Star Wars Episode I – The Phantom Menace 3D (Digital) (U)
BFI IMAX, Waterloo
9th – 23rd February 2012

Whether you’re an old fan or new, there’s no denying that seeing Star Wars on the big screen is an event not to be missed – especially when it’s the first Star Wars movie to ever be presented in spectacular 3D. The duel with Darth Maul, the harrowing Tatooine Podrace, the first meeting of R2-D2 and C3PO, and the introduction of the Star Wars Saga’s tragic hero, Anakin Skywalker, are all back in an all-new 3D presentation of Episode I, an experience that promises to truly surround you with the Force.

WIN TICKETS

Thanks to our friends at the BFI, we have 3 pairs of tickets to give away.

Winners can pick which film and at which time they would like to attend, subject to availability. Please note, tickets are BFI Imax, Waterloo, London ONLY.

Closing Date: Wednesday 8th February 2012, 5pm

To count yourself with a chance of winning, join us on facebook then just send us an email with your name, contact details and the answer to this simple question:

What is the title of the final Star Wars, Episode VI?
a) Attack of the Clones
b) The Empire Strikes Back
c) Return of the Jedi

Email you answer to competitions@frontrowreviews.co.uk Good luck!

View our competition Terms and Conditions

MORE INFO & TO BUY TICKETS:
BFI – website

In 1979, Monty Python’s “Life Of Brian” became one of the most controversial films ever to be released in British cinemas, causing outrage amongst religious groups, members of the public and politicians, most of whom hadn’t even seen the film. Accusing it of being blasphemous, many called for the film to be banned. Now, the brand-new, critically acclaimed comedy-drama Holy Flying Circus revisits that period and delivers a witty, entertaining and affectionate homage to the Pythons and the film that, today, has become accepted as one of the greatest comedy movies of all time.

Holy Flying Circus will be released on DVD by FremantleMedia Enterprises on 6th February 2012.

We have 2 copies to give away!

To count yourself with a chance of winning, join us on facebook then just send us an email with your name, contact details and the answer to this simple question:

Which Python does Darren Boyd play?

a) John Cleese
b) Eric Idle
c) Terry Jones

Closing Date: Thursday 9th Februay 2012, 5pm

Email you answer to competitions@frontrowreviews.co.uk Good luck!

View our competition Terms and Conditions

Disney’s Fantasia Live in Concert
Sunday 21 October 2012
2.30pm and 6.30pm

After the recent screenings of The Matrix and The Lord of the Rings trilogy with full live orchestra, The Royal Albert Hall has now released details of something very special. The UK premiere of one of Disney’s all time classics – Fantasia complete with live orchestra.

On Sunday 21 October 2012, Disney shares one of its crown jewels of feature animation in this UK premiere which showcases selections from Walt Disney’s original Fantasia and Disney’s Fantasia 2000. Presented in high definition on a large screen within the magical setting of the Royal Albert Hall, Disney’s groundbreaking marriage of symphonic music and animation will be brought to life by the London Philharmonic Orchestra, conducted by John Mauceri.

A selection of the magnificent repertoire from the original 1940 version of Fantasia and Fantasia 2000 including Tchaikovsky’s The Nutcracker Suite and Gershwin’s Rhapsody in Blue will be performed live while iconic moments from Disney’s stunning footage, including Mickey Mouse as he dabbles in magic in Dukas’ The Sorcerer’s Apprentice and the mythical unicorns and winged horses that accompany Beethoven’s ‘Pastoral’ Symphony, are shown on the big screen.

In the meantime if you can’t wait! In June, The Royal Albert Hall will host the European premiere of the 50th Anniversary of West Side Story.

MORE INFO & TICKETS

Royal Albert Hall
Kensington Gore, London SW7 2AP

Tickets £15 – £55 (booking fees apply)
Box Office 020 7589 8212
www.royalalberthall.com

Mavis Gary (Charlize Theron) had it all in high school. She was tall, beautiful, the prom queen, and had a jock boyfriend to match. Fast forward twenty years and she’s moved from suburban Mercury, Minnesota, to the metropolis of Minneapolis. She lives in a swanky condo with a tiny, fluffy dog and is the author of a popular teen series.

But her apartment is a mess, she’s an uncredited ghost writer to a series that has been cancelled, divorced, and trichotillomaniac. She drinks an awful lot and has strings of one night stands.

