laffer were recognized. Jane Krakowski, Jack McBrayer and Tracy Morgan all picked up supporting nominations.
MacFarlane's Family Guy was also nominated for best comedy series, the first time an animated show has cracked that category since The Flintstones in 1961. Two years ago MacFarlane decided to pull his show from contention in the animated series category to have it considered for best comedy.
Mad Men, the drama about the advertising world in the sixties, picked up 16 nominations in the drama categories, including a best actor nod for Jon Hamm. Hamm is also nominated as...
- 7/16/2009
- CinemaSpy
"Keeping Mum" takes the position that a family in crisis does not need a Dr. Phil or a Dr. Ruth; it needs an ax murderer. Since we haven't enjoyed a genteel English dark comedy in ever so long, it's fun to revisit the genre and even more fun to do so in the company of Rowan Atkinson, Kristin Scott Thomas, Maggie Smith and Patrick Swayze. With a strong promotional push from ThinkFilm, "Keeping Mum" should attract a fair number of over-25 admirers of English comedy to sophisticated art houses.
Remarkably, this movie did not start out as an English comedy. The original screenplay was written by American novelist Richard Russo, whose Pulitzer Prize-winning novel, "Empire Falls", inspired the HBO mini-series and who penned the screenplay for Harold Ramis' "The Ice Harvest". English director Niall Johnson adapted Russo's script to a bucolic English country-village setting of idyllic charm and quaintness, and somehow it all works.
Johnson has slyly given many place and personal names double meanings. For instance, the sleepy parish of Little Whallop has no trouble living up to its name. Gloria (Thomas), the desperate housewife of the town's vicar, Walter Goodfellow (Atkinson), suffers sexual frustration since her husband has seriously misplaced or lost interest in his goodfellow. So much so that a dalliance with Lance (Swayze), her oily American golf instructor, looks increasingly necessary though of course extremely foolish.
Meanwhile, daughter Holly (Tamsin Egerton) decorates a different boyfriend seemingly every other day. And son Petey (Toby Parkes) finds himself the target of school bullies. What the family needs to set things right is a touch of Grace (Smith), the new housekeeper who arrives with an ominous leather trunk.
Four decades ago, as a perky young woman, Grace was hauled off a train by police with that same trunk leaking blood. The source of these fluids turned out to be the dismembered bodies of her philandering husband and his mistress. Grace has only recently secured her release from a prison for the criminally insane despite the fact that the one point she and her psychiatrist could not agree upon was the use of violence to solve interpersonal problems.
So, not unexpectedly, an obnoxious barking dog, a nosy neighbor and a school bully turn up missing or dead. When Grace gets wind of Lance's intentions, his continuing good health is most definitely in jeopardy. What makes these murders go down ever so lightly is the fact that all this dreadful business takes place between perfectly brewed cups of tea and the most courteous of manners.
However, not all problems require physical exertion: When the vicar struggles to write an opening address to an upcoming religious convention that is not "dry and boring," Grace suggests a touch of humor. Soon enough, Walter is surfing the Net for sites like "Giggle With God" in search of good religious jokes.
The actors all strike just the right tone to carry off the black comedy. Atkinson, of course, has made a career out of playing comic distraction with brilliance. Here is no exception as his Walter Goodfellow notices almost nothing of life around him. On the other hand, Smith's Grace notices everything. She is the soul of practicality and sympathy -- to the point one can easily overlook her single character flaw.
Thomas displays hitherto underutilized comedic talents to explore sexual frustration that has reached the point where it overwhelms good sense. Swayze is pure id, without possessing any good sense to be overwhelmed. Egerton's nymphomaniac daughter sees boyfriends as her point of rebellion against stifling social and familial conformity.
Cinematographer Gavin Finney and designer Crispian Sallis create a magical English village out of locations in Cornwall and the Isle of Man.
"Mum" is not likely to attract many teens, but that R rating still grates. A softer R is hard to imagine. A few naughty words and momentarily bare breasts result in a rating equal to "The Wild Bunch". How silly is that?
