Talking Movies

April 28, 2019

Keanu Reeves at the Lighthouse

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The Lighthouse cinema is gearing up for something called Keanurama, a whole season of films starring the inimitable Keanu Reeves. Talking Movies‘ reaction to this news could only be captured by one word – whoa.

There is a veritable feast of Keanu Reeves on offer here, from his team-ups with Winona Ryder in Bram Stoker’s Dracula, A Scanner Darkly and Destination Wedding to his 1990s-defining action movies Point Break and Speed, from his indie classics River’s Edge and My Own Private Idaho to his mainstream hits Parenthood and Devil’s Advocate, from his original breakthrough Bill & Ted movies to his recent John Wick comeback trilogy.

John Wick & John Wick: Chapter 2 DOUBLE BILL

May 10th

Keanu had three movies (Henry’s Crime, Generation Um…, Man of Tai Chi) that didn’t make Irish cinemas but made one hell of a comeback as the principled hit-man universally beloved in the hit-community, the larger underworld, and the small town he retired to. Keanu’s stunt-work was an endearing mix of fluency and occasional rustiness, and he made us love Wick as he rampaged after the mobsters who killed his puppy. The flabby sequel expanded the Man from UNCLE-like Continental universe too much, but featured some memorable fights; especially the Wellesian throwdown with Ruby Rose.

Destination Wedding

May 10th

Fellows 1990s icon and latterly cinematic exile Winona Ryder made her great comeback in Stranger Things in 2016 so it was only fitting that she would reunite for a third time with Keanu in this 2018 rom-com by Mad About You writer /director Victor Levin about two misanthropes travelling to a hopelessly pretentious destination wedding and being lumbered with each other there. In a curious twist it seems that this film, just like 2017’s similarly themed rom-com Table 19 about the people you invite to weddings and seat far away to avoid them, hides some very formalist experimentation behind innocuous trappings.

Bram Stoker’s Dracula

May 10th

Keanu and Winona’s first film together saw them gamely battle with cut-glass English accents as married couple Jonathan and Mina Harker for Francis Ford Coppola’s curate’s egg of a horror movie, that aspires to great fidelity to its source text even as screenwriter James V Hart makes sweeping inventions about reincarnated immortal beloveds so that Gary Oldman’s rejuvenating Count can lust over Winona. Roman Coppola rummages thru the Old Hollywood playbook for practical magic, and Sadie Frost and Monica Bellucci go all out for eroticism, but despite an impressive ensemble (including Anthony Hopkins as Van Helsing) this never catches fire.

John Wick: Chapter 3 – Parabellum

May 15th

Legendary hit-man and lover of dogs John Wick is excommunicado, having conducted business on Continental property. Now Ian McShane has given Keanu one hour’s grace in which he must fight his way out of New York with a $14 million contract on his life and every assassin in the Five Boroughs eager to collect. The production photo of a besuited Keanu riding a horse thru NYC has already taken on a life of its own, and we’re promised an equally tantalising samurai sword fight on motorbikes, as well as a detour to Africa with ally Halle Berry.

Speed 35mm

May 25th

Die Hard cinematographer Jan De Bont made an auspicious directorial debut with this high-concept action blockbuster about a mad bomber targeting an LA bus that has to stay above 50mph in a city known for its congestion. The leads Keanu and Sandra Bullock strike sparks, Jeff Daniels and Joe Morton are terrific in support, and Dennis Hopper chews the scenery as the crazed bomber – sorry, he’s not crazy, “poor people are crazy, Jack, I’m eccentric” – delivering witticisms from the pen of Joss Whedon. Mark Mancina’s score is a triumph of urgency and elation as Keanu attempts to save the day.

A Scanner Darkly 35mm

June 1st

Richard Linklater adapted Philip K Dick’s hallucinogenic novel using his favoured animation technique, rotoscoping, to create a uniquely hellish new world in which an undercover cop in a not-too-distant future becomes involved with a dangerous new drug and begins to lose his own identity as a result. Keanu is said cop, and he’s romancing Winona Ryder in their second film together. But she, and indeed everyone else, may not be what they seem as the drugs start to take hold. A pre-Iron Man Robert Downey Jr is very, very funny in his role as a rambling, voluble, paranoid junkie.

