Carnaby Feature Films PLC - ?

rockitup

adam_ickle wrote: »

i have got it its just come to me your the two old boys out of the muppets that you to sit on the balcony. ha ha ha yawn yawn yawn

heaven_james wrote: »

Wolley Wibber all i can say to you is yawn yawn yawn yawn yawn !!!!!! WHAT A BORE

Good Heavens,

Seems like Mr Ickle and Mr James are both yawning a lot.... Take a short nap guys, both your aliases will feel much better afterwards :rotfl:

Willinho

As I stated to carnaby recently, I would love it if one of your films made money and you actually paid out money to investors. If so they should shout it from the rooftops. There are lots of question marks over the way this company operates, but at this juncture they are only question marks. I have sent in a whole raft of questions to Carnaby so will share the answers when i get them. I already know they will be short on detail but its important to keep trying. The fact that they make films is not in doubt, the question marks arise over how the money was spent. When you raise £5.6 million to fund The Last Drop but only spend £2.6 million actually making the film you do have to wonder where all the rest of the money went and how much of it went to other Carnaby companies and whether 'value for money' was truly obtained.

adam_ickle

i am very sorry i don't understand your point who is wolley wibber any way willinho yes you have a point i have not watched this film and don't know much about it but i will take a look. was it a good film was it made in the uk , and when was it made.

Reaper

adam_ickle wrote: »

i see the that the cowards are back throwing stones at glass windows

A little tip - if you are going to use multiple accounts to pretend other people agree with you at least change your writing style. You used the "throwing stones" metaphor repeatedly when posting as Heavan James, not to mention the "yawn yawn yawn" phrase as pointed out previously.

carnaby are real they make films and good films weather or not they do any good as far as investments goes is another subject

Er.. no, it is the ONLY subject. This is the "Savings and Investments" forum. If you want to discuss the merits of a film head over to IMDB, we are only interested in whether it is a good investment.

what have you been up to rolling home and reaper. just another couple of boring old sad blokes.

I spend a lot of my time trying to help people make or save money. Maybe you guys at Carnaby should try doing the same for your backers.

adam_ickle

well you are totally wrong sorry i have used quotes from other post and i have now looked over the forum and suggest every one on here should and look at reaper and rolling home there post are automatic and all ways in pairs within min of each other

and reveals him self as he likes to quote people all the time this is your give away guys. mr reaper quote

[ A little tip - if you are going to use multiple accounts to pretend other people agree with you metaphor repeatedly when posting as Heavan James, not to mention the "yawn yawn yawn" phrase as pointed out previously.


he is giving out tips about multiple accounts

mr reaper and rolling home are the same just look they must be joined at the hip take a look every one they both come in pairs within seconds strange that or do you call rolling home up and say quick i just made a post now you make one so you are boring you are also a liar as it is you with the multiple accounts. but thanks for the tip as it very clear you and rolling home are one look at your post on here goodnight yawwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwn

adam_ickle

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FANTASTIC FEST REVIEW | “A Lonely Place to Die” Does ‘90s Action Movies One Better, Until It Doesn’t
by Eric Kohn (September 29, 2011)

Melissa George in "A Lonely Place to Die." IFC Films.
The setting is vast but the tension is tight in British director Julian Gilbey’s “A Lonely Place To Die,” a first-rate outdoors suspense yarn about a couple of mountaineers facing off against cold-blooded killers. Gilbey’s fourth feature, written with his brother Will, has a frantic pace set against the minimalist environment of the great outdoors, giving the impression of a constricted take on “Cliffhanger.”

At its best, Gilbey’s enjoyably fast-paced excursion harkens back to the character-driven American action vehicles of the late ‘80s and early ‘90s, including “Cliffhanger” and “Die Hard.” At times, it even outdoes those movies with the skillful execution of its speediest moments. It only loses traction when it slows down long enough to become predictable.

The story revolves around five athletic pals on vacation in an isolated region of Scottish Highlands. During a hike, they come across a young schoolgirl named Anna (Holly Boyd) trapped beneath the ground. Having freed her, they discover the Serbian captive speaks no English. When a pair of gun-toting kidnappers come out of the woodwork to prevent the theft of their young human prize, it kickstarts a survival story that, at least initially, promises not to quit. As bullets fly and ropes are cut, no fate is certain.