KEEPING MUM
ThinkFilm
Summit Entertainment/Isle of Man/Azure Films present a Tusk production
Credits:
Director: Niall Johnson
Screenwriters: Richard Russo, Niall Johnson
Story by: Richard Russo
Producers: Julia Palau, Matthew Payne
Executive producers: Steve Wilkinson, Anne Sheehan, Steve Christian, Marc Samuelson, Bertil Ohlsson, David Garrett
Director of photography: Gavin Finney
Production designer: Crispian Sallis
Music: Dickon Hinchliffe
Co-producer: Nigel Wooll
Costumes: Vicki Russell
Editor: Robin Sales
Cast:
Walter Goodfellow: Rowan Atkinson
Gloria Goodfellow: Kristin Scott Thomas
Grace Hawkins: Maggie Smith
Lance: Patrick Swayze
Holly: Tamsin Egerton
Petey: Toby Parkes
Mrs. Parker: Liz Smith.
Running time -- 104 minutes
MPAA rating: R...
Remarkably, this movie did not start out as an English comedy. The original screenplay was written by American novelist Richard Russo, whose Pulitzer Prize-winning novel, "Empire Falls", inspired the HBO mini-series and who penned the screenplay for Harold Ramis' "The Ice Harvest". English director Niall Johnson adapted Russo's script to a bucolic English country-village setting of idyllic charm and quaintness, and somehow it all works.
Johnson has slyly given many place and personal names double meanings. For instance, the sleepy parish of Little Whallop has no trouble living up to its name. Gloria (Thomas), the desperate housewife of the town's vicar, Walter Goodfellow (Atkinson), suffers sexual frustration since her husband has seriously misplaced or lost interest in his goodfellow. So much so that a dalliance with Lance (Swayze), her oily American golf instructor, looks increasingly necessary though of course extremely foolish.
Meanwhile, daughter Holly (Tamsin Egerton) decorates a different boyfriend seemingly every other day. And son Petey (Toby Parkes) finds himself the target of school bullies. What the family needs to set things right is a touch of Grace (Smith), the new housekeeper who arrives with an ominous leather trunk.
Four decades ago, as a perky young woman, Grace was hauled off a train by police with that same trunk leaking blood. The source of these fluids turned out to be the dismembered bodies of her philandering husband and his mistress. Grace has only recently secured her release from a prison for the criminally insane despite the fact that the one point she and her psychiatrist could not agree upon was the use of violence to solve interpersonal problems.
So, not unexpectedly, an obnoxious barking dog, a nosy neighbor and a school bully turn up missing or dead. When Grace gets wind of Lance's intentions, his continuing good health is most definitely in jeopardy. What makes these murders go down ever so lightly is the fact that all this dreadful business takes place between perfectly brewed cups of tea and the most courteous of manners.
However, not all problems require physical exertion: When the vicar struggles to write an opening address to an upcoming religious convention that is not "dry and boring," Grace suggests a touch of humor. Soon enough, Walter is surfing the Net for sites like "Giggle With God" in search of good religious jokes.
The actors all strike just the right tone to carry off the black comedy. Atkinson, of course, has made a career out of playing comic distraction with brilliance. Here is no exception as his Walter Goodfellow notices almost nothing of life around him. On the other hand, Smith's Grace notices everything. She is the soul of practicality and sympathy -- to the point one can easily overlook her single character flaw.
Thomas displays hitherto underutilized comedic talents to explore sexual frustration that has reached the point where it overwhelms good sense. Swayze is pure id, without possessing any good sense to be overwhelmed. Egerton's nymphomaniac daughter sees boyfriends as her point of rebellion against stifling social and familial conformity.
Cinematographer Gavin Finney and designer Crispian Sallis create a magical English village out of locations in Cornwall and the Isle of Man.
"Mum" is not likely to attract many teens, but that R rating still grates. A softer R is hard to imagine. A few naughty words and momentarily bare breasts result in a rating equal to "The Wild Bunch". How silly is that?
