Joseph Gilgun Network

Joseph Gilgun Network

Welcome to Joseph Gilgun Network! You may know Joe from This Is England, Misfits and more. You can catch Joe appearing in upcoming titles such as Pride, This Is England '90 and Enemy of Man. Here you will find all the latest news/updates on Joe's career, a comprehensive photo gallery and don't forget to check out our growing video archive. Enjoy your stay!

It sometimes feels that the British film industry only makes about three or four different kinds of movies: dreadful gangster films that rarely get a release abroad, gritty social realism pictures, period costume dramas, and semi-quirky comedies with a tearjerking side, exemplified by something like “Billy Elliot” or “The Full Monty,” but more often turning out like “Calendar Girls” or “Song For Marion.”

The latter category might be the most dispiriting of them all, and it’s the category that “Pride” initially seemed to be fitting into. The film, directed by acclaimed theater director Matthew Warchus (who just this week was appointed Kevin Spacey’s successor as the artistic director of the Old Vic Theater in London), has that mix of social issues drama, culture clash, old people doing unlikely things, and Bill Nighy that so often proves a middlebrow crowd-pleaser. But we figured there had to be a reason it had been picked to close the Directors’ Fortnight section at Cannes, and indeed there was: it’s a really, really good example of the genre, perhaps the best and most moving since “Billy Elliot.”

It shares one major element with that film: it centers around the 1984 miners strike, where the coal miners stopped work for almost a year in an (ultimately unsuccessful) attempt to stop Margaret Thatcher’s attempt to close down the pits. That’s not where we start, though. We begin as Mark (Ben Schnetzer), a confident Northern Irish social activist, and Joe (rising star George MacKay), a shy, closeted suburban kid, head to the gay pride march in London. Joe meets Max’s pal Mike (Joseph Gilgun, from “This Is England”) at the march, and becomes fast friends with them.

Matthew Warchus turns an inspirational true story of Thatcher-era community activism into a deft crowdpleaser. The true tale of how two very different communities came together in London and Wales during the lengthy U.K. miners’ strike of 1984-5 makes for an irresistible crowdpleaser in “Pride,” the sophomore feature from garlanded British theater director Matthew Warchus. The story of the little-remembered Lesbians and Gays Support the Miners movement (LGSM) plays so many inspirational, feel-good notes, the only real surprise is that it’s taken three decades to be unearthed for cinematic purposes. Word of mouth could easily propel the comedy-drama to positively sinful success, especially in its home market, Blighty.

The U.K. has a history of mining gold from stories of personal growth rooted in traditional communities, notably the fictional “The Full Monty” and “Billy Elliot,” and it’s this tradition that has brought forth “Pride,” the first produced feature script by actor Stephen Beresford. And he has found commercially astute collaborators in Warchus and debuting producer David Livingstone, who for many years orchestrated the marketing campaigns for Universal-owned, London-based hitmakers Working Title (of the Richard Curtis canon).

The action begins in June 1984 at the London Gay Pride march. Suburban, closeted, 20-year-old trainee chef Joe (George MacKay, here playing the film’s principal invented character) nervously joins the throng, and is swept up by a politicized group of friends who continue the party at the Gay’s the Word bookstore near Russell Square. It’s here that LGSM is born, led by charismatic Northern Irishman Mark (U.S.-born, U.K.-trained Ben Schnetzer, “The Book Thief”) and Northern English leftie Mike (Joseph Gilgun), with support from a diverse group including bookstore owner Gethin (Andrew Scott), flamboyant actor Jonathan (Dominic West) and the feisty Steph (Faye Marsay), who at this point remains the token lesbian. Asked why they should support homophobic miners, Mark reminds everyone that they share a common alliance of enemies: prime minister Margaret Thatcher, the police and the right-wing tabloid press.