It’s not just the title that creates the lingering feeling of dread. Impressively cinematic from its first shot, “A Lonely Place to Die” begins with spectacular images of the vast, empty mountain plains, ensuring the characters’ isolation and the long drops they face while scaling the rocky terrain. These sprawling images meet an effective contrast in POV shots of feet dangling inches above the rocks, the distant ground barely visible below. Casual dialogue before the danger strikes establishes the stakes: As one adventurer explains, a tumble along the north side of the mountain means 30 seconds of free fall.

Appropriately, the toughest of the bunch, Alison (Melissa George) endures the harshest environmental challenges while the rest of her colleagues gradually drop out of the picture. Hurtling across angular landscapes without the aid of a harness, careening down a waterfall and speeding through the trees, she emerges as Anna’s fearless protector. Alison’s hardened survival skills render moot the question of why she puts so much effort into saving the young girl instead of simply heading to safety. She does it because it’s fun to watch her pull it off.

The movie sustains its energy for the duration of the outdoor scenes with clever angles and well-timed edits that accentuate the rapid pace. When Alison and her remaining friends sprint across the empty woods, the restless camera chases them alongside, sometimes spinning out of control. “A Lonely Place to Die” sets itself apart from the chaotic montage style of contemporary action blockbusters for the sheer physicality of its direction. While bodies fall hard and fast, Alison never sits still. However, when “A Lonely Place to Die” broadens its plot to include a group of militant rescuers intent on tracking down the missing girl, it busies up a narrative that benefited from simplicity.

That makes the final act particularly troublesome. Gilbey maintains genuine fear with his stripped-down environment and the resulting lack of safety associated with it. The mountains contain more cliffs than solid ground. But once the final act shifts to a more populated area for the climactic battle, it sets the stage for a lesser movie we’ve all seen before.

That’s particularly unfortunate given the swift maneuvers leading up to the final cop out. “Complacence is a killer out here,” someone says about the mountain range and “A Lonely Place to Die” takes that advice so long as it avoids clich!s. Then it curiously embraces them, running into the only wall that its fierce heroine can’t traverse: Mundanity.

criticWIRE grade: B

HOW WILL IT PLAY? “A Lonely Place to Die” swept the awards at North Carolina’s ActionFest earlier this year and was picked up for distribution by IFC Films ahead of its premiere at Fantastic Fest, where it won an acting award.

adam_ickle

Doghouse (2009)
Director: Jake West


Time Out rating
Average user rating
21 reviews
Movie review
From Time Out London

You wait ages for a horror movie in which beery, unreconstructed blokes are set upon by sexy man-eating women, and then two come along. However, the contrast between Horne and Corden’s bloodless, laugh-free ‘Lesbian Vampire Killers’ and Jake West’s gory, funny ‘splatstick’ comedy could not be more stark. The magic ingredient here is Dan Schaffer’s sly script, which constantly undercuts the film’s inherently sexist premise.

In ‘LVK’, a bloke took his recently dumped ex-mate to a remote country village, where they were set upon by blood-sucking lesbians; in ‘Doghouse’, a bunch of blokes take their recently divorced pal to a remote village, where they are set upon by flesh-eating ‘Zombirds’. The crucial difference is, while ‘LVK’ celebrated its protagonists’ leery lad-mag misogyny, ‘Doghouse’ points up the Neanderthal blokes’ deep Freudian fear of being castrated by women. ‘This is the day you rediscover your inner bloke,’ says Neil (a typecast Danny Dyer) to his despondent pal Vince (Stephen Graham). But in order to become a born-again bloke, Vince and his mates must face a horde of ‘!!!!ed-off man-hating feminist cannibals’.