When her high school boyfriend Buddy (Patrick Wilson) emails a picture of his newborn daughter, Mavis is sure that it’s a cry for help. He still lives in the small-town suburbs, and Mavis vows to go back to Mercury and save him from his baby, his wife Beth (Elizabeth Reaser), and himself.

Back in her old hometown, Mavis sticks out like a sore, sexy thumb. She goes back to her old haunts wearing a revealing dress, and meets Matt (Patton Oswalt), known through high school as the Hate Crime Guy because he was beaten-up and the national papers thought that he was gay. High school really was the time of his life, because now he’s legally disabled, his legs, pelvis, and genitals pretty well malformed. The two form an alliance of sorts, as she confides in him and he attempts to dissuade her from her mission, and she drinks a lot of his home brewed bourbon.

Director Jason Reitman and screenwriter Diablo Cody cast an astute eye over growing up and getting out. Mavis got out, but hasn’t grown up, whereas everyone else seems to have done the opposite. They ask what makes a person ‘successful’, ‘good’ or ‘bad’, and whether that really matters. It would be too easy to write off Mavis as a terrible person, but when Sandra (Collette Wolfe) says that everyone in Mercury is ‘fat and dumb’ she’s sort of right. People in Mercury don’t wear fabulous dresses like Mavis does, and they aren’t going to change the world. If we as an audience are OK with that, then we should accept Mavis’s want to do something else as well.

The script is taut and acerbic, with much less of the cutesy, too-witty one-liners that cut the Juno (2007) audience. Much of the humour comes from laughing at Mavis as well as with her, whether she’s pretending to text whilst waiting alone in a bar, or the voice-over from the novella she’s writing says something particularly cutting about Beth. It’s a more understated and realistic script too. In particular, Mavis’s public breakdown wasn’t a polished, impressive explosion.

“It’s silk, it’s fucked!” isn’t likely to go down in meltdown history, but it highlights the division between Mavis and Beth, and reminds us of the time when the only retort you can think of is “yeah, well, you shut up!”

The only gripe was that Reitman and Cody gave Mavis an out during this speech, to soften up her backstory and make her slightly less unappealing to the audience. When the rest of the film is so sharp and uncompromising, it seemed a shame to put this unnecessary slide in. We’re already on board with Mavis, at such a late point in the game, we don’t need a reason to feel sorry for her or to excuse her behaviour, and it cheapened her character somewhat.

Mavis is insensitive, self-centred and manipulative, but Theron makes her more than watchable, almost to the point of likeable. Yes, she’s crazy and delusional, but she was fascinating and funny to watch, and for better or worse (probably worse) Mavis is a character that people can relate to. When hanging around the woods out the back of their old school, Mavis is wearing one of Buddy’s old sweaters, and she recounts how the previous night they’d made out on the porch, it was passionate, and then he’d given her his sweater, when in actuality she kissed him on the lips, he pulled back, and she found the sweater in her old bedroom.

Her quasi-friendship with Matt is the heart of the movie, as opposites who don’t really teach each other anything, but serve purposes for as long as they’re in proximity. It’s an honest portrayal of self-serving friendships, convenient and disposable because both parties think they’re better than the other. Oswalt’s performance gave Matt sensitivity and bitterness in equal measure.

With a sharp script, lots of laughs, a tight commentary and really great performances, Young Adult is well worth watching. Just because you’ve gotten older, it doesn’t mean that you’ve grown up.

Thursday 9th February, 19.30pm: Transmedia Meetup
BAFTA, 195 Piccadilly

Transmedia Meetup is a new event for London-based creatives, academics, and enthusiasts to gather informally and share information and news about cross-platform projects and ideas.

This month, speakers include:

Joseph Lidster – discussing his work on the transmedia components of Doctor Who and Sherlock
Patrick O’Luanaigh – console-based ARGs and cross-media narrative gaming; nDreams’ vision for the future
Alex Macmillan and Matt Wieteska – on the making of crowd-funded fitness app Zombies, Run!
Chair: Rachel Clarke works in social media and is one of the organisers of Gamecamp London.

Friday 10th February, 18.45pm: And The Winner is….BAFTA Nominated Short Films And Short Animations Screening
BAFTA, 195 Piccadilly

Celebrate the UK’s talented crop of new filmmaking talent with a programme featuring all of the 2012 short and short animation nominees ahead of the Film Awards. Join us for a screening of all of the films followed by a Q&A with most of the film teams.

