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By midlandsmovies, Jan 16 2020 07:16PM



Midlands Review - The Haunting of Alcatraz


Directed by Steve Lawson


2020


High Flier Films/Creativ Studios



Can you make a film set on Alcatraz Island but film it around the Midlands? Well, Leicester-based horror director Steve Lawson attempts to give that a go in his new film The Haunting of Alcatraz.


With many legends set within the infamous walls over the years, we open up with a bloody bang of a beginning. An inmate manages to trick a guard who ends up giving him a blade (from a pencil sharpener no less) and a swift suicide leads to more mysterious deaths as the film progresses.


With Aura, Hellriser and Time, And Again under his belt Lawson again aims big with this film. He introduces us to Charlie Schmidt (Tom Hendryk) who comes straight out of college in 1937 to get a job as a prison guard. With the jailhouse routines explained by The Warden (Mark Topping excellently channelling some of the pious and cruel barbs of Shawshank’s Samuel Norton), he begins his shift.


But it isn’t long until Charlie’s bright young mind starts to investigate the strange deaths at the prison, yet despite warnings from a fellow guard (a very creepy Chris Lines) he continues to explore the bleak cellblocks.


Filmed at the disused Gloucester prison no less, Lawson does a more than admirable job convincing us this local made film is actually set in the bay of San Francisco. The British cast also do very well with American accents. So much so that I had to look up Chris Lines who is in fact from Stoke and not the US Deep South. And with good use of stock footage, it’s sometimes only the overcast UK weather that hints that we’re not in sunny California.


The film takes time to build its plot and Charlie eventually crosses paths with Helen Crevell’s nurse Sherry and together they begin an awkward bond of friendship, and perhaps more, which alleviates some of the more morbid aspects of the story.


Their relationship sadly leads into the middle third of the film which needed a few more scare scenes to keep the horror aspect at the forefront. And as it slows you start to notice the slightly functional camerawork – more variety in the shots could have helped visually – and some of the more cliched dialogue. Plus for a large prison, there seems to be very few inmates incarcerated. Almost none to be exact and a couple more tense scenes in this middle section sure wouldn’t have gone amiss.


However, the flashing lights and spooky sounds combined with a screeching soundtrack do just enough to keep you guessing at the film’s cryptic narrative and what could be lurking in the secretive “Cell 13”.


As Charlie uncovers further corruption, as well as possibly some supernatural goings-on, the movie definitely, and wisely, picks up the pace towards its conclusion. And later on Charlie’s enquiries into visions and voices leads to him unfortunately finding himself stuck in a cage (although not with The Rock alumni Nic Cage).


With traces of Shawshank and the Green Mile mixed with horror elements, The Haunting of Alcatraz’s does extremely well to create a convincing setting to hang its story around. Despite the obvious budget limitations, the film’s mix of penal punishment and cagey corruption drags it over the line before the illusion breaks.


And so, although you’re advised to stay well away from creepy “Cell 13”, it’s recommend you definitely head towards this disturbingly dark tale set at the infamous and sinister prison known as ‘the rock’.


Michael Sales


By midlandsmovies, Jan 16 2020 07:29AM



3 from Hell (2019) Dir. Rob Zombie


3 from hell is the third instalment in the blood soaked Firefly trilogy written and directed by Rob Zombie. The film follows on from 2005’s cult spectacle ‘The Devils Rejects’ following Baby (Sheri Moon Zombie), Otis (Bill Moseley) and Winslow ‘Foxy’ Coltrane (Richard Brake).


After the unfortunate passing of Sid Haig (Captain Spalding) the film underwent re-writes that saw the character replaced by Richard Brakes character. The film centres around these three fiendish nihilists as they embark on a journey from incarceration to the freedom of anarchy.


Firstly the question needs to be asked… Did we need this film? NO…


The film had the same budget as the final 45 minutes of The Devils Rejects said Rob Zombie on ‘The Joe Rogan Experience.’


This film felt like a rush to the finish line for me. Zombie has gifts; he really does. And I'd rather see him using them with fresh material than repeating himself, which is what he did to some extent in 2016's 31 and also here. This film lacked that dirty, nasty, gross taste we expect with a Rob Zombie film and instead replaces it with silly humour and Hollywood production.


The film gradually feels more Hollywood, with the standard tropes, as we approach the third act which unsurprisingly presents itself like one big reshot third act, almost completely separating us from themes and character arcs presented in the first half of the film.