 When Series 3 of the British science fiction comedy drama Misfits came to an end this time last year, it was difficult to imagine what could happen next and which characters would even return if the series were to continue. With the revelation that most of the cast would not be reprising their roles in this new series, and that the series would instead be led by original member Curtis (Nathan Stewart-Jarrett), recent additions Rudy (Joseph Gilgun) and Seth (Matthew McNulty), and new characters Jess (Karla Crome) and Finn (Nathan McMullen), it could either pick up quite suitably, or, more than likely, could go completely downhill. Fortunately, whilst the series will never be as good without its original cast members together, it worked out quite well.

After the death of Alisha (Antonia Thomas) and Simon (Iwan Rheon) and with Kelly (Lauren Socha) running off to Africa, Series 4 picks up with this newly reformed group of young offenders who have been sentenced to work in a community service programme together, each with an individual supernatural power which they were left with after a strange electrical storm that took place in Series 1.

Now, also joined by outcast Abbey (Natasha O’Keeffe) and barman Alex (Matt Stokoe), the group are faced with a new and intense probation worker (Shaun Dooley), even more zombies, a genital-stealing transsexual, a nun who can summon the four horseman of the apocalypse, and a suit-wearing bunny yielding a baseball bat. And there we were thinking it couldn’t go anywhere else.

Written by Sam Liefer and Ben Edwards under the direction of lead writer Howard Overman (Merlin, Vexed), Misfits has always been a show known for its explicit language, constant sexual innuendoes, occasional bloody violence, and its generally messed up set of characters who manage to make us laugh for whole episodes at a time. Fortunately, all of this remains, as the script continues to come off quite fresh with jokes avoiding any over-use, and the whole premise of the show upholds its originality.

Although none of the original cast members remain by the end of this new series, the new characters that we come to know certainly do a fairly decent job of replacing them and keeping old fans engaged. Joseph Gilgun’s Rudy is constantly hilarious, Nathan McMullen’s Finn is always awkward but often sweet, and Karla Crome’s Jess is a bit like Alisha and Kelly mixed together, though her character does become far too moody to really care about by the end.

It’s Gilgun’s character, Rudy, who remains the show’s strongest element, though. The This Is England star successfully holds the group, and the new series, together, stretching out from his confined misogynistic role with a story evolved around a third Rudy and also the possibility of love. His talents are really able to shine in this series, giving somewhat emotional performances that always manage to provoke an audience reaction in some way.

An aspect that seems to take a back-seat in this new series, however, is the powers of the ‘Misfits’ themselves. Finn never really experiments with his telekinetic power, although we know that one day he will be able to do something great with it, Jess only uses her X-ray vision a number of times, and we are yet to know if Abbey and Alex even have their own, although there are stories around how they have each been effected by a power in some other way.
It has certainly been a series of a progressive transition, but by doing a great job of letting us to get to know the new characters individually and successfully setting up their new relationships, it seems to find itself towards the end. Now that a fifth series has officially been commissioned, as well, we can hope to see the gang explore their powers more from here.

As we are left on quite an exciting cliff hanger, the new series definitely leaves us with promise. It might not have been as good as it used to be but it is still pretty good, and there’s certainly much to look forward to with Series 5 already.

As Rudy puts it himself, Series 4 provides, “New powers, a hint of sexual possibilities, tears, laughter, horribly graphic violence, oh man mutilated testicles, haha yes. Something for the whole family.” And if that’s not enough to tempt you, then I don’t know what is.

Misfits Series 4 is available on DVD and Blu-ray now.

Source (HeyUGuys.Co.Uk)

ripperstreetbbconeThis week’s Ripper Street plays out like a post-watershed Oliver Twist. Here’s Jamie-Lee’s review…

This review contains spoilers.

1.2 In My Protection

Imagine your worst nightmare: a plague of zombies, an infestation of giant spiders under the bed, or a massive scratch on your limited edition The Dark Knight Rises Blu-ray … Now try and fathom something far more evil and you will have a vague idea of the level of depravity that the second episode of Ripper Street approaches. That’s right. Last week, it was Victorian snuff movies. This week, it’s Children Who Kill. And how. Think Oliver Twist, if Tarantino had been around offering advice to Dickens during a session in the local ale house, after devouring a year’s worth of penny dreadfuls.