West sails dangerously close to indulging the sexism he aims to mock: many of the Zombirds are dressed like strippers or !!!!!! fantasy figures. But then Schaffer throws in an ironic line like: ‘Now is not the time to stop objectifying women,’ and the !!!!!! swings the other way. And you’d have to be barking mad not to cheer when the lairy lads risk life and limb to save their gay pal Graham from the Zombirds’ nest.
Author: Nigel Floyd

adam_ickle

ActionFest Review: A Lonely Place to Die
11
Apr
2011
by Kurt Halfyard in Film Festivals, Reviews



Where has the mountain climbing thriller gone? Was it ever here? Sure there was the epic string of them in the 1930s in Germany and a 2008 adventure movie called The North Face, a couple great documentaries (Everest, Touching the Void) and an occasional action film (Cliffhanger, Vertical Limit, K2). I am even tempted to lump in Danny Boyle’s 127 Hours which has the spirit of the genre, without actually having mountains. It is the nature of the beast that any filmmaking team doing this sort of movie (particularly in modern times unless you are Guy Maddin) has to be fully committed to such a thing to make it work, green screens and CGI would likely undermine things, but when done right, few genres have such built in potential for white knuckle tension. So, it is nice to see a film in this vein that takes itself deadly serious with no frills. A Lonely Place to Die is all business. Director Julian Gilbey became an avid and experienced climber to make this film, and that kind of commitment seems to have paid off mightily. Opening with three climbers half-way up a particularly rough patch of rock in Scottish highlands, the sequences were apparently shot completely in-camera, and it looks simultaneously gorgeous and precarious. The less experienced climber in the trio, the tourist boyfriend along with his much more proficient girlfriend, fiddles with his digital camera on a ledge to get just the right angle (of himself, mind you) and indirectly causes a mishap that results in a escalating bit of intense panic. Put it this way, multi-tasking has little place on a craggy face at one thousand meters. That, and your mountaineering cohorts trust you not to screw around in these sorts of circumstances. This is mere pre-amble for a lean and mean hybrid of mountaineering the Most Dangerous Game thriller shot in the same region of Scotland as Neil Marshall’s Centurion, and ratcheting up the same level of pressing intensity and suspense as his USA set spelunking horror film, The Descent.

A small party of climbers have their ambitious climbing trip kiboshed by high winds. Opting for a less intense walk through the countryside, they stumble across a pipe sticking out of the ground that emits the panicked shouts of a small girl, speaking Croatian. This presents a few unsettling questions for those out for a day-hike. Who buried her? Why? And perhaps more pressingly practical, when will they be back? The road back to civilization (and cellphone towers) is many miles through the bush, but there is a short-cut involving some fairly rigorous climbing that would take them to a different town and possibly a rescue team. Back to the who question. Sean Harris, the creepy ginger-haired copper in The Red Riding Trilogy and emaciated Drexl-type thug in Harry Brown, is the who, and actually comes across as perhaps the lead in the picture. No fault to Melissa George (an actress who I’ve not noticed before, but is an interesting mix of Megan Fox and Maria Bello, here, to the pictures benefit, not sexualized in the least) who puts in solid, serviceable work, but lets the performance be dictated by the danger of the sheer drops, icy waters and a stalking bearded heavy. Harris transcends as the shady middleman in a kidnapping deal gone horribly wrong (if it wasn’t for those meddling kids!) who chases the crew down from the mountains into a Scottish village with Beltane festival in progress that is somewhere between the blood rave in Blade and the villagers parade in The Wicker Man, all flame and sex and primal body paint. An animal mask worn by our silent bearded hunter emphasizes the confusing mix of predator and prey that concludes the film. Everything in this film is in service of making an audience tense up – the film is breathless in its pacing. Even its few moments of downtime still bear a vibe of the ominous, the looming peak, the isolation, and complete lack of safety net. This is done at the sacrifice of character development, leaving the characters to be little more than types whose mettle is tested in quick burst of decisions and consequences, but would the film work better by stalling its momentum beyond the visceral? There is a poker match at the beginning that introduces us to the two climbing couples and their guide, in light of the structure of the rest of the film, it is rather extraneous, beyond simply setting things up. I found the films desire to tell the story purely with the action and a set of obstacles going from agoraphobic to decidedly claustrophobic to be spartan and refreshing in its focus. If there is some glue holding the film together beyond the situation it is the variety of ways that trust between characters factor into the equation. Trust that a line is secure, that a group will stay on path, trust in abilities, heck even the villains rub up against each other in terms of salvaging what is left of their kidnapping scheme. In a brief conversation after the screening, Gilbey seemed to be hesitant that such a thing was on his brain when he co-wrote the picture with his brother, but happy accident or no, it permeates every frame of the picture.