Parenthood

June 5th

Director Ron Howard bade farewell to the 1980s with this ensemble comedy led by Steve Martin dealing with his ever-expanding Midwestern American family. The impressive cast includes Dianne Wiest, Mary Steenburgen, Jason Robards, Joaquin Phoenix, and Rick Moranis. Keanu stretches his comedic muscles as Tod, the not too bright but thoroughly amiable boyfriend to Martin’s fiery oldest daughter Julie (Martha Plimpton), a small but memorable turn. It’s tempting to draw a direct line from Keanu’s performance here to that of Reid Ewing as Dylan, the nice but dim boyfriend to the eldest Dunphy daughter in this current decade’s defining sitcom Modern Family.

River’s Edge

June 7th

Keanu and Dennis Hopper co-star again in a far more sombre movie than Speed. A group of high school friends including Keanu, Ione Skye, Crispin Glover, and Roxana Zal must come to terms with the fact that one of their gang, Daniel Roebuck, has unapologetically killed his girlfriend. This look at the private lives of teenagers; their misdemeanours, code of honour, betrayals; consciously courted controversy by basing the grim tale on a real-life occurrence in California. This is one of Keanu’s earliest roles, agonised and soulful, in a haunting and pitch-black 80s teen drama that almost seems to have invited Heathers.

The Devil’s Advocate

June 14th

Keanu’s up and coming Florida lawyer Kevin Lomax accepts a high-powered position at a New York law firm headed by legal shark John Milton (Al Pacino). Meanwhile, Keanu’s wife, Mary Ann (Charlize Theron in her first Hollywood iteration) begins to have frightening hallucinations warping her sense of reality. Kevin quickly learns that his mentor’s life isn’t about simply winning court cases without scruples. Pacino and Connie Nielsen have something far darker in mind. Pacino literally being the Devil in this gaudy thriller featuring creatures by the legendary Rick Baker; he of the lycanthropic transformations in An American Werewolf in London.

My Own Private Idaho

June 18th

Writer/director Gus Van Sant followed up his hit Drugstore Cowboy with a far looser movie featuring one of Keanu’s most nuanced performances and an affecting turn by River Phoenix. This key work of the New Queer Cinema follows two street hustlers, Phoenix’s Mike and Keanu’s Scott, as they embark on a road-trip from Portland, Oregon to Mike’s hometown in Idaho, and then eventually to Rome in search of Mike’s mother.  All the while Scott Favor has no intention of leading this street life forever. Van Sant incorporates Henry IV better than you’d believe possible with Keanu as bisexual Hal.

Bill & Ted’s Excellent Adventure

June 21st

Bill S Preston (Alex Winter) and Ted Theodore Logan (Keanu) are in danger of failing their history final most heinously. This will result in Ted’s disciplinarian cop father sending him to military school. And that would be the end of Wyld Stallyns, the band the pair are trying to make into an MTV sensation despite a total lack of musical ability. It turns out, as Rufus (George Carlin), a dude from the future tells them, it would be the end of the world too. And so comedic time-travelling and borrowing historical figures ensues to ace the history final!

 

Bill & Ted’s Bogus Journey

June 22nd

Keanu’s major sequel problem (John Wick: Chapter 2, The Matrix Reloaded, The Matrix Revolutions, and being blacklisted by 20th Century Fox for passing on Speed 2) began with this bogus journey. William Sadler is sublime as the Grim Reaper, straight out of Ingmar Bergman’s The Seventh Seal, and crummy at Battleship. There is some wonderful set design, but, despite multiple robot versions of our heroes and more time-travelling and time-travel fuzzy logic than you can shake a stick at, this just isn’t as much goofy good-natured fun as its underdog predecessor. Third time’s the charm next year dude?

So first you watch one film with us, and then you watch another film with us, right after?

Bill & Ted DOUBLE BILL

June 23rd

WHOA! Two heads are better than one dude!

“Will you be at this party?” “Definitely.”

Point Break 4th July Party

July 6th

“Vaya Con Dios…”

Point Break

July 11th

Keanu leads this hybrid undercover cop in too deep/surfing/action heist/bromance Point Break with alternately lyrical and muscular direction from Kathryn Bigelow and a script polish by James Cameron. A string of bank robberies in Southern California where the villains disguise themselves as former US presidents sees hot-shot FBI agent and former college football star Johnny Utah (Keanu) assigned the dead-end case and Gary Busey’s gruff veteran. Keanu and Busey realise their crazy theory is correct – these bank-robbers are surfers! Keanu goes undercover, and romances Lori Petty’s surfer while growing closer to the gang’s leader Bodhi (Patrick Swayze). Will he arrest him?