The episode starts with the killing of a toymaker. A fourteen year old boy carrying the dead man’s possessions is brought to the police by a group of vigilantes who seek justice for the streets of London. This group is lead by George Lusk, played by Michael Smiley who, as usual, does not fail to impress. Assuming the role as a voice of the people with lynch mob mentality and the kind with lack of attention to details, he stirs up tension among the public and openly taunts Detective Inspector Reid (Matthew Macfadyen), claiming that he and his force are ineffectual and his mob need to do his job for him. Lusk rallies them to court and seeks the ultimate punishment for the boy, who refuses to neither speak nor deny the charge and is sentenced to death.

Enter Carmichael, played by the phenomenal Joe Gilgun of This is England and Misfits fame to stir things up as Whitechapel’s very own X-rated Fagin. Leading an army of orphan-criminals, he plays the perfect psychopath, demanding respect at all costs. And he’s not merely teaching them to pick a pocket or two. There’s something much darker going on with him.

But Reid is perturbed by the child’s silence, and aided by a concerned lawyer and orphanage governess, decides to get to the bottom of what actually happened and what is currently going on at the hands of Carmichael’s thirst for unyielding subservience, obedience and crime. Oh, and his army of teeny, tiny assassins.

Meanwhile, our American friend Captain Jackson is once more prevailed upon to do work for Reid. First though, he has his own The Hangover-style puzzle to solve in order to retrieve a ring he drunkenly gambled away – a piece of evidence that links he and Susan to their shadowy past.

Woefully underestimating Carmichael, things turn nasty for Susan and Jackson quite quickly. To save their rather attractive criminal hides, Jackson sells out the location of Reid and the boy: the local orphanage. Now this is where things get scary. Really scary. The thing with small children is that they can climb things easily, aren’t scared of falling over as much as adults and haven’t developed a full sense of conscience or consequence. They’re fearless, in other words. Especially when they’ve been trained to be that way. In a bravura piece of television, the orphanage essentially becomes a trap, with it being only a matter of time before the pesky little killers break in through roof windows and tiny spaces.

For an eight-part series, we seem to know very little about the lead characters, which keep the audience guessing and hopefully tuning in. There are hints of their pasts but no blatant explanations. For example, what makes Detective Sergeant Drake the strong and silent type? And what secrets are Jackson and Long Susan running from? More importantly, will that sexual tension ever lead to anything? We’re given a bit more of an insight into the private life of Reid. We’re aware that he’s married, that their relationship is strained and his upper body is horrifically scarred. We learn that his wife has become a Church-goer to find solace due to the loss of their daughter, but we’re not entirely sure if she’s missing or dead. Hence the personal importance of this case to Reid.

Perhaps you might think these ultimate events are described in a somewhat too black and white manner at the end with strained hugging and weepy moments. You might, that is, unless you’ve been scarred by the antics of the killer kids. I won’t lie, I recently watched the film version of The Woman in Black, so I think I’ve got a lot of recovering to do. Sleep tight.

Source (Jamie-Lee Nardone – Den of Geek)

The E4 show’s fourth season bows out on an episode that is more Misfits than anything else we’ve seen this year…

This review contains spoilers.

With series five confirmed for next year, this series finale of Misfits ends with suggestion and promise rather than the emotional climax we were handed last year. There’s madness, death, romance and – finally – powers, and it all adds up to become an episode that is more ‘Misfits’ than anything else we’ve seen this year. The writers haven’t been shy about changing things, and many fans have become disillusioned, but there’s a comforting sense that we’re now settled in for next year’s action. What this episode proves overall, however, is that, without Joseph Gilgun, the show might have been lost forever.

As an episode, this is probably one of the strongest of the year but, might it be too little too late in coming when compared to the quality of previous series? None of the new characters are bad, exactly, but they’re just not as strong of those they’re replacing, who were a big part of the reason Misfits connected with fans in the way it did. Rudy isn’t everyone’s cup of tea, but his stepping in for Nathan last year served to freshen up the dynamic, and replacing four regulars in the space of eight weeks has given series four a haphazard and chaotic feel that has sometimes overwhelmed what’s happening on-screen.