You have all the pieces of a great Rob Zombie picture here: hilarious comic book dialogue, gruesome violence, and charismatic anti-heroes. And 3 From Hell is as extreme as it is whimsical, and as gratuitous as it is provocative. And the Western elements are omnipresent in this one, building upon the style of The Devil's Rejects.


But unfortunately we don’t get that, we get a patchy, corny, and at times, a face-palming ordeal.



Ben Warrington

Twitter @ben_warro


By midlandsmovies, Jan 14 2020 09:21PM



CineQ LGBTQ+ film festival back in Birmingham for second year


After a fantastic first year in 2019, CineQ LGBTQ+ film festival is returning to Birmingham for a second year on 26th-29th March 2020. CineQ2020 is set to run across several venues across Birmingham.


And once again CineQ aims to create a fun and safe space in Birmingham for the LGBTQ+ community to gather, discuss important topics and enjoy a range of diverse queer cinema. CineQ has a unique focus on often-overlooked QTIPOC (Queer Trans and Intersex People of Colour) stories and perspectives, bringing new stories to screen and inviting a range of voices to speak on its panels and events.


The 2020 iteration of the festival hopes to build on the success of last year, which was lauded as “a properly inclusive festival of queer film… a jewel in the crown for Birmingham”, by offering a range of great films and events.


CineQ 2020 opens with a screening of Portrait of Jason, one of the most underrated gems of Black queer cinema, and one of the earliest examples of black openly gay men on screen. Josh Rivers will be attending and will be recording a special edition of his podcast Busy Being Black as part of the post-screening discussion.


Other films announced include critically acclaimed 2019 film Monsoon and the recently restored The Watermelon Woman - one of the classic greats of black queer representation – and the apt and timeless Closing Night film End of the Century. More films are to be announced soon via social media and at www.cineqbirmingham.co.uk




The festival is also set to include a Filmmaker Matchmaker event by CineQ x BFI NETWORK, networking event aimed at getting Birmingham creatives together for an evening of welcome drinks and creativity before the opening night film.


As part of its mission to create inclusive and welcoming queer spaces, CineQ 2020 will be continuing its dedication to CineQ Watch Parties - an experimental digital event that takes place during the 10 days previous to the main festival and aims to connect those who are otherwise isolated in society. A selection of curated short films and submissions will be screened on the CineQ Facebook page to encourage collective viewing and discussion with other queer cinephiles.


The CineQ film festival is funded by BFI FAN Film Hub Midlands and is supported by Film Hub Midlands, Grand Union, Birmingham Open Media, Mockingbird and Midlands Arts Centre. CineQ was previously operating as a community cinema supported by Flatpack Projects.


They’ve screened many titles such as The Wound, Closet Monster, and Check It as well as short film programmes at Centrala Art Gallery and Cafe, Mockingbird Cinema and Kitchen, and Flatpack Film Festival. CineQ has also worked with Cinemas outside of Birmingham such as Phoenix Cinema in Leicester and has been awarded recognition by Cinema for All, Britain’s leading authority for community cinemas and film societies.


For more info check their official social media pages:

Twitter - https://twitter.com/cineqbrum

Facebook - https://www.facebook.com/cineqbrum

Instagram - https://www.instagram.com/cineqbrum




By midlandsmovies, Jan 13 2020 11:34PM



Midlands Spotlight - Film shows coming to Curve in 2020


With the announcement in January 2020 that this year will see new adaptations of both Roman Holiday and Cat on a Hot Tin Roof coming to Curve in Leicester, it joins a whole host of film-related shows already scheduled.


From drama to comedy via musicals both past and present, Curve has an amazing 2020 planned with details of the above soon to be published alongside a season of fantastic film and fan favourites.


Check out the current season details below:



The Woman in Black - Mon 20 Jan — Sat 25 Jan

A lawyer obsessed with a curse that he believes has been cast over him and his family by the spectre of a Woman in Black engages a sceptical young actor to help him tell his terrifying story. Continuing its record-breaking run in London’s West End, The Woman in Black embarks on a major UK Tour Susan Hill’s acclaimed ghost story comes dramatically alive in Stephen Mallatratt’s ingenious stage adaptation. In 2012 a film adaptation was released starring Daniel Radcliffe in the role of Arthur Kipps and directed by James Watkins (Eden Lake) and develops a storyline quite different from that of the source material.