And coming directly after all that is the 20th anniversary re-release of … The Matrix.

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January 9, 2019

Fears: 2019

The Death and Life of John F Donovan

We have waited long,

Too long, for Dolan anglais,

Now we fear for Snow

 

Captain Marvel

Brie Larson arrives

To save the day, 90s day.

Nick Fury’s phone friend

 

Dumbo

Tim Burton is back

Pointless ‘live action’ remake

This will not fly high

 

Avengers: Endgame

Free at last, says Bob.

Downey Jr’s contract’s up!

Snap away, Thanos!

Godzilla: King of Monsters

Um, may not contain

Godzilla… going by last

bait and switch movie

 

Men in Black: International

Thor plays dumb, again

Reunites with Valkyrie

But where is Will Smith?

 

X-Men: Dark Phoenix

It’s X-3 remade,

with little context for Jean,

who cares? C.G.I!

 

The Lion King

Like the classic one

But now CGI drawings

Why not just re-release?…

Once Upon A Time in Hollywood

QT does Manson.

Bad taste abounds, but also

Pitt, Leo, et al

 

New Mutants

Fox does X-horror.

X-Men that is, obscure ones.

They’re affordable

 

It: Chapter Two

They’re all grown up now.

But fear never does grow old.

Yet may be retread?

 

Joker

Phoenix: Mistah J.

Dark take, from Hangover man.

I’m Still Here: Part two?

The Goldfinch

Dickens in New York,

Bret Easton Ellis Vegas,

Tartt’s chameleon.

 

Zombieland 2

Hey, the gang is back!

But what can they do that’s new?

A needless sequel.

 

Terminator: Dark Fate

Arnie’s back. Again.

All save T-2 not canon.

But Linda H back!

 

Kingsman ‘3’

Hasty sequel two-

Except, gasp, it’s a prequel!

So, but still hasty.

The Man Who Killed Don Quixote

Critics applaud, not

because the thing is done well,

but because it’s done.

 

Star Wars: Episode IX

Fans don’t give a damn…

Who to kill off next? Lando?

Money grubbing sham.

 

Little Women

Gerwig’s needless film-

(Winona forever!)

-version seven. Sigh.

August 14, 2018

Heathers: colour me impressed

Heathers is running in the Lighthouse cinema all this week as part of a major 30th anniversary re-release that’s also playing at the BFI Southbank.

“Dear Diary, my teenage angst bullsh*t now has a body-count”. If Ferris Bueller’s Day Off is the teen movie that represents the boundless self-actualising optimism that Ronald Reagan wanted in an America where it was always morning in America, then Heathers was the counter-punch of Generation X cynicism and pessimism. There are three girls called Heather and an adopted member Veronica who rule the corridors of Westerberg High till a betrayal from within leads to a violent disintegration for the in-crowd. A film this biting and such a glorious one-off in the careers of writer Daniel Waters and director Michael Lehmann (who moved into script-doctoring and TV directing respectively) could only have come from deep personal bitterness. Winona Ryder stole Beetlejuice from the grown-ups and Christian Slater did the same in The Name of the Rose before they teamed up. Heathers is that rarity, a teen film with teen leads, who are an electric pairing. Winona lived off her performance as Veronica Sawyer for years and Slater did the same off his portrayal of JD, an inch-perfect impersonation of Jack Nicholson.

All the stock characters are present for this dark trip through American high-school life, which takes place in the pre-Columbine ear as is obvious from the muted reaction to the stunt played by JD in his memorable introduction. The stoners, the jocks: “Hey Ram, doesn’t this cafeteria have a no fags allowed rule? JD: Well, they seem to have an open door policy for assholes though don’t they”. The nerds, the airhead bitches: “God, aren’t they fed yet? Do they even have Thanksgiving in Africa? Veronica: Oh, sure. Pilgrims, Indians… Tator Tots. It’s a real party continent”. The hippie teacher, the deranged principal: “I’ve seen a lot of bullshit… angel dust, switchblades, sexually perverse photographs involving tennis rackets”. But these familiar elements are served up in the most vicious teen comedy ever. Instead of putting up with the ritual social humiliations JD and Veronica, after an initial accidental death, begin killing their enemies and make it look like suicide (courtesy of some underlined meaningful passages in Moby Dick, or in one memorable case simply the enigmatic word ‘Eskimo’.). Comedy doesn’t get much blacker than the interior monologues of the various characters. At the first funeral Heather Duke speaks to God: “I prayed for the death of Heather Chandler many times and I felt bad every time I did it but I kept doing it anyway. Now I know you understood everything. Praise Jesus, Hallelujah”.