So it’s smart to have the last outing for 2012 a Rudy-centric adventure, as these episodes have proven to be the strongest and bravest since the reboot. He and Nadine are continuing with their complicated love affair, and it’s clear that Rudy cares more about this girl than he has anything, ever. It might be sudden, but completely in character, and there was never doubt in my mind that Rudy would come out of his ordeal a changed man. Let’s just hope the character development masterfully achieved in these forty minutes won’t be jettisoned by next year’s premiere.

This love story is by the far the most compelling and emotionally engaging element of series four, and the fact that it’s coming from such an ordinarily vulgar character just increases the effect. By association, Nadine’s fate somehow had more weight to it than the four new regulars, and the ultimate tragedy too easily distracted from Alex’s similarly bad fortune. The love triangle (now a square after Finn and Abbey’s awkward encounter) has been more miss than hit, just adding to the teen-drama feel that this year’s Misfits has captured, and it means much more to long-time viewers to see Rudy’s ET-ending ruined by power-fuelled misfortune.

The main issue many had with these episodes was the show’s apparent reluctance to remain a sci-fi show. Each week had an issue tied to the storm in some way, sure, but the regular characters rarely used their abilities. This week saw the welcome return of this element, as Jess, Finn and Rudy all used their respective powers in saving the day, and the hour just brought home how much the show had been missing them. Jess and Finn both have classic, simple, powers that are useful without being all-powerful, and the superhero-heavy second and third series are now a distance and much-missed memory.

But now we have to wonder what could happen to Alex, as his new transplanted lung suggests a much more interesting year ahead. We got used to all five central characters having powers, but we’re only three up right now. Abbey, who was more irritating than intriguing this week, probably has a doozy of a secret underneath her cloud of amnesia, and it looks like the fifth series could get back to this status quo quite easily. Finn and Rudy’s comment about using their powers more often felt like a throwaway line designed to quiet uppity viewers, and action speaks louder than words.

As a finale, this was a really good-looking (the four cyclists of the apocalypse looked great), pleasingly genre-infused outing that leads quite nicely into a, hopefully more confident, fifth series. The group are settled in now, even if some are better than others, and the writers have done a great job of transitioning into this soft-reboot without completely losing what made their show so special in the first place. If you abandoned Misfits after Simon and Alisha left, it was probably premature, and there’s still a lot to love about telly’s weirdest superhero show.

Source (Caroline Preece)

A week away from its series 4 finale, Misfits serves up a depressingly throwaway episode…

This review contains spoilers.

After last week’s strong outing, it seems Misfits has been restored to default settings for episode seven, even if none of the elements of this episode make much sense when thrown together. There’s karaoke, there’s a weird sex scene, there’s a sequence where Rudy gets to be naked, there’s a slightly mysterious new member of the gang, and there’s a mystical pregnancy. All of these things are part of the show’s DNA, but apparently make a disappointing hour when not accompanied by a compelling story that ties them together.

We begin with Jess and Alex making a go of things despite his obvious issues, and it looks as though things just might work out for this year’s love birds. Of course, it can’t last, and so desperate is Alex to restore what’s his that he ends up going a little bit mental. Seemingly spurred on by his relationship with Jess, he finally discovers the whereabouts of the thief and goes after them with a gun. Jess finds him just in time, but it looks like getting his manhood back might have been the worst thing to happen for their relationship. Their closing love scene is a creepy show of narcissism that comes as quite a surprise.

Alex is now one of the regular misfits, so my guess is that things won’t stay this way, but his behaviour gives us a good idea of what he was like before the incident. It looks like poor Jess is in for some more heartbreak in next week’s finale, but maybe Finn will be there to pick up the pieces? Obviously meant to be the white knight who saves her in the end, I don’t actually think the two of them are a good match and wouldn’t necessarily want to see them together. Jess is a good enough character to work on her own, with or without the tedious love triangle she’s been dealing with since her introduction.

