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It might be lower key and less overtly comedic than you may be expecting from Ricky Gervais and Stephen Merchant, but there are plenty of reasons nonetheless to commend their nostalgic 70s drama Cemetery Junction. Leaving behind the style of comedy the pair fine-tuned to perfection with The Office, Cemetery Junction instead concerns itself with telling the story of three young men.

These men all live in their home town of Cemetery Junction, each working for an insurance company. Joining them there is their boss, played by Ralph Fiennes, with the cast also fleshed out by the likes of Emily Watson, Gervais himself and the terrific Matthew Goode.

But it’s Christian Cooke who catches the eye in what turns out to be the lead role of Freddie. It’s Freddie’s evolving professional and personal life that forms the core of the narrative, and laced with some fine comedic moments, he anchors the film well. It helps that Gervais and Merchant are so focused on how to put across the story, with the dingy style of 70s Britain captured terrifically well.

It’s quite a low key project, perhaps, and it doesn’t tread too much in the way of new ground. But Cemetery Junction is nonetheless fine work, and a quality British movie. It’s well worth seeking out. –Jon Foster

Stills from Cemetery Junction (click for larger image)

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Please note: This is the UK PAL version of the game and only includes English Language content

Experience a gripping psychological crime thriller filled with innumerable twists and turns, where even the smallest actions and choices can cause dramatic consequences. The hunt is on for the Origami Killer, named after his calling card of leaving folded paper shapes on victims. Four characters, each with their own motives, take part in a desperate attempt to stop the killer from claiming a new victim.

• A unique emotional experience that makes you feel as if youre IN a psychological crime thriller
• Stunning graphics, animation and technology combine with a strong narrative that delivers a movie-like experience
• Mature content, reflecting a realistic world setting that explores powerful themes
• Accessible gameplay via intuitive, contextual controls and interface

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Amazon.co.uk Review
Federico Fellini’s 1972 ode to the city of Rome is far from a coherent narrative, but as a selection of images and sounds celebrating the famed Italian capital, it’s dazzling and hugely enjoyable. Stylistically, it’s a perfect bridge between the excesses of Satyricon and the nostalgia of Amarcord, and it showcases the true love that Fellini had for the Eternal City. Mixing autobiographical flashbacks with the travails of a present-day movie company making a film about the city (headed up by Fellini himself), Roma is an impressionistic tour de force, delivered via Fellini’s unique cinematic vision. If you can’t tolerate Fellini’s larger-than-life approach, the sometimes-garish colours, or the circus atmosphere, you’ll probably find Roma insufferable. But fans of Fellini will be in seventh heaven, especially during some of the wonderful set pieces–a music dance hall performance that’s interrupted by bombing during World War II; a papal fashion show that’s so surreal it must be seen to be believed; and a breathtaking sequence in which the film crew, tagging along with an archaeological dig, happens upon an ancient Roman catacomb and watches as the beautiful murals disintegrate before their eyes. Through it all, Fellini’s passion for Rome (and moviemaking) shines through, especially in the film’s climax, a dialogue-free sequence of motorcycles roaring through the city at night, a tour that ends at the magnificent Colosseum. At that marriage of past and present, Roma is about as perfect as cinema can get. –Mark Englehart

Fellini’s Roma

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Hongkong Neo-Noir – Narrative und ästhetische Kennzeichen des Film Noir am Beispiel von John Woos “The Killer”

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Voices in the Dark: The Narrative Patterns of Film Noir

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