KEEPING MUM
ThinkFilm
Summit Entertainment/Isle of Man/Azure Films present a Tusk production
Credits:
Director: Niall Johnson
Screenwriters: Richard Russo, Niall Johnson
Story by: Richard Russo
Producers: Julia Palau, Matthew Payne
Executive producers: Steve Wilkinson, Anne Sheehan, Steve Christian, Marc Samuelson, Bertil Ohlsson, David Garrett
Director of photography: Gavin Finney
Production designer: Crispian Sallis
Music: Dickon Hinchliffe
Co-producer: Nigel Wooll
Costumes: Vicki Russell
Editor: Robin Sales
Cast:
Walter Goodfellow: Rowan Atkinson
Gloria Goodfellow: Kristin Scott Thomas
Grace Hawkins: Maggie Smith
Lance: Patrick Swayze
Holly: Tamsin Egerton
Petey: Toby Parkes
Mrs. Parker: Liz Smith.
Running time -- 104 minutes
MPAA rating: R...
- 9/29/2006
- The Hollywood Reporter - Movie News
Sundance Film Festival
PARK CITY -- "Trauma" is the poor man's "Memento". It is a spiraling, flash-cut visualization of one man's meltdown following a car crash in which his wife was killed.
Starring Colin Firth as Ben, the driver who wakes up in a hospital ward to find that his beloved wife is dead, "Trauma" is a mega-reality brain tease. Memory, delusion, obsession and, of course, the trauma from the accident itself all are part of this very disturbing story. What is real and what is in the mind's eye of Ben are always in doubt. And the question eventually arises: Did he kill his wife before the accident? .
Although "Trauma" is a dazzler, it's also a snoozer. Once the quick cuts and flashy cinematic flourishes subside, the story dissolves into a protracted muddle. Although we're mesmerized by director Marc Evans' visual pyrotechnics and hard-noir stylistics, it's difficult to keep up interest when we're indifferent to Ben, who emerges as an obsessive lout.
Screenwriter Richard Smith shows ample gifts, combining intrigue with the horror-of-personality genre. Yet, his character construction is overtly clinical: Ben's mental turmoil and how it connects to the death of his wife never satisfyingly congeals. Admittedly, the story is well-wired, but it nonetheless short-circuits because of the essential crudity of the characters, including dogged investigators, weird neighbors and other generic types. Not to mention bugs, which are all over the place. Such excessive imagery comes across as anthropological/psychological wanking.
Fortunately, "Trauma" recovers from its character deficiencies on the technical front. Cinematographer John Mathieson's dazzling noir scopings revive our eye even when our brain has turned off to the story. Editor Mags Arnold flexes a surgeon's precision in connecting the cinematic synapses of this hypervisual drama, while production designer Crispian Sallis shows us the character's conflicted mind-sets much more succinctly than the story does.
Compounding "Trauma"'s narrative fractures, it's also hard to understand the Queen's English, especially when snarled by Firth. Supporting players are similarly bludgeoned by the writing, namely Mena Suvari as Ben's spacey neighbor and Brenda Fricker as a clairvoyant. Both come across as character pawns rather than flesh and blood -- the lack of which is fatal with this "Trauma".
TRAUMA
Myriad Pictures
Credits:
Director: Marc Evans
Screenwriter: Richard Smith
Producers: Jonathan Cavendish, Nicky Kentish Barnes
Director of photography: John Mathieson
Production designer: Crispian Sallis
Editor: Mags Arnold
Costume designer: Ffion Elinor
Makeup/hair designer: Pamela Haddock
Cast:
Ben: Colin Firth
Charlotte: Mena Suvari
Elisa: Naomie Harris
Tommy: Tommy Flanagan
Roland: Sean Harris
Petra: Brenda Fricker
Running time -- 93 minutes
No MPAA rating...
PARK CITY -- "Trauma" is the poor man's "Memento". It is a spiraling, flash-cut visualization of one man's meltdown following a car crash in which his wife was killed.