Saturday 11th February, 16.00pm: The Guardian Gamesblog Indie Social
BAFTA, 195 Piccadilly

Come and meet the brightest stars of UK indie games development, find out about creating games on mobile and consoles, plus play on the PS Vita ahead of its retail release!

To celebrate the rise of indie gaming, the Guardian has teamed up with BAFTA to host a special event dedicated to sampling new projects from independent developers across the UK. Studios including Mode 7, responsible for the award-winning Frozen Synapse, and HoneySlug, developing PS Vita launch title Frobisher Says (pictured here), will be on hand to demo their games, and discuss the challenges and opportunities of developing in the indie sector. Sony will also be showing off the PS Vita and offering attendees a hands-on look at the console ahead of its UK launch.

This is an amazing chance for fans of independent games to meet with stars of the UK scene and play lots of astonishing titles. It’ll also be a chance for burgeoning iOS, Android and console developers to get some advice on creating and distributing games.

Monday 20th February, 18.45pm: Games Question Time In association with Gamesindustry.biz
BAFTA, 195 Piccadilly

Your chance to ask a range of experts about the issues affecting our rapidly-evolving industry. Confirmed panellists include:

David Braben – founder and chairman of BAFTA-nominated Cambridge developer Frontier, and trustee of the Raspberry Pi Foundation producing accessible, programmable computers for $25.

Jason Kingsley – co-founder, CEO and Creative Director of Rebellion, developers of the BAFTA-nominated Alien Vs Predator and Rogue Trooper games, owner-publishers of the long-running sci-fi comic 2000AD, and genre book publisher Abaddon and Solaris books.

Dr Jo Twist – CEO of UKIE, the Association for UK Interactive Entertainment. Jo was previously Channel 4 Commissioning Editor for Education, overseeing a range of games projects including the BAFTA-winning Privates

Monday 27th February, 10.00am, Breakfast with TV’s Controllers: Janice Hadlow
BAFTA, 195 Piccadilly

BAFTA continues our series of ‘Breakfasts with’ the major channel controllers with BBC Two’s Janice Hadlow.

2011 has seen BBC Two become the ‘home of original British drama’ showcasing acclaimed, sophisticated and emotive pieces including The Hour, The Crimson Petal and The White, The Shadow Line as well as last year’s BAFTA award winning Eric and Ernie. The Channel’s genre defining factual output continues to be a jewel in its crown, winning BAFTA awards for Wonders of the Solar System and Welcome to Lagos. BBC Two has also experimented with live events like Lambing Live and World Book Night as well as growing new talent including Mary Beard, Lorraine Pascale and Brian Cox. BBC Two continues to produce hit comedies such as Rev, with series three of Miranda moving over to BBC One this year. Ambitious factual, drama and comedy appeared to be at the core of the channel’s identity in 2011, so how is Janice looking to shape BBC Two’s schedule and identity moving forward? We’ll be finding out what Janice is looking for across the genres – come and hear where the opportunities lie and how you can be part of the picture.

MORE INFO:
Bafta

Welcome to Casting Call. In this series I’ll be taking a look at the people who, arguably, most profoundly and most visibly effect our response to cinema; the actors. Each week I’ll profile and look at the career of an actor from one of the week’s cinema, blu ray or dvd releases, and discuss several of their films and performances.

Name: George Timothy Clooney
Date of Birth: May 6th, 1961
Family: Mother Nina, Father Nick (a TV newscaster), Sister Adelia, Aunt Rosemeary Clooney
First Film: Return to Horror High (1987)
Most Recent Film: The Descendants (2012)
Next Film: Gravity

George Clooney’s career is probably one of those you think of as the archetypal true Hollywood story: a hell of a lot of work and a little well placed luck. He made a small start as an extra in a mini-series called Centennial, which was shot in his home town in Kentucky, then plugged away for years auditioning, taking guest roles in tiny TV shows (and a larger role in prophetically titled TV comedy E/R), and small parts in films that now largely survive because he took small parts in them (Combat Academy, Return of the Killer Tomatoes).

1994 was the year that Clooney was finally noticed (it might have been 1992, but despite auditioning multiple times for Ridley Scott he missed out on the role of JD in Thelma and Louise), when his prominent part in NBC’s hit drama ER catapulted him to fame. He played Dr Doug Ross, an idealistic and often irresponsible pediatrician, on the show for five years, and cemented both a fanbase and the lovably roughish persona that has become something of a trademark since. ER didn’t lead on to bigger things for all of its cast, but it did help the charismatic Clooney launch a film career, and right from the off he seemed willing to mix the commercial with the riskier projects.