The Phantom of The Opera - Sat 22 Feb — Sat 21 Mar

The brilliant original production of Andrew Lloyd Webber‘s The Phantom of the Opera is embarking on a major UK and Ireland tour. Now in its 34th year in the West End, The Phantom of the Opera is widely considered one of the most beautiful and spectacular productions in history. Produced by Cameron Mackintosh and The Really Useful Group Ltd, The Phantom of the Opera will open at Curve this February. The romantic, haunting and soaring score includes Music of the Night, All I Ask of You, Masquerade and the iconic title song. Adapted for film many times, one of the most recent was the 2004 British–American musical drama adaptation directed by Joel Schumacher starring Gerard Butler in the title role, Emmy Rossum, Patrick Wilson, Miranda Richardson, Minnie Driver and Jennifer Ellison.




Cry Baby – Thu 26 Mar — Sat 28 Mar

With songs by David Javerbaum & Adam Schlesinger, this new play is based on the Universal Pictures film written and directed by John Waters. Adapted for the stage by the same team behind Hairspray, CYC Musicals 16+ bring Cry Baby to the stage as part of the CYC Season. Wade ‘Cry-Baby’ Walker is the coolest kid in town, a bad boy with a good heart. When he falls for the good girl who wants to be bad, their two worlds collide as the king of the delinquents and queen of the squares fight, flirt and dance their way through 1950s rock ‘n’ roll America. Originally Cry-Baby was a 1990 American musical from Waters and was the only film of Waters' over which studios were in a bidding war, coming off the heels of Hairspray. The film stars Johnny Depp as 1950s teen rebel "Cry-Baby" Wade Walker and also features a large ensemble cast that includes Amy Locane, Polly Bergen, Susan Tyrrell, Iggy Pop, Ricki Lake and Traci Lords.




Sister Act - Tue 21 Apr — Sat 2 May

The Broadway and UK smash-hit musical Sister Act is coming to Curve immediately prior to its record-breaking London run, reimagined for the 21st century and starring Brenda Edwards (Hairspray, Chicago, Loose Women) in the specially rewritten role of Deloris Van Cartier. Now set in 2020, this sparkling tribute to the universal power of friendship, sisterhood and music tells the hilarious story of the disco diva whose life takes a surprising turn when she witnesses a murder. It features original music by Tony® and 8-time Oscar® winner Alan Menken (Disney’s Aladdin, Enchanted) and songs inspired by Motown, soul and disco. The 1992 American musical comedy film version was directed by Emile Ardolino and written by Joseph Howard, and originally starred Whoopi Goldberg as a lounge singer forced to join a convent after being placed in a witness protection program.


Sing-a-long-a The Greatest Showman - Sun 3 May 2:15pm

Cheer on Hugh Jackman, lust after Zac Efron and hiss at Rebecca Ferguson (…or maybe not) as you experience The Greatest Showman in the greatest way possible – with lyrics on the screen so you can join in as loud and proud as you want.


Sing-a-long-a Bohemian Rhapsody - Sun 3 May 7.00pm

Celebrate Queen, their music, and their extraordinary lead singer Freddie Mercury. Sit back and sing along with the on-screen lyrics to Bohemian Rhapsody, Under Pressure and Somebody to Love not forgetting YOU the audience becoming part of their famous Live Aid concert.



Dial M for Murder - Mon 4 May - Sat 9 May

Made famous by Alfred Hitchcock’s world-renowned 1950 film, the iconic Dial M for Murder is coming to Curve in 2020. Tony Wendice is a jaded ex-professional tennis player who has given it all up for his wife Margot. But Tony’s mind soon turns to revenge as he discovers his wife has been unfaithful. Aiming to commit ‘the perfect crime’ Tony becomes tangled in the web of his own making. TV and stage favourite Tom Chambers (Top Hat and Strictly Come Dancing) stars in this spine-chilling drama. The 1954 American crime mystery film starred Ray Milland, Grace Kelly, Robert Cummings, and John Williams and both the screenplay and the successful stage play on which it was based were written by English playwright Frederick Knott.




A Monster Calls - Tue 26 May — Sat 30 May

Patrick Ness’s piercing novel A Monster Calls is brought vividly to life in the Olivier award winning production by visionary director Sally Cookson. Thirteen-year-old Conor and his mum have managed just fine since his dad moved away. But now his mum is sick and not getting any better. His grandmother won’t stop interfering and the kids at school won’t look him in the eye. Then, one night, Conor is woken by something at his window. A monster has come walking. A Monster Calls was made into a 2016 dark fantasy film directed by J. A. Bayona and stars Sigourney Weaver, Felicity Jones, Toby Kebbell and Liam Neeson.




