Movie News

Film adaptation of Scottish Author John Niven’s Kill Your Friends to start filming in March

90s music movie to star Nicholas Hoult


A film adaptation of John Niven’s critically acclaimed novel Kill Your Friends is set to start shooting in March.


The book, which tells the story of Steven Stelfox, a ruthless, psychopathic A&R agent at a record label in the 90s at the height of Britpop mania, was released in 2008. Yesterday (February 12), Niven confirmed the film adaptation will commence filming in March. 


“After much delay and hell I am very pleased to say that the movie of Kill Your Friends starts shooting in March,” the Scottish author tweeted.


Little details have been announced about the film, but Niven has confirmed Nicholas Hoult (Skins, A Single Man) will take the role of Stelfox, who has been described as a Patrick Bateman-esque character. Anyone who has read the eye-popping book will also know it’s highly unlikely to be rated anything other than an 18.


Fraser McFadzean’s Alternative Movie Posters II

Fraser McFadzean -the Grosvenor Cinema’s very own poster boy- gives us a second installment of his second looks at movie paraphernalia for upcoming talkies which will be coming to the Grosvenor Cinema.

One of Scotland's cult classics. Having very rarely seen the sun, Scots tend to eulogize about seaside holidays without any reference to the fictional nature of Ferness.

One of Scotland’s cult classics. Having very rarely seen the sun, Scots tend to eulogize about seaside holidays without any reference to the fictional nature of Ferness

Anyone who has seen the awesome trailer of 'Man of Steel' will instantly recognize this minimalist take on the flight of  the Man of Steel. The steely blue, matte colours only add to it

Anyone who has seen the awesome trailer of ‘Man of Steel’ will instantly recognize this minimalist take on the flight of the Man of Steel. The steely blue, matte colours only add to it

The movie is about Alan, right? It's always been about Alan. And so Fraser has immortalized this fact with the bearded- wolf himself.

The movie is about Alan, right? It’s always been about Alan. And so Fraser has immortalized this fact with the bearded- wolf himself.

Tom Cruise oozes the Eighties: so does this neon-drenched poster for the Grosvenor Cinema's upcoming 'Cocktails and Dreams' night

Tom Cruise oozes the Eighties: so does this neon-drenched poster for the Grosvenor Cinema’s upcoming ‘Cocktails and Dreams’ night


All artwork courtesy of Fraser McFadzean

Review: I’m So Excited

I’m So Excited! is the story of passengers on flight 2459 to Mexico City dealing with the news of technical problems and an inevitable emergency landing. Everyone in economy is drugged leaving those in business class to panic before embracing personal breakthroughs and a lot of alcohol.

The film came from Amoldóvar’s imaginings of sexual escapades of stewards and pilots, and how ‘the fantasies of flight are sex and death.’ The constant movement and lack of concrete time in a plane are a place for creativity and letting go. ‘To be excited in Spanish means to be horny’ there is no question of a double meaning here.


It is a true return to colourful comedy and came by request of fans in Madrid. The parallels between the story and financial problems in Spain are clear. The plane circles while the passengers know the emergency landing is coming. On board though impending disaster is dealt with through talk, sex and drink, ‘I wanted to turn a catastrophe into a party’ says Amoldóvar. Although comedic, the desperation and resolve is sincere. The essence of human truth may not be revealed, but it is a lot of fun.

Bright colours and flipping fringes come straight from the 80’s, when Amoldóvar started making films and when life in Spain was good. A toast to the time is made with Valencian cocktails and mescaline.

Despite the dramatic sounding setting it is the fast movement and dialogue of the characters that push the pace of the film. Wanting to work with actors was the reason that Amoldóvar became a director. He acknowledges the crucial role of lighting, photography and sound in narration, but the story is told through the ‘bodies, hearts and guts’ of the actors. Every limb and organ is used here. Javier Cámara sweeps through as the loose lipped head steward balancing between personal hurt and showmanship. Also excellent is Lola Dueñas as Bruna the virginal psychic looking for some drug lords in Mexico who ‘sounded lovely on the phone’.