Starring Colin Firth as Ben, the driver who wakes up in a hospital ward to find that his beloved wife is dead, "Trauma" is a mega-reality brain tease. Memory, delusion, obsession and, of course, the trauma from the accident itself all are part of this very disturbing story. What is real and what is in the mind's eye of Ben are always in doubt. And the question eventually arises: Did he kill his wife before the accident? .
Although "Trauma" is a dazzler, it's also a snoozer. Once the quick cuts and flashy cinematic flourishes subside, the story dissolves into a protracted muddle. Although we're mesmerized by director Marc Evans' visual pyrotechnics and hard-noir stylistics, it's difficult to keep up interest when we're indifferent to Ben, who emerges as an obsessive lout.
Screenwriter Richard Smith shows ample gifts, combining intrigue with the horror-of-personality genre. Yet, his character construction is overtly clinical: Ben's mental turmoil and how it connects to the death of his wife never satisfyingly congeals. Admittedly, the story is well-wired, but it nonetheless short-circuits because of the essential crudity of the characters, including dogged investigators, weird neighbors and other generic types. Not to mention bugs, which are all over the place. Such excessive imagery comes across as anthropological/psychological wanking.
Fortunately, "Trauma" recovers from its character deficiencies on the technical front. Cinematographer John Mathieson's dazzling noir scopings revive our eye even when our brain has turned off to the story. Editor Mags Arnold flexes a surgeon's precision in connecting the cinematic synapses of this hypervisual drama, while production designer Crispian Sallis shows us the character's conflicted mind-sets much more succinctly than the story does.
Compounding "Trauma"'s narrative fractures, it's also hard to understand the Queen's English, especially when snarled by Firth. Supporting players are similarly bludgeoned by the writing, namely Mena Suvari as Ben's spacey neighbor and Brenda Fricker as a clairvoyant. Both come across as character pawns rather than flesh and blood -- the lack of which is fatal with this "Trauma".
TRAUMA
Myriad Pictures
Credits:
Director: Marc Evans
Screenwriter: Richard Smith
Producers: Jonathan Cavendish, Nicky Kentish Barnes
Director of photography: John Mathieson
Production designer: Crispian Sallis
Editor: Mags Arnold
Costume designer: Ffion Elinor
Makeup/hair designer: Pamela Haddock
Cast:
Ben: Colin Firth
Charlotte: Mena Suvari
Elisa: Naomie Harris
Tommy: Tommy Flanagan
Roland: Sean Harris
Petra: Brenda Fricker
Running time -- 93 minutes
No MPAA rating...
Sundance Film Festival
PARK CITY -- "Trauma" is the poor man's "Memento". It is a spiraling, flash-cut visualization of one man's meltdown following a car crash in which his wife was killed.
Starring Colin Firth as Ben, the driver who wakes up in a hospital ward to find that his beloved wife is dead, "Trauma" is a mega-reality brain tease. Memory, delusion, obsession and, of course, the trauma from the accident itself all are part of this very disturbing story. What is real and what is in the mind's eye of Ben are always in doubt. And the question eventually arises: Did he kill his wife before the accident? .
Although "Trauma" is a dazzler, it's also a snoozer. Once the quick cuts and flashy cinematic flourishes subside, the story dissolves into a protracted muddle. Although we're mesmerized by director Marc Evans' visual pyrotechnics and hard-noir stylistics, it's difficult to keep up interest when we're indifferent to Ben, who emerges as an obsessive lout.
Screenwriter Richard Smith shows ample gifts, combining intrigue with the horror-of-personality genre. Yet, his character construction is overtly clinical: Ben's mental turmoil and how it connects to the death of his wife never satisfyingly congeals. Admittedly, the story is well-wired, but it nonetheless short-circuits because of the essential crudity of the characters, including dogged investigators, weird neighbors and other generic types. Not to mention bugs, which are all over the place. Such excessive imagery comes across as anthropological/psychological wanking.