Once - Mon 15 Jun — Sat 20 Jun

Once may not be enough for you to see this multi award-winning Broadway and West End hit musical. Based on the critically acclaimed and much-loved film, you will meet (and never forget) two lost souls – a Dublin street busker and a Czech musician – who find each other unexpectedly and fall in love. You will fall in love, too, with this brilliant and beautiful musical, filled with live music, from lush ballads to barnstorming reels. The 2007 Irish romantic musical drama film was written and directed by John Carney and starred Glen Hansard and Markéta Irglová. Once spent years in development with the Irish Film Board and was made for a budget of €112,000. It was a commercial success, earning substantial per-screen box office averages in the United States. It received awards including the 2007 Independent Spirit Award for Best Foreign Film. Hansard and Irglová's song "Falling Slowly" won the 2008 Academy Award for Best Original Song, and the soundtrack received a Grammy Award nomination.


All shows, tickets, dates, times and details over at Curve official website https://www.curveonline.co.uk


By midlandsmovies, Jan 13 2020 09:44AM



Uncut Gems (2020) Dir. Josh Safdie & Benny Safdie


The Safdie brothers’ Good Time (our 2017 review here) was a fantastic thriller which showed a huge amount of promise with its story of Robert Pattinson’s criminal, attempting to break his mentally handicapped brother from prison which leads to an increasingly hectic night.


Well, they’ve proven themselves once again and then some with new flick Uncut Gems. Adam Sandler (yes, that one) stars as Howard Ratner, a Jewish diamond dealer who is addicted to gambling inbetween his time working at his shop.


The Safdie’s film style is incredibly haphazard but perfectly captures the chaotic nature of Ratner’s life. Cheating on his wife (Idina Menzel) with girlfriend Julia (a brilliant Julia Fox) he owes money all over New York. Attempting to make sales at his store, Sandler brilliantly plays Ratner as a man working with, and against, his own demise.


The film opens as Ratner gets hold of a rock containing uncut opals which he hopes to sell at auction for over $1 million dollars. At the same time he is being chased by loansharks who he owes a six figure sums to, and who ratchet up their threats as Ratner fails (and actively avoids) reimbursing them the cash.


Lakeith Stanfield plays Demany, Howard's assistant who recruits clients. One day he brings in basketball superstar Kevin Garnett (as himself) and Ratner agrees to loan him the gem. With failing bets and with the gem now out of his reach, Ratner’s life spirals out of control as he accuses his girlfriend of cheating on him.


After Paul Thomas Anderson’s Punch Drunk Love, it was clear that Sandler has the right dramatic chops when given the right material. Like a comedy version of Nic Cage – the volume of his current successful productions are close to zero – he is also like Cage in that he finds a suitable role once a decade to stretch his acting muscles.


Here he plays Ratner not as naïve but with a longing for success if only he could keep his debts at bay long enough to make the final big score. The film uses overlapping dialogue to create confusion representing Ratner’s life, but also to add a huge air of realism to the proceedings.


However no doubt its achievement is Sandler's handling of the role in the end. With a superb support cast totally believable in their parts, there are elements of comedy, drama and tension but it’s the awkward cringe-factor of Ratner’s disorganised life that permeates every frame of the film. It keeps you on edge and made me feel terribly uncomfortable at times - sometimes willing Ratner onto his hopeful success and sometimes angry at him for his foolish decisions.


A well-crafted thriller with a perfect vision from the two up and coming directors, Uncut Gems shows that the brothers are now a cinematic force to be reckoned with and Sandler should pick and choose his roles more carefully. If he does, I think there could be awards interest on the horizon for the actor who shows a flair for dramatic control and places it expertly onto an unruly character to much screen success.


★★★★ ½



Michael Sales

By midlandsmovies, Jan 11 2020 09:06AM



Get On With It


Directed by Richard Steele


2020


The fanfare and lights of the classic 20th Century Fox logo is one of my first memories ever of cinema – in front of Star Wars: A New Hope of course. From there, more and more production company logos – the mountain of Paramount, the globe of Universal, the badge of Warner Brothers – flooded into my memory and became a staple of the movie-going experience.


Richard Steele’s new short Get On With It starts with the premise that by the 21st century, the less than clever foxes at Hollywood began adding more and more logos before a film began.


In reality, the old monopolies of the past were actually making way for co-funded productions so every company involved – especially those fronting the money – got their individual logos (now animated too) plonked at the beginning of a screening.