In 1996, Clooney took his first post ER steps in cinema with an odd pair of films. First came the Tarantino penned, Rodriguez directed, ultra violent crime/horror hybrid From Dusk Till Dawn. He’s perfetly cast here; a total bastard, but one you simply can’t hate, and he chomps on Tarantino’s dialogue as well as anyone (and sports one of the movies cooler tattoos). Then there was One Fine Day; an utterly formulaic rom-com opposite Michelle Pfeiffer, which did well, but neither star’s nuclear powered charm could overcome an uninspired screenplay. The less said about 1997 the better. Clooney made a solidly uninspired actioner called The Peacemaker with prolific ER director Mimi Leder and, aside from voicing a gay dog in South Park: Bigger, Longer and Uncut, that would count as the high point of his cinematic year.

This appears to have been the tipping point, and since then Clooney has used his more commercial films to allow him to do passion projects, first for other filmmakers and latterly as a writer and director himself. Out of Sight wasn’t a commercial juggernaut, but it gave both Clooney and director Steven Soderbergh the careers they have now (as well as being a highly entertaining and extremely well made crime movie) and the subsequent Oceans series meant Clooney had the freedom to carve out a directorial career built largely on more esoteric fare like political dramas Good Night and Good Luck and The Ides of March (his one attempt at a crowdpleaser; screwball throwback Leatherheads was recieved derisively by critics and punters alike).

While Clooney’s Cary Grant like qualities have been much observed, they haven’t pigeonholed him as they did Grant, and he’s developed into an actor of considerable subtlety and distinction. Yes he sometimes coasts on charm (and even smarm… see the Oceans films), but he’s also shown great willingness to spoof his image (particularly in his work with the Coen brothers) and to dent it (playing rather less sypmathetic characters in the likes of Up in the Air and The Ides of March).

Outside of his acting, Clooney manages to strike a good balance; he largely stays out of the tabloids and keeps his private life private, but he’s also used his status to talk about his liberal politics and has been a willing (and reliably witty) interviewee. He’s already won one Oscar (for Syriana, which I found deathly dull, but the fact he gained a lot of weight and grew a big grey beard seems to have swayed the Academy) and you could do worse than bet on him this year for The Descendants, which contains one of his best and most complex performances. Now approaching his 51st birthday, Clooney is moving into what should be a very rewarding period for a strong character actor.

Best Film: Michael Clayton (2007)

Much is wrong with the current version of the Hollywood star system (see the inexplicable career of Katherine Heigl, the world’s least charming actress), but Clooney has used it to his advantage and without the Oceans films it’s tough to imagine that this intelligent, adult, throwback of a thriller would have been made.

Michael Clayton sees Clooney as a fixer for a law firm, who has a particularly difficult week when the litigator (Tom Wilkinson) defending a big company against a huge class action suit has a meltdown in a deposition. As well as dealing with this, Clayton has a loan shark breathing down his neck for $75,000. There are a couple of explosions, but this thriller largely gets its tension and its release from dialogue scenes.

Clayton is ostensibly the hero of the film, and he eventually does the right thing, but he’s hardly a particularly sympathetic character; we know he’s got 17 years of shady deals behind him, and for a long time he doesn’t care about the ethics of the defence of this class action suit, nor is he much of a parent. Clooney, though, makes him totally compelling, without ever asking for sympathy for they character he does create a degree of empathy for him as he goes on what, to be fair, is a rather small moral journey. Clooney’s unshakable charisma is brilliantly exploited; you buy him as a man who is used to talking his and other people’s way out of anything under the sun, and that’s what makes the thriller element of Michael Clayton tick, what gives it traction, because if he can’t talk his way out of them then these must be very serious situations indeed.

There are only a handful of recognisable faces in the film, but even the small roles are extremely well played, and the supporting cast is exceptional. Tilda Swinton won an Oscar for her performance as the head lawyer for the company being sued. It’s a small part, but right from the first moment we see her, practising her lines for an interview, we know exactly who this woman is; we see her success, but also her terror of getting things wrong, which increases the deeper she gets into using extreme methods to right this dangerous situation for the company. If anything Tom Wilkinson is better, and for a long time you’re as unable to tell as Clayton is whether his meltdown is due to a newfound conviction or going off his manic depression meds.