It’s filthy verging close to crude at times. The outrageously camp stewards perform a full-length choreographed dance routine (you can probably guess to which song), but when entering into an Amoldóvar film that’s sort of what you sign up for. Speedy backstories and solid comedic timing make for a grown-up but easy watch. In order to enjoy. Relax, just do it.

Naomi Walmsley

I’m So Excited will be showing in the Grosvenor Cinema from Friday 3 May. Click here for more information.

A Thoroughly Sideways Cheese-Tasting with IJ Mellis

In Sideways Paul Giamatti plays Miles, a struggling author, juggling his job teaching English to high school kids and the emotional void left when the love of his life left him with a broken heart two years previous, does what we would all do in his situation: he turns to the bottle. But what could be construed as borderline alcoholism is in fact a thoroughly middle-class penchant for wine-tasting. As Miles takes his friend and failed actor, Jack (Paul Haden Church), on a wine tasting trip to San Ynez wine country in the week leading up to his marriage the pair share laughs, memories, some of their successes, all of their failures and of course a glass of pinot or two.

sidewyas (2)

The witty dialogue produced in the eponymous novel by Rex Pickett is thrown up onscreen producing a poignant and droll panorama on the lives of people wearied by life but who rejoice in it all the same. When it was released to widespread acclaim in 2004 it picked up 107 awards including the Oscar for Best Adapted Screenplay. 10 years later and like a vintage red, it has aged very well.

Sideways at the Grosvenor Cinema will be accompanied by a wine and cheese tasting, along with mouth-watering canapés in the Grosvenor Café on Wednesday 24 April, which altogether comprise ‘A Thoroughly Sideways Evening’.

The cheese for the evening will be provided by IJ Mellis, Glasgow, the West End’s best artisan cheesemongers. In its twentieth year, Mellis have a rich history of specialising in the maturing, retailing & wholesaling of farmhouse cheeses from Britain & the Continent. With  five cheese shops and one wholesale department with maturing rooms, they offer a wonderful blend of the traditional and modern delivering an unrivalled cheese experience.

Their current manager, James Stuart arrived at Mellis, Glasgow via sojourns in Naples and Sicily. This sturdy, modest man does not claim to be an authority on cheese, nor does he carry the air of a superior when he discusses his products with you. He offered to taste with me a selection of cheeses in the run up to ‘A Thoroughly Sideways Evening’ so that I, at least, will have a better understanding of the true place of cheese in a cheese and wine evening. Given my experience in film, and with wine, I yearned for the rounded completion a crash-course in cheese would bring. And I fancied a few free samples.

As I thought about the cheese tasting I toyed with the question: just how important is the cheese portion (pardon the unintentionally delivered but intentionally retained pun) of a cheese and wine tasting evening is. From my own perspective I often find the cheese-tasting the most interesting part, because the sheer variety of cheese out there means that there are not just taste differences but aesthetic differences, differences in texture, and of course differences in smell, which gives cheese-tasting a highly varied quality which wine doesn’t obviously yield, even it cashes out into an equal- or indeed greater – pleasure principle for those tasting it. But I found myself convinced that while wine tasting spoke for itself, the pleasures of cheese-tasting required a strong voice. So, to James, I turned.

Before we began, James offered a few helpful insights into my conundrum.  ‘Having hosted a few cheese tastings myself in the past I can say that there isn’t as much baggage when it comes to cheese-tasting when compared to wine tasting which I think helps’, he said. ‘and this means people are willing to talk to each other rather than listen to me, and I don’t claim to be an authority on what they’re tasting’. He did however offer some inside tips for cheese-tasting, including crushing the cheese between your finger and thumb. Although it may appear strange there is certainly method in the madness. Crushing the cheese allows the taster to involve as many of the senses as possible and can help to release the aromas of the cheese, to heighten the smelling sensation so crucial to cheese tasting. ‘You can really involve as many of the senses as you like when tasting cheese’, he suggested, ‘although I haven’t quite worked out how to listen to the cheese myself’. He also recommended tasting at room temperature to release the aromas and flavours, provided that the room is not stuffy and sweaty with the heating on full blast. With that I felt thoroughly versed in the dark arts of cheese-tasting and was ready to begin.