Winning the Jury award at ActionFest for both best film and best director, A Lonely Place to Die shows that the title is as accurate in describing someone trapped alone in the open with nobody to help and sniper scoping out your back, buried in a coffin with only a bottle of water and an air-pipe, or lost in a crowded town of strangers. It appears equally unsafe for the kidnappers, and their precarious situation, as it is the hunted, layering the picture in spite of its streamlined approach: There is always a bigger fish in the sea, trust me.

adam_ickle

Author: europolismovie (europolismovie@hotmail.com) from United Kingdom
Let's face it; Reservoir Dogs wasn't so much a movie about a diamond heist gone wrong as it was about a gang of actors that wanted to be Lee Marvin. Rise of the Footsoldier (Released 7th of September) is nothing more or less than a bunch of Scorsese fanatics who wished they'd been in Goodfellas – and be fair, who wouldn't?

'Footsoldier' is a gangster film – pure and simple. "Professional" Football hooligans the I.C.F (Inner City Firm) have met their nemesis with a combination of high profile arrests. With the emergence of the 'rave' scene of the late 80's they recognise the lucre generating possibilities of the new counter culture; get 'loved up', 'steam' the groovy train and swap their Stanley knives and knuckle dusters for smiley T. Shirts, Kickers and eh… shotguns. Quickly establishing themselves as major 'faces' in the Essex underworld, it isn't long before these Knights of the glass table are running their cocaine Camelot through a gamut of girls, guns and high friends in dangerous places.

Based on a real life 1995 'hit' which rendered three of those face's blown off at a secluded dirt track in Retterdon, the cinematic possibilities of what is now known as 'The Range Rover Killings' has not been lost on movie land. The semi fictional Essex Boys (2000) took its cue from this pivotal event in gangland history but 'Footsoldier' is a more authentic account, retaining the facts and the actual characters as recounted in 'Muscle', the book written by one of the surviving members of the gang Carlton Leach, played here by a shark eyed Ricci Harnett.

'Footsoldier' also boasts an impressive array of T.V tough guys including Ex-Eastender's Bill Murray and Craig Fairbrass, whose soap appearances had hitherto had me scrambling for the off switch. Both are excellent here, with Murray exuding menace from every pore and Fairbrass chillingly convincing as the 'roid' crazed Pat Tate. Mover and shaker Terry Stone has a face that suggests all the members of the Clash at once and follows his impressive turn in Gilby's last movie, the very excellent 'Rollin' With The Nines' as Tony Tucker; a one man swear-a-thon sporting a syrup that looked liked it could have been a stunt double for Dougal in the Magic Roundabout.

Brandishing its Scorsese-isms loudly and proudly (sweeping crane shots, freeze frame voice overs etc) 'Footsoldier' is no 'feel good' film by any stretch. But there is much to enjoy from watching these guys 'go ta woik' in a similar, but darker fashion to ensemble piece 'Love, Honour & Obey' (Was I the only one that liked that film?!) or the aforementioned Reservoir Dogs. Perhaps not quite dislodging any of the unholy trinity of Get Carter, Brighton Rock and The Long Good Friday from their lofty throne, Rise of the Foot Soldier doesn't let up for a second and holds its own as a 'balls out', 'in yer face' thrill ride, and certainly a worthy addition to the 'Grit Brit' gangster pantheon.

Adrian Stranik

adam_ickle

Brutal but gripping British gangster movie, 5 November 2007

Author: russelledwards001 from United Kingdom
I'm always wary of saying that a film is excellent after only seeing it once, but me and my wife and friends have been talking about this film since we watched it.

Although extremely brutal in places this movie is one of the best British gangster titles i have seen in years now.

The story is gripping and the football firm fighting scenes although perhaps a little over the top with the blood make sorry titles like green street and football factories seem like a walk in the park.

I was extremely impressed with Terry Stone (known to those who have been in the rave scene as terry turbo) and as a fan of this genre was delighted to see some great bad boy actors from eastenders (jonny allen and dan for those who know).

A great take on a subject that has certainly been done before, but it was also nice to see the early rave scene being covered as well, something i'm sure as time goes by we will see a lot more of.

All in all if you are a fan of the genre i have little doubt you will enjoy this movie.

I have a feeling once it is released on DVD this will become a cult movie. And rightly so.