Michael Clayton is a terrific throwback to the 70′s in in tone, genre and style. I’m not certain it’s Clooney’s best performance (that may be in The Descendants), but it’s definitely his best overall film to date.
See Also: The Descendants; O Brother, Where Art Thou?

Hidden Gem: Three Kings (1999)

Clooney doesn’t really have a typical kind of hidden gem. There’s not a secret classic lurking in his pre-fame CV, nor an unwarranted flop that needs rehabilitating (I can see a few of you arguing for The Men Who Stare At Goats, but… no), and most of his successes have been well known. Three Kings, however, still doesn’t seem to have gone truly mainstream. It has a cult following – a large one indeed – but it’s still an oddball movie that I’d love to see acknowledged as the minor modern classic it is.

If anything, David O’Russell’s comedy/heist/war movie is even more interesting than it was when released in 1999, as we can now look at it, as well as through the spectrum of the first Gulf War, in which it is set, through the second. However, the film’s mind isn’t entirely on the loftier ideas present (though they are an integral part of the film) as O’Russell mixes action and comedy (often in the same moment – the cow) to fine genre bending effect.

The cast is eclectic; Clooney, Mark Wahlberg, Ice Cube, Spike Jonze and Said Taghmaoui all excel and while Clooney always holds the attention when he’s on screen it is probably Taghmaoui who emerges as the most complex character, and is most interesting in terms of the film’s politics. The reason Three Kings really succeeds for me is that though David O’Russell essentially made 3 movies here they are all individually excellent and entertaining, and they meld into a convincing whole. It may have been a nightmare to make (Clooney says it was the worst experience of his life) but it’s fantastic to watch.

One to Miss: Batman and Robin (1997)

It’s not like Clooney hasn’t made other crappy films, and I know this is the expected choice. But DEAR HOLY GOD is it bad. The really annoying thing is that casting Clooney as Batman isn’t a bad idea (though it’s not the first superhero you’d think of him for, that’s Mr Fantastic), and if he’d had a director and a screenwriter who understood the character then he and the film might have been really great. Unfortunately, Batman and Robin was a bloated neon mess, shorn of even the few moments of darkness that Batman Forever had, with the traditionally dark Gotham City decked out in neon and a screenplay composed entirely of the worst puns in the history of the world.

Batman always played second fiddle to his villains in the films, but the terrible threesome of Mr Freeze (Arnold Schwarzenegger’s single worst performance), Poison Ivy(Uma Thurman’s own wooden spoon) and an hilariously botched Bane ate up most of the running time between them and were laughably unthreatening. And then there’s the small matter of the Bat Credit Card… but I think that’s been covered elsewhere.

Batman and Robin is an apocalyptically terrible film, it destroyed its parent franchise (one of Warner Brothers’ most lucrative, even then, contrary to popular belief this was no flop) for the best part of a decade, and it could easily have killed Clooney’s burgeoning film career, were it not for Out of Sight.
See Also: One Fine Day, The Peacemaker, Leatherheads

Tyrannosaur is a brutal account of one man’s constant battle with the rage that consumes his life. Joseph, an alcoholic widower, is shown committing a series of violent acts which lead to an even greater sense of loneliness within him. His only solace comes in the form of Hannah, a religious charity shop worker, who also needs a shoulder to cry on. The film is Paddy Considine’s first feature film which is an extended version of a short he made with the same basic plot called ‘Dog Altogether’ (this film is also included on the DVD and Blu-ray).

The animalistic nature of violence is a prominent theme in Tyrannosaur. The title itself references primitivism and the use of dogs within the film also gives the impression that the characters behave like animals. Considine captures these moments of madness admirably in his work and the story is as gritty as it can possibly be – sometimes delving so far into the depths of the unpleasant it is almost too much to take. Peter Mullan’s deep, gravelly voice accompanies the coarseness of the film as a whole. The primitive nature of all the characters is particularly present in their verbal communication which is often as basic as their need to settle all disputes violently. However, Hannah’s polite nature is also punished when the film shifts its focus to the troubles she faces within her own life. It seems there is no escape within Considine’s brutal world.

Occasionally, it’s a little heavy-handed. Joseph’s breakdown after Hannah says a prayer for him makes the film seem a little too self-aware for a brief second. But the basic message that violence will only lead to more violence is prominent and true throughout. Considine lets us sit and watch Joseph’s anger boiling underneath him and the release or infrequent suppression of this; in a similar way to Yang Ik-joon’s ‘Breathless’.