So what cheeses should we expect at the Grosvenor’s ‘Thoroughly Sideways Evening’?


James’s provisional cheese board – which in showing me he seemed hesitant to call it the finished article – was comprised of a heterogeneous bunch of cheeses from places as far away and as different in character as Cashel in Co. Tipperary, the Isle of Mull and Sussex.

James started off with a goat’s cheese from Golden Cross, a small operation specialising in goats’ and sheep’s cheeses based in Sussex. It is interesting that James chose to start with a goat’s cheese. Often used in starters, whipped or in tarts, with balsamic vinegar or with walnuts, goat’s cheese seemed like a poetic, even natural place to start the Grosvenor’s ‘Thoroughly Sideways Evening’.

The Golden Cross has several distinctive characteristics alongside its choice cheese companions. Like a cross –section of a cylinder the rounded goat’s cheese has a bloomy, white rind which contains a dark layer underneath, which, explains James, can give you clues into how the cheese is made. The dark layer is the remnants of ash, traditionally used to help the cheese age in a particular way, but it is also multifunctional, helping to develop a certain type of rind which helps draw out extra moisture to create a slightly drier centre, and lastly it acts as a pesticide.

The texture of the Golden Cross is firmer than more common varieties of goat’s cheese, with a mellow taste holding citrusy, even zesty notes. In the mouth the Golden Cross had a texture akin to praline which James summed up to a tee, describing it as the inside of a Fererro Rocher.

Moving on to the second of the five cheeses, James produced a segment of cheese he revealed was a ‘Berkswell’ from the Ram Hall Farm in the Midlands. James used this cheese as exemplar of modern cheese-making as a craft and, increasingly as a science. The Berskwell is an original cheese which draws upon a range of influences including Caerphilly cheeses and Italian and Spanish pecorino cheeses. A cheese of an orange, dusty hue which made it distinct from a cow’s milk cheese, this sheep’s milk cheese had a dry, grainy and weather-beaten look to it, protected from the elements by its own natural rind, which is scrubbed off when the cheese has matured.

The Berkswell is a real taste explosion, something altogether surprising given its outward appearance. ‘I chose this cheese – a part from it being a personal favourite of mine – because it goes well with a few different types of wine, particularly sweet wines’, revealed James, ‘it has the right amount of fruitiness and tanginess to retain its taste without overpowering the wine it is accompanying – so it will go well on the evening’. His words however came with a warning: do not eat the rind.


The third cheese in James’ provisional selection was a French Camembert. A popular cheese with a white, bloomy mould Camembert has found great success in cheese-making, people can come to this cheese with a relative pedigree of knowledge and experience James’ sample was  pale, yellowish, and sporadically golden colour characteristic of cows’ milk with a dry, somewhat chalky centre. So what does the Camembert cheese taste and smell like? James suggested that it smelt of raw mushroom, with a sweet taste that develops with age. He did point out that often it could have hints of cabbage. Personally speaking the Camembert was delicate and delicious and worthy of its popularity.

Next up was an Isle of Mull cheddar. Distinct in character and manufacture than a West Country or a Somerset cheddar and hailing from Mull, this cheddar comes from cows who graze on the lush grass of the Scottish Island and draff, which is the left over grain after fermentation in the whisky making process. This unique grazing process is evident in the distinctive taste of the Mull cheddar. It is deliciously smoky, peaty and musky. But it is known to change in taste, texture and colour over the year. The sample James sampled with me was made from summer milk, giving it a brighter colour given a more savoury experience. For a variety of reasons including hailing from Scotland and its versatility, explained James, the Mull cheddar proves the most popular in I.J. Mellis’s Glasgow store and continues to give Scotland an excellent and worthy reputation among cheeses from the most prestigious cheese-making regions of Europe.