Anyone who’s ever been picked on in school knows why Heathers is such a cult classic. This film is almost a proto-Fight Club. Superficially Veronica is happy with her life as one of The Heathers. However secretly she hates it, and herself, and when JD arrives at the school he offers Veronica a violent outlet for all her darkest impulses. She writes in her diary: “Suicide gave Heather depth, Kurt a soul, and Ram a brain. I don’t know what it’s given me, but I have no control over myself when I’m with J.D. Are we going to prom or to hell?” Just like Tyler’s Project Mayhem eventually JD’s plan to blow up the school after sneakily getting a petition for mass-suicide signed by everybody proves too much for Veronica to go along with. JD could be like Camus’ take on the ultimate excesses of nihilism: it is not enough to kill myself, everybody else has to die too. And that’s where Veronica rips up the ticket and gets off the ride, because Generation X were damaged romantics not nihilists. If you thought Mean Girls was the sharpest high-school film ever then you like, so need to watch Heathers. Your reaction should be something along the lines of JD’s legendary final words: “Colour me impressed”.

January 8, 2016

Bret Easton Ellis: Page to Screen

Bret Easton Ellis has written seven books, four have been filmed, and two of those have been set in Los Angeles. And yet they are by far the weakest of the Ellis adaptations… Here’s a teaser of my piece for HeadStuff on those adaptations.

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“I stand back from the unfinished canvas. I realise that I would rather spend my money on drugs than on art supplies” – The Rules of Attraction (novel)

While Hollywood was premiering his debut, mangled to appeal to perceived Reaganised teenagers, Ellis published his sophomore novel The Rules of Attraction, in which the influence of Reaganism is present in the Freshmen wanting a weight room and vetoing Louis Farrakhan as a speaker. Camden College life in the 1985 Fall term is narrated in short vignettes by Sean Bateman, Paul Denton, Lauren Hynde, and some secondary characters. An unreliable picture emerges from their overlapping experiences at parties, cafeteria lunches, hook-ups, classes, and trips to town. Denton narrates a secret affair with Bateman, Bateman narrates a minor friendship with Denton, Bateman and Lauren hook up for a disastrous relationship which both record very differently, and Bateman’s secret admirer (who he thought was Lauren) kills herself when he sleeps with Lauren. STDs and abortions are the frequent price of the casual sex merry-go-round of Camden’s never-ending party, and Lauren pays in full. Ellis’ dialogue is a marvel, with one-liners aplenty in concisely captured conversations, while the trademark pop culture references (everybody is listening to Little Creatures) are married to more nuanced narration. Denton, the most self-aware and self-critical character, eschews auditioning for the Shepard play because his life already is one. Spielberg is memorably critiqued for being secular humanism not rigorous modernism, but mostly these intelligent characters play dumb because excess is what’s expected.

“What does that mean? Know me? Know me? Nobody knows anyone else. Ever. You will never, ever know me” – The Rules of Attraction (film)

Pulp Fiction co-writer Roger Avary adapted and directed the novel, and Ellis dubbed the 2002 film “the one movie that captured my sensibility in a visual and cinematic language.” The rise of independent cinema meant Avary could cast James Van Der Beek as Bateman without bowdlerising the novel. The film is alternately shocking (it opens with the rape of Shannyn Sossamon’s Lauren), hilarious (Denton [Ian Somerhalder] and Dick [Russell Sams] perform an entirely improvised dance to ‘Faith’ in their underwear), and romantic (an extended split-screen sequence shows Bateman and Lauren finally meeting at their Saturday morning tutorial). Avary stylishly plays out the climactic ‘End of the World’ party from three viewpoints before winding back to the start of term, and situates Camden in a temporal twilight zone; with broadband internet but a 1980s soundtrack of The Cure and Erasure. Avary radically changes Lauren’s character, by throwing many of her traits onto loose roommate Lara (Jessica Biel). Lauren is now a virgin, waiting for Victor to return from Europe, whereas in the book she waited on Victor while sleeping with Franklyn. From being a mirror of Bateman, who sleeps with her friend while being in love with Lauren, she becomes a Madonna. There’s no longer an alienated road-trip with Sean ending with an abortion, just as Sean’s affair with Denton is reduced to one split-screen scene implicitly showing Denton’s fantasy. Avary’s changes make more violent and consequential Bateman’s successive breaks with Lauren and Denton, when she tells Bateman he will never know her, and he repeats her lines to Denton. Denton and Lauren’s snowy encounter after the ‘End of the World’ party, scored by Tomandandy with electronic eeriness, becomes a haunting summation: “Doesn’t matter anyway. Not to people like him. Not to people like us.” Lauren’s momentary self-condemnatory thought, unsaid in the novel, is spoken and brings things close to Gatsby’s “careless people … they smashed up things and creatures and then retreated back into their money.”