But how many are too many? Well, this Midlands micro-short tackles some of these themes in increasing funny and frustrating ways.


From space to futuristic design, the short even nods to the fact that some are so like film now that they could be confused with the movie actually starting. The logos also echo a Bond-style liquid, giving a shout out to a franchise famous for its opening sequences.


A few barbs thrown in the direction of the absurd nature of these logos also appeared. And ridiculous names and the repetition of the logos in the credits also come in for ridicule.


The short is a wry take on one of some cinema audiences’ bugbear of endless logos but it did very much remind me of a similar joke from Family Guy. It’s one note theme and short run time makes it feel a little like a comedy show skit rather than a fully formed short however. The end when the film starts, or does it, gave me a naughty chuckle though.


In the end (or beginning?) the short is obviously a personal pet peeve from the filmmaker and sends up a subject we can all relate to in a slightly cynical but humorous way.


Michael Sales



By midlandsmovies, Jan 10 2020 06:54PM



Midlands Review - Damn Good Pie


Directed by Lewis Clements


2020


Elsy Pictures


Elsy Pictures serves up a dinner from hell with Lewis Clements' short film Damn Good Pie, a horror comedy engrossed in a world where “pie makes everybody happy”.


We are made immediately aware within the first few frames that this is no ordinary family sat at the dinner table. The father is joined by his wife, his son and his daughter but he acts as if he doesn't have this company as he brazenly sniffs his dinner, his pie, licking his lips. “That's good pie” he announces.


As the family say grace it is revealed the pies they are about to eat have been made with great sacrifice, there is a loud thud upstairs when this is said and the mother looks worried as she glances at the ceiling. This must be regular occurrence in this household as no one else appears to be concerned.


Elements of David Lynch's signature surrealism surround Damn Good Pie as we are unpleasantly treated to a gross fifteen seconds of the father consuming his pie. The camera lingers on his lips as he savours every bite, the sound of each bite was almost unbearable, something I think Clements intended and will enjoy knowing he has succeeded.


But not everyone is enjoying their food. The son, Edward, seems uninterested and instead of relentlessly enjoying his meal like his Mother and Father he is patting the pie with his fork, his mind elsewhere. Offended, his Father demands him to stop and reminds him that they do not pat pie in his house.


Hilariously, Edward replies back with a line I'm sure every parent has heard at some point “but Danny at school is allowed”. Now threatened with being sent upstairs with no dinner, Edward shakes in fear begging his Father to reconsider but to no avail.


What exactly waits upstairs is unclear but it is safe to say it is not welcoming, the mood changes and the score by Robson Janser & Daniel Kanenas creates an uneasy atmosphere.


Setting a film or a scene during a family dinner has always been a great opportunity to explore the dynamic within the household as it is something we can all easily relate to. I was reminded of the infamous dinner scene in The Texas Chainsaw Massacre, where an outsider also cannot conform to the rest of the family's behaviour as we lay witness to sheer lunacy and outrageous motives.


There is not an ounce of fat in Clement's film, the writing is razor sharp and the direction focused on featuring comedy and horror in abundance. I really enjoyed making the comparison between the pie in the film to religion. The faith that the father has in pie is unprecedented, and when his own child appears unfaithful, his solution is to deliver him upstairs, for someone of a higher position to mete out punishment.


In a statement by the writer and director Lewis Clements, it says he is looking to make a connection between “British society and bizarre horror” which definitely translates on screen here. That steely determination to protect what you love is shown tenfold but in this case what is being cherished and loved are...pies. Undoubtedly Damn Good Pie has delightfully mixed “the mundane with the fantastical” resulting in a deliciously fun, short film.



Guy Russell

Twitter @budguyer


By midlandsmovies, Jan 7 2020 09:36PM



Midlands Spotlight - Movie-related shows at Leicester Comedy Festival 2020


We take a wry look and recommend some of the best film-related shows at the annual and hilarious Leicester Comedy Festival taking place in February 2020 at venues all across the city.


For these and all other shows check out the full programme at the official website https://comedy-festival.co.uk/


Nathan D’Arcy Roberts: Is My Dad Denzel Washington?