The last cheese was well worth the wait, and was expertly left to finish. Cashel Blue cheese from Co. Tipperary. Cashel looks soft, creamy but with a paste-like consistency peppered by blue specks with veins of blue running down its centre. To taste Cashel is creamy and salty, ans much milder than other blue cheeses that IJ Mellis stock. Its aroma is sweet, suggesting aniseed and cardomom.  This milder flavour gives it a delicacy which makes it the ideal accompaniment for wine, even whisky, because it doesn’t overpower the taster. But in finishing with the Cashel James was keen to stress that all things in the world of cheese are provisional and the line-up for tasting could change as he looked to find interesting and provocative combinations with the wines that will also be used.

My ‘partially Sideways’ experience left me eager and keen to experience James’ cheese being tasted by a wide variety of people, all explaining their own personal thoughts on the cheeses they were tasting. One thing that can be said to the credit of  cheese-tasting is that is an anarchic endeavour, set apart from wine-tasting by its lack of social baggage, by its multifarious nature and by broad range of flavours, smells and textures it can produce. It is an experience to be replicated and relived, with wine surely, but with friends: certainly.

Alan Mahon

IJ Mellis will be providing cheese–tasting at the Grosvenor Café as part of ‘A Thoroughly Sideways Evening’. To book your tickets for the event click here.

@BaftaScotland Screening: The Place Beyond the Pines

At what point do an awful series of events begin, and how can they brought to an end? Derek Cianfrance toyed with such questions in his previous feature Blue Valentine – the difficult story of two lovers bound to one another for reasons beyond immediate understanding, despite the intense misery their life together entails. His latest film goes beyond the claustrophobic intensity of a dysfunctional relationship to examine the inevitability of fate and of failed attempts at redemption across a tapestry of tragically connected stories. The Place Beyond the Pines is the story of  a carnival daredevil (Ryan Gosling) whose failed bank robbery leads him to a tragic episode with an idealistic cop (Bradley Cooper), changing the fate of both men, and their families forever.

It is Cianfrance’s genius in Beyond the Pines is to explore, through these intricately and intimately woven stories, the unfolding tragedies that, through human weakness, cannot be confined to a discrete moment in time. As the narrative unfolds the audience is constantly drawn to look closer at the chain of events in perspective, towards the minutiae of the circumstantial and seemingly trivial happenings from the beginning of the movie, that suggest that if things had been different the terrible fate of that befalls the two men – and their sons – could have been avoided.

Ryan Gosling plays Luke Glanton, a  nomadic motorcycle daredevil whose work on the carnival circuit brings him into fleeting contact with Romina Gutierrez (Eva Mendes), with whom he has a son, Jason. The new found knowledge of his paternity drives Luke to attempt to provide for all three; first through employment as a mechanic and then through a series of bank robberies inspired by his employer Robin, played ably by Ben Mendelsohn. The bank robberies themselves provide short, spasmodic scenes of intense, dizzying and nauseating action, the speed of helps to portray the fundamental recklessness and impulsiveness of Gosling’s character.

When taken at face value, Gosling’s part in the narrative of Beyond the Pines chimes familiarly with his role in Drive – a mechanic-cum-bank-robber drawn to care for a mother and her child – an it is tempting to make the equation. Yet the character of Glanton is very different to the Meursault-esque character played by Gosling in Drive. Glanton is sociopathic, talkative and highly emotional young man, whose reasons for caring for the welfare of the mother and child are obvious – somewhat the reverse of Gosling’s part as ‘Driver’, despite their obvious similarities.

Bradley Cooper plays Avery Cross, who enters the film during a stand-off with Glanton. Heralded first as a hero, the  idealistic young police officer becomes entangled in the corruption of his fellow officers, only to emerge as someone unrecognisable from his former self, transformed by guilt.

The story then migrates from one generation to the next, focusing on Jason (Dane De Haan), Glanton’s son and the unhappy circumstances which have become his life given what to him are  the unexplained circumstances of his father’s death. This final transition completes the circle as Avery’s wayward son, AJ (Emory Cohen), befriends Jason after arriving

Cianfrance must be credited for managing to hand the plot, like a terrible burden, from character to character through a series of memorable breaks which serve to enrich rather than punctuate the films storyline. In taking pages from the American cinematic playbook – bank jobs, broken homes, car chases, crooked cops and violence – Cianfrance imbues them with an intense realism that accentuates the film’s gritty, somewhat vulgar feel, putting the human suffering that these things cause at the centre of the story, rather than as a peripheral concern.