Click here to read the full piece on HeadStuff.org.

October 2, 2015

9 Days of 90s Horror

Hallowe’en comes to the Lighthouse with 9 days of 90s horror films from 23rd to 31st October culminating in a Scream-themed party before a screening of the late Wes Craven’s third reinvention of horror cinema.

Neve-Campbell-in-Scream-580x435

While the IFI’s Horrorthon unleashes a slew of new genre entries, the Lighthouse will hark back to the 1990s; the origin of the ‘ironic slasher’ sub-genre which was murdered by torture porn, and found-footage, which, like many a horror bogeyman, just won’t die. In association with the Bram Stoker Festival the 90s Vampire strand brings Francis Ford Coppola’s 1992 adaptation of Stoker’s text back to the big screen, placing it beside other 90s vampire movies Blade, From Dusk Till Dawn, and the original iteration of Buffy the Vampire Slayer. The most important film being screened, however, is Scream. Wes Craven redirected the current of horror cinema three times: Last House on the Left, A Nightmare on Elm Street, and Scream. Teamed with razor-sharp screenwriter Kevin Williamson he delivered a totemic movie well worthy of a Scream-themed Hallowe’en night costume party.

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FROM DUSK ‘TILL DAWN

Friday 23rd October 10:30pm

Quentin Tarantino and Robert Rodriguez’s first blood-soaked collaboration is presented in a digital restoration; that won’t make QT happy… A grimy, violent B-movie about a seedy Mexican bar that happens to be crawling with vampires this had its origins in VFX guys wanting a showcase script for their handiwork. So, after some quintessentially Tarantinoesque build-up, with fugitives George Clooney and Tarantino trading taunts and riffs with their hostages Harvey Keitel and Juliette Lewis, Rodriguez’s aesthetic takes over: Salma Hayek and energetic mayhem.

blade-frost-confrontation

BLADE I & II – (Double Bill)

Saturday 24th October 9:00pm

Never let a high concept get in the way of a good double bill! Guillermo Del Toro’s 2002 sequel sees humans and vampires form an uneasy alliance to defeat the mutated vampires known as ‘Reapers’, who threaten to infect and/or eat everyone. But first we have to see Wesley Snipes’ vampire superhero take down Stephen Dorff, with some help from Kris Kristofferson, in the 1998 debut of the ‘Daywalker’. All together now: “Some motherf****** are always trying to ice-skate uphill.”

donald-sutherland-and-buffy-the-vampire-slayer-gallery

BUFFY THE VAMPIRE SLAYER

Sunday 25th October 10:30pm

Nothing bad is ever Joss Whedon’s fault. That trope began here. His script for this 1992 teen comedy was apparently neutered in production, leading Whedon to dream it all up again for TV; where, even as show-runner, season 4 was also somehow not his fault. Buffy’s cinematic origin story isn’t a patch on the TV development, and, while Donald Sutherland’s Watcher and Rutger Hauer’s Master Vampire add class to proceedings, this is more interesting as a time capsule (Look! It’s Luke Perry!).

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BRAM STOKER’S DRACULA

Monday 26th October 3:30pm

Director Francis Ford Coppola’s screenplay differs wildly from Stoker’s book. Coppola fixated on a ‘true love never dies’ doppelganger love story between Gary Oldman’s Count and Winona Ryder’s Mina Murray, that shaped Jonathan Rhys-Meyers’ recent steam-punk TV adaptation. Cast adrift amidst outré sets that bellow their obvious artifice, Anthony Hopkins as Van Helsing and Keanu Reeves as Jonathan Harker try to ground things, but the best verdict remains Winona Ryder’s acidic “I deserved an Oscar for the job I did promoting that movie…”

Silence

SILENCE OF THE LAMBS – (Cinema Book Club)