Saturday, 08 February 2020 Time: 4:30pm (5:30pm) Doors open: 4:10pm Entry: £5 OR PWYW

Venue: Just the Tonic at The Shed - Vault

Nathan D'Arcy Roberts (BBC Introducing Radio 4 Comedy Award nominee) is bringing his exciting new show to the Leicester Comedy Festival. Raised having never met his father Nathan embarks on a journey to confirm his belief that the identity of his estranged papa is none other than the Oscar-winning actor.

https://comedy-festival.co.uk/event/nathan-darcy-roberts-is-my-dad-denzel-washington


Jokes On Us present MADDIE CAMPION: MAD MONEY WORK IN PROGRESS

Wednesday, 12 February 2020 Time: 7:45pm (8:45pm)Doors open: 7:25pm Entry: FREE

Venue: Manhattan 34 - Downstairs bar

In 2008 Katie Holmes didn't reprise her role as Rachel Dawes in the acclaimed Batman Begins follow up, The Dark Knight. Instead she chose to make the movie "Mad Money", which was both a critical and commercial flop. In this stand-up show Maddie Campion argues that Katie Holmes made the right decision.

https://comedy-festival.co.uk/event/maddie-campion-mad-money-work-in-progress/


COMEDY FILM NIGHT: TRADING PLACES

Friday, 14 February 2020 Time: 8:00pm (9:55pm)Doors open: 7:40pm Entry: £7.00

Venue: Harborough Theatre - Theatre

Upper-crust executive Louis Winthorpe III (Dan Aykroyd) and down-and-out hustler Billy Ray Valentine (Eddie Murphy) are the subjects of a bet by brokers Mortimer and Randolph Duke. An employee of the Dukes, Winthorpe is framed by the brothers for a crime he didn't commit, with the siblings then installing the street-smart Valentine in his position. When Winthorpe and Valentine uncover the scheme, they set out to turn the tables on the Dukes.

https://comedy-festival.co.uk/event/comedy-film-night-trading-places/


COMEDY FILM NIGHT: FOUR LIONS

Friday, 14 February 2020 Time: 6:00pm (7:35pm)Doors open: 5:40pm Entry: £7.00

Venue: Harborough Theatre - Theatre

Four Lions tells the story of a group of British jihadists who push their abstract dreams of glory to the breaking point. As the wheels fly off, and their competing ideologies clash, what emerges is an emotionally engaging (and entirely plausible) farce. In a storm of razor-sharp verbal jousting and large-scale set pieces, Four Lions is a comic tour de force; it shows that while terrorism is about ideology, it can also be about idiots.

https://comedy-festival.co.uk/event/comedy-film-night-four-lions/


MCUSICAL: THE UNOFFICIAL MARVEL PARODY MUSICAL WORK IN PROGRESS

Sunday, 16 February 2020 Time: 2:30pm (3:30pm) Doors open: 2:10pm Entry: FREE OR PWYW

Venue: Grays@LCB Depot - Lightbox

MCUsical: The Unofficial Parody Musical retells the last 10 years of your favourite superhero cinematic films through an hour of your favourite Broadway songs! You'll love it 3000! (Please note that this show is a Work-in-Progress showing)

https://comedy-festival.co.uk/event/mcusical-the-unofficial-marvel-parody-musical-work-in-progress/


Dad’s Army Radio Show

Monday, 17 February 2020 Time: 7:30pm (9:30pm) Doors open: 7:10pm Entry: £12.00 - £15.00

Venue: Harborough Market Hall

Watch as your favourite, classic BBC sitcom (and film!) comes to life with just two actors, two microphones and plenty of sound effects! Be transported back to Walmington as David Benson and Jack Lane work from original radio scripts, vintage music and all of Perry and Croft's beloved characters and catch phrases.

https://comedy-festival.co.uk/event/dads-army-radio-show-harborough-market-hall/


Hats Off To Laurel and Hardy

Saturday, 22 February 2020 Time: 8:00pm (10:00pm) Doors open: 7:40pm Entry: £10.00

Venue: The Guildhall - The Great Hall

The award-winning Lucky Dog bring their internationally renowned biopic about the best-loved comedy duo of all-time back to Leicester Guildhall. Widely regarded as being the most accurate show ever written about The Boys, it is the closest thing you can get to seeing the original pair in action.

https://comedy-festival.co.uk/event/hats-off-to-laurel-and-hardy/


Notflix: The Improvised Musical

Saturday, 22 February 2020 Time: 8:00pm (9:00pm) Doors open: 7:40pm Entry: £12.00

Venue: Curve - Studio - Curve - Studio

Five-star, total sell out show Edinburgh Fringe 2016-2018 and Vaults Festival 2017-2019. Did we mention the cast are making it up as they go along? Did we mention it's a musical? Featuring a live band and original, improvised songs.

https://comedy-festival.co.uk/event/notflix-the-improvised-musical/



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