Fortunately, "Trauma" recovers from its character deficiencies on the technical front. Cinematographer John Mathieson's dazzling noir scopings revive our eye even when our brain has turned off to the story. Editor Mags Arnold flexes a surgeon's precision in connecting the cinematic synapses of this hypervisual drama, while production designer Crispian Sallis shows us the character's conflicted mind-sets much more succinctly than the story does.
Compounding "Trauma"'s narrative fractures, it's also hard to understand the Queen's English, especially when snarled by Firth. Supporting players are similarly bludgeoned by the writing, namely Mena Suvari as Ben's spacey neighbor and Brenda Fricker as a clairvoyant. Both come across as character pawns rather than flesh and blood -- the lack of which is fatal with this "Trauma".
TRAUMA
Myriad Pictures
Credits:
Director: Marc Evans
Screenwriter: Richard Smith
Producers: Jonathan Cavendish, Nicky Kentish Barnes
Director of photography: John Mathieson
Production designer: Crispian Sallis
Editor: Mags Arnold
Costume designer: Ffion Elinor
Makeup/hair designer: Pamela Haddock
Cast:
Ben: Colin Firth
Charlotte: Mena Suvari
Elisa: Naomie Harris
Tommy: Tommy Flanagan
Roland: Sean Harris
Petra: Brenda Fricker
Running time -- 93 minutes
No MPAA rating...
PARK CITY -- "Trauma" is the poor man's "Memento". It is a spiraling, flash-cut visualization of one man's meltdown following a car crash in which his wife was killed.
Starring Colin Firth as Ben, the driver who wakes up in a hospital ward to find that his beloved wife is dead, "Trauma" is a mega-reality brain tease. Memory, delusion, obsession and, of course, the trauma from the accident itself all are part of this very disturbing story. What is real and what is in the mind's eye of Ben are always in doubt. And the question eventually arises: Did he kill his wife before the accident? .
Although "Trauma" is a dazzler, it's also a snoozer. Once the quick cuts and flashy cinematic flourishes subside, the story dissolves into a protracted muddle. Although we're mesmerized by director Marc Evans' visual pyrotechnics and hard-noir stylistics, it's difficult to keep up interest when we're indifferent to Ben, who emerges as an obsessive lout.
Screenwriter Richard Smith shows ample gifts, combining intrigue with the horror-of-personality genre. Yet, his character construction is overtly clinical: Ben's mental turmoil and how it connects to the death of his wife never satisfyingly congeals. Admittedly, the story is well-wired, but it nonetheless short-circuits because of the essential crudity of the characters, including dogged investigators, weird neighbors and other generic types. Not to mention bugs, which are all over the place. Such excessive imagery comes across as anthropological/psychological wanking.
Fortunately, "Trauma" recovers from its character deficiencies on the technical front. Cinematographer John Mathieson's dazzling noir scopings revive our eye even when our brain has turned off to the story. Editor Mags Arnold flexes a surgeon's precision in connecting the cinematic synapses of this hypervisual drama, while production designer Crispian Sallis shows us the character's conflicted mind-sets much more succinctly than the story does.
Compounding "Trauma"'s narrative fractures, it's also hard to understand the Queen's English, especially when snarled by Firth. Supporting players are similarly bludgeoned by the writing, namely Mena Suvari as Ben's spacey neighbor and Brenda Fricker as a clairvoyant. Both come across as character pawns rather than flesh and blood -- the lack of which is fatal with this "Trauma".
TRAUMA
Myriad Pictures
Credits:
Director: Marc Evans
Screenwriter: Richard Smith
Producers: Jonathan Cavendish, Nicky Kentish Barnes
Director of photography: John Mathieson
Production designer: Crispian Sallis
Editor: Mags Arnold
Costume designer: Ffion Elinor
Makeup/hair designer: Pamela Haddock
Cast:
Ben: Colin Firth
Charlotte: Mena Suvari
Elisa: Naomie Harris
Tommy: Tommy Flanagan
Roland: Sean Harris
Petra: Brenda Fricker
Running time -- 93 minutes
No MPAA rating...
- 1/23/2004
- The Hollywood Reporter - Movie News
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