The emerging director’s penchant for bringing to the surface the regrettable side of human nature can, at times, make   The Place Beyond the Pines uncomfortable to watch, but this is surely a part of its engrossing effect. Trading on themes of catharsis, responsibility and guilt, fate and inevitablity, as well as  masculinity and the role of a father, Cianfrance manages to make a film that is both entertaining and thought-provoking. With Ryan Gosling recently announcing an indefinite hiatus from acting it places an imperative on his fans to catch the last glimpse of an actor whose direction is far from certain.

Alan Mahon

The Place Beyond The Pines will be released at the Grosvenor Cinema April 12. For ticket information visit

The Pan-Asia Film Festival 2013

The 6th-17th of March was an exciting time for world cinema fans as the Pan-Asia Film Festival ran for it’s fifth year in London. Organised by festival director Sumatro Ghose, the festival features challenging films which reflect the changing nature of Asia from Iran to Japan. Along with bringing films by both established and young directors to the UK for the first time the festival also features events and Q&A’s with directors and the films’ stars.

Twelve films ran spanning a wide spectrum of genres including comedy, drama and even animation with the best chosen from a short-list of six on March 18th as the winner of the festival’s Best Film Award. While most of the action took place in venues across London there were also special satellite screenings which took place in Glasgow, Brighton and Leeds.

The festival opened with the UK première of Gf*Bf by Taiwanese director Ya-Che Yang followed by premières of  Headshot (Dir. Pen-ek Ratanaruang, Thailand), Poor Folk (dir. Midi Z, Burma), Patang (dir. Prashant Bhargava, India),   The Revolutionary (dirs. Irv Drasnin, Don Sellers, Lucy Ostrander, USA) and the Hong Kong Young Filmmakers Shorts Programme in conjunction with the Fresh Wave Film Festival which also included and international discussion via Google Hangouts. The première which eventually went on to win the PAFF Best Film Award though was 111 Girls by Iranian director Nahid Ghobadi.

Aside from premières the festival also featured a screening of Outrage Beyond, the latest work by Japanese director Takeshi Kitano as well as The Reluctant Fundamentalist (dir. Mira Nair, India), Material (dir. Craig Freimond, South Africa), animated feature The King of Pigs (Yeon Sang-ho) and the festival’s first ever late night screening with Tormented 3D by Japanese director Takashi Shimizu (The Grudge).

There were two films shown at the GFT in Glasgow. The first was Gf*Bf which tells the story of a love triangle between rebellious high school friends Aaron, Mabel and Liam. Aaron likes Mabel, Mabel likes Liam but Liam only has eyes for Aaron. The film spans just over a decade which begins in 1985 Taiwan, during a time of martial law, then through to 1990 and ending in 1997 showing how the relationships between the three friends has held up during a time of political unrest.

The second film was Patang which is set in the Indian city of Ahmedabad and gives viewers an insight into India’s largest kite festival. While the festival sets the backdrop of the film, the storyline revolves around a successful Delhi businessman bringing his daughter back to his home town and being forced to face up to the family troubles he left behind. Performances are provided by both professionals and non-actors but both are eclipsed by the bright and colourful cinematography as millions of kites take flight during the day and fireworks light up the sky at night.


The Pan-Asia Film Festival seems to have enjoyed a very successful run in 2013 and it will be interesting to see what they have in store next year.


Garry MacDonald

Rediscovering the Magic of Cinema: Club Noir, Clark Gable and the Grosvenor Cinema

This Sunday the Grosvenor Cinema will be hosting a screening of ‘It Happened One Night…’ a true Hollywood classic starring Clark Gable and Claudette Colbert. She is a spoiled heiress determined to escape her family and marry her truelove. He is a roguish reporter she meets on the way who eventually charms her. A romantic, screwball comedy with twists and turns it won the Oscar ‘grand slam’ namely Best Picture, Best Director, Best Actor, Best Actress, and Best Writing. The screening is in association with Glasgow’s biggest burlesque night Club Noir, and will be accompanied by Dear Mr Gable a performance from blond bombshell Katie Crossbones.