Olivia Colman’s performance is brilliant – as she flits from a shy, submissive woman to a blubbering wreck on cue. And Peter Mullan gives a subtler performance but is equally as effective in portraying the right balance of emotions. Considine has expressed in interviews that his basic aim was to make a love story between Hannah and Joseph. This idea does, however, seem a little weak in the film as a whole and the characters never seem to be implied as any more than just friends. This statement also seems odd considering the constant focus on them as individuals. Nevertheless, Joseph’s losses of friends and relatives in his life give the story enough drive to make a relationship believable between two utterly broken people.

The DVD and Blu-ray also include the short film ‘Dog Altogether’ which is the original story of Joseph and plays out as a condensed version of Tyrannosaur. The focus within the short is just on Joseph and not Hannah but is equally as good. The opening of the short is also more hard-hitting than the opening to the film because there is a much more emotional moment between Joseph and his dog.

Tyrannosaur is an effective study on the nature of violence. And even if at times it tries a little too hard, it delivers some truly shocking moments; a worthy first feature-length film from Paddy Considine.

Released on 6th February.

Extras:
- ‘The Making of Tyrannosaur’ booklet
- ‘Dog Altogether’ short film
- Deleted Scenes
- Stills Gallery
- Trailer
- Audio Commentary with Paddy Considine

Returning back to top form, Woody Allen’s Midnight in Paris is an enchanting and well-crafted romantic comedy which ponders whether nostalgia is all what it’s cracked up to be.

It follows Gil (Owen Wilson) and Inez (Rachel McAdams) , a young engaged couple on a visit to Paris. Whilst Inez spends her days with a very pedantic couple (Michael Sheen and Nina Arianda), Gil spends his time working on his novel. Soon Gil discovers that at midnight a car arrives which can whisk him away to the past. There he meets all of his literary heroes and begins to fall for the beautiful Adriana (Marion Cotillard). This causes him to become torn between the past and the present as he ponders over what he really wants in life.

After the last few misfires, Midnight In Paris certainly marks Allen’s comeback. Unlike his most recent efforts he refrains from using the dead pan voice over and instead creates an engaging protagonist in the shape of Gil. Owen Wilson is the perfect Allen lead, filled with self-doubt but exuding a natural charm. Whilst not being as compelling as if a younger Woody Allen had taken the role, Wilson is surely the next best thing radiating a certain vulnerability and charisma.

For Woody Allen fans seeing any of his works is like meeting up with an old friend, but Midnight In Paris’s charm extends to a far wider audience. This is thanks to the well rounded cast but also due to Allen’s move from his last few cynical offerings to something far more upbeat, celebrating the joys of love rather than criminalising it. In many respects Midnight In Paris shares much in common with his earlier work with the nostalgic elements of Radio Days and the fantasy elements of A Midsummer Night’s Sex Comedy.

The frequent references to high art and culture certainly alludes to the fact Allen makes ‘grown up’ films which are so refreshing in an age where the local multiplex is cramped full of mind numbing blockbusters and flat romantic comedies. Whilst not everyone will necessarily ‘get’ jokes surrounding Dali and the FitzGeralds, the film certainly sparks an interest about that period, educating and entertaining.

Without a doubt Midnight In Paris was one of the top films of 2011, an intelligent and magical comedy which is a must see for anyone passionate about cinema.

Released on DVD and Blu-Ray on February 6th 2012

Andrew Logan. British Artist. Living legend. And creator of the anarchic and utterly outrageous Alternative Miss World Show, a spectacular costume pageant and fancy dress party for grown ups. In The British Guide to Showing Off, director Jes Benstock takes us under Logan’s glittering wing to take an joyous look at this most quirky and exotic subculture event.

Courtesy of our friends at Verve Pictures, we have 3 copies to give away on DVD.

To count yourself with a chance of winning, join us on facebook then just send us an email with your name, contact details and the answer to this simple question:

In which year did Grayson Perry win the Turner Prize?

a) 1999
b) 2003
c) 2005

Closing Date: Monday 6th Februay 2012, 5pm

Email you answer to competitions@frontrowreviews.co.uk Good luck!

View our competition Terms and Conditions

Director: Johnny Daukes
Starring: Deborah Besana, Elspeth Brodie and Peter Brown
UK Release Date: 27/01/12