Tuesday 27th October 8.00pm

The Halloween edition of the Lighthouse’s Cinema Book Club is Jonathan Demme’s film of Thomas Harris’ best-selling chiller. Harris’ universe has been thoroughly mined, most recently in Bryan Fuller’s hallucinatory series Hannibal, but this 1991 Oscar-winner was the breakthrough adaptation. Jodie Foster’s FBI rookie Clarice Starling and Anthony Hopkins’ imprisoned cannibal Hannibal Lecter are indelible performances. It’s become fashionable to disparage this in favour of Manhunter, but there’s a reason few people ever saw Brian Cox as Hannibal Lecter…

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THE BLAIR WITCH PROJECT

Wednesday 28th October 8.30pm

The greatest horror producer of the 21st century Jason Blum passed on this at Sundance, and has been kicking himself ever since. Some people at early screenings in 1999 thought that this was real; giving its unnerving ending enough power to create a buzz that made it a sensation. It wasn’t real. It was, however, the moment where found-footage horror stomped into the multiplex and declared it would never leave, all because of an unsettling walk in the woods in Burkettsville, Maryland.

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WES CRAVEN’S NEW NIGHTMARE

Thursday 29th October 8.30pm

Wes Craven wrote and directed this late meta-instalment in the franchise he had kicked off with his original vision of Freddy Kreuger. Heather Langenkamp, Nancy in 1984’s Nightmare on Elm Street, plays herself; plagued by dreams of a Freddy Kreuger far darker than the one portrayed by her good friend Robert Englund. Featuring cameos from several of the original cast and crew Craven produces a postmodern musing on what happens when artists create fictions that take on a life of their own.

Candyman-TONY-Todd

CANDYMAN

Friday 30th October 8.30pm

Bernard Rose’s cult classic, an adaptation of genre legend Clive Barker’s The Forbidden, follows a thesis student who is researching urban legends. Unfortunately for him he discovers the terrifying world of ‘Candyman’, the ghost of a murdered artist who is summoned by anyone foolish to say his name out loud into a mirror five times. Masterfully made, still absolutely terrifying, and the reason we all cheer whenever Tony Todd makes a cameo ever since, this also features the unlikely bonus of a Philip Glass score.

HOCUS POCUS, Kathy Najimy, Bette Midler, Sarah Jessica Parker, 1993

HOCUS POCUS, Kathy Najimy, Bette Midler, Sarah Jessica Parker, 1993

HOCUS POCUS

Saturday 31st October 3.00pm

A token film for the kids is 1992’s Hocus Pocus. Why the misfiring hi-jinks of Bette Midler, Sarah Jessica Parker, and Kathy Najimy’s trio of Salem witches is perennially on TV is a mystery, but to present it as the essential kids’ Hallowe’en film is an enigma wrapped inside a riddle. Especially when Nicolas Roeg’s film of Roald Dahl’s The Witches, starring a scary Anjelica Huston as the Grand High Witch, dates from 1990…

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SCREAM I & II – (Double Bill & Party)

Saturday 31st October 9.30pm.

Neve Campbell confidently carries this 1996 classic, a blackly hilarious self-aware dissection of slasher clichés which is also a brilliant slasher filled with tense sequences. Williamson’s delicious dialogue (“Movies don’t create psychos, they just make psychos more creative…”) is brought to memorable life by an ensemble on truly top form, with star-making turns from Jamie Kennedy, David Arquette, Rose McGowan, and Skeet Ulrich. 1997’s sequel isn’t quite as good, but Kevin Williamson’s dialogue remains a joy, there are some nail-biting moments, it’s as subversively self-aware as 22 Jump Street of its sequel status, and uses Timothy Olyphant, Sarah Michelle Gellar, Jerry O’Connell, and David Warner to great effect.

‘9 Days of 90s horror’ ends with a Scream-themed Hallowe’en party preceding the Scream double bill, beginning at 8pm. Dress as your favourite 90s horror icon and enjoy the ironically-named cocktails, soundtrack of 90s hits, and general japery all related to Wes Craven’s classic slasher.

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TICKETS FOR 90S VAMPIRE FILMS:

http://www.lighthousecinema.ie/newsarticle.php?sec=NEWS&_aid=8323

 

TICKETS FOR 90S HORROR FILMS:

http://www.lighthousecinema.ie/newsarticle.php?sec=NEWS&_aid=8455

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