I chatted with Tina Warren, one of Club Noir’s founders, about burlesque, the silver screen and her love for Clark Gable. First, some introductions. Club Noir is in fact the biggest burlesque club in the world today and in March celebrates its 9th birthday. Based in Scotland it also holds nights London and frequents Edinburgh’s Fringe. DJ’s, bands, performers and acts come together around four times a year to create unique nights of magic and to ‘spread the burlesque gospel.’

The idea of a burlesque club may be off-putting for some but Club Noir invites all and sundry to join in the fun. There is a dress code but it simply requires effort rather than all out-fabulousness. ‘We say dress to impress but don’t not come because you’ve not got an amazing outfit. I know that once they get there they’ll love it and get inspired, confident about what they might want to do next time,’ offers Tina.

‘I love our crowds,’ she says fondly, ‘they are always amazing and up for fun’. So who exactly comes along to partake in this fun? ‘They are the most diverse audience you will ever get into one room. Literally. Eighteen-year olds and upwards, students to millionaires.’ Apparently Tina’s accountant has even put in an appearance. Why does burlesque in particular appeal to so many, and why does defy generalities? Tina credits the quality of the performance, the range of performers and the underlying idea of fun. And not unlike the weather in Glasgow if you are not sure about one act just wait three minutes.

Each night is themed; ‘“The Blitz” in association with Poppy Scotland is happening on the 25th of May featuring music and acts from the 1940’s. ‘We’ve already a lot of people going mad for it, and especially very young people who want to find out more which is really heartening.’  Not one for resting on its laurels I ask how Club Noir intend to create an evening of magic out of something with fairly negative connotations. ‘I think that the whole night will have quite a romantic but sad element, it will be emotional but still with room for laughs.’ She points out that life didn’t stop during the Blitz, nor did fun, an love stories and scandals continued as they had before. ‘More than ever people took care with their appearance. To keep some sense of control over your own little world it was perhaps more important than ever.’ It seems as if there was a very real spirit of ‘Keep Calm and Carry On’ animating people during this difficult time, one that Club Noir wants to recapture.

This is not the first time that the Grosvenor Cinema and Club Noir have come together; previous showings have included The Producers and The Seven Year Itch. Tina says of the pairing ‘I just think the Grosvener is such a fantastic little cinema, a dream cinema. I couldn’t think of anywhere nicer to do our film nights’. A natural home from home then? She nods ‘it’s cosy, there’s no pressure to fill a huge cinema. It’s like having your having your friends along’.

So why It Happened One Night, and why Clark Gable?  Tina becomes slightly starry eyed at the mention of his name. Masculine is the first word that springs to mind according to my exhaustive survey of six people. Tina agrees. ‘I just adore Clark Gable, he is the king to me he really is. So handsome and masculine, but above being sexy. You don’t fancy him, just a God, so beautiful and charismatic’.

Nostalgic screenings of Hollywood: The Glamour Years are increasingly popular and the stories remain wonderful and inexhaustible, but as Tina points out some have aged better than others. ‘Claudette Colbert (Gable’s leading lady) is dated, she looks very old fashioned in her mannerisms and her look and I love her for that, but Clark Gable doesn’t. He’s just as fresh and exciting now as he would have been then’. Gable is charming, strong but sensitive: the ideal man. And even in the days of untouchable screen icons one who wielded impressive influence on-screen and off it. In It Happened One Night he removes his shirt and is not wearing the regulation vest underneath. The vest was ditched because it was causing problems with sound, but as a direct result, sales of vests plummeted. The Grosvenor Cinema opened in 1921 and Tina talks of her excitement at being able to dress up and watch It Happened just as her grandmother would have done. A little piece of magic not possible in the newer cinemas.

Katie Crossbones describes the act as ‘very elegant and reminiscent of the time. Showing the love and devotion many fans had for such an icon of screen.’ To travel back to the glamour years come along to the Grosvener this Sunday, March 24, at 6.30pm. All shapes, sizes and dress codes welcomed.

Tickets for Club Noir’s ‘It Happened One Night’ can be bought at

Naomi Walmsley