Rudy has his own lady problems, as Nadine turns up at the community centre for a visit. Meeting her at last week’s party before she mysteriously ran for the hills, this is one mystery we’ll have to wait until next week to properly solve. Its clear romance is blossoming, and I really hope the character development it’s given Rudy isn’t completely forgotten about once the storyline is over, but the course of true love never did run smooth. Nadine is a nun and, from the previews for next week, it looks as if her entire nunnery has been affected by the storm. Evil nuns! That sounds like a great episode.

We’re still not seeing the characters use their powers enough, but Finn does at least manage to spill a cup of tea this week. He does it to help new girl Abby, who it seems doesn’t have any sort of power to call her own, but who has lost her memory instead. That’s a pretty raw deal, but it might help if she at least had some sort of personality. There’s really nothing to go on, except the fact that she’s desperate for a family, and is now a fully-fledged community service worker thanks to Finn’s woolly-headed scheme to keep himself out of trouble. A sub-plot sees a teen mum’s unborn baby transferred to her, but she eventually gives it back with a promise that she’ll take care of it from now on.

Add in an impromptu karaoke number from Greg the probation worker, and it makes a depressingly throwaway episode that there really isn’t any excuse for. Though Abby has potential and I’ve grown to like Alex, Finn and Jess, the dynamic between five losers who don’t really know each other makes for a strangely disconcerting experience every week. The last episode played on this brilliantly, with new information turning each character and relationship into something deeper, but this is almost like a debut season of a new show, and there’s no room for mediocrity.

Source (Caroline Preece)

First thing I’d like to say is, it’s nice to see the group outside of the Community Center for the whole episode (which has never been done in Misfits history). It was a good thing too, because we get to see that not all the bad things in the English world happen around the Community Center. This episode specifically takes place in one apartment building, separated between three rooms.

The story has two main plots once again; The first being Rudy’s (Joseph Gilgun) attempts of getting Finn (Nathan McMullen) to hook up with a girl, and the other is Jess  (Karla Crome) and Alex’s (Matt Stokoe) relationship. In Rudy’s attempt to get Finn some ‘action’, he takes the group to a party at his friend’s apartment building. When they first get there, they enter into an apartment where a wake is being held. Upon entering the real party, the group are exposed to a power that prints the number of sexual partners they have had. Rudy, with a 99 on his head spends his time trying to reach the big 100, as well as to get Finn from a 1 to a 2. There becomes a problem as Rudy leaves the party because he finds a dead girl out in the hall. He runs to Finn and Alex, explaining what he saw, stating ”There is a giant white rabbit, in a suit, and he has a golf club, and he’s out there murdering people!” The rabbit is actually a hallucination brought on by an acid trip mixed with the lightning storm. We also get to see Finn and Rudy being helpful to a girl who passed out in the hallway by putting her in the tub.

There’s also a strain on Jess and Alex’s relationship having to do with unsatisfied (sexual) needs. Viewers were in for a big surprise as we learn why Alex had, at the end of the last episode, been trying to see other men’s genitalia. It turns out that one transgender girl/boy received the power to switch body parts with other people. [S]he did this to Alex, leaving him with her parts. As my sister pointed out while we were watching, this actually makes Jess a lesbian for the time being. This episode also introduces a new member to the Misfits, Abby (Natasha O’Keeffe), who is also the girl Finn and Rudy put in the tub earlier. We don’t know her power, or anything about her past really’ and the only time we saw her, she was slamming back drinks of all kinds.

This weeks episode brought back a Misfit vibe of sex, death, and hilarious jokes in a way that makes fans as happy as they have ever been. The only problem was the lack of superpowers from the main characters. The entire show is about the lightning storm that gave the Misfits superpowers. This season however, the writers don’t seem to be focusing on that as much. Other than that, the episode was great and made a strong comeback from last week’s episode. I can only hope next week’s Misfits is just as good, or even better, than this weeks.

Misfits Episode 6-

Geek Score: 99/100

Check out this weeks episode here on Hulu.

For more information on Misfits, go to the Misfits IMDB page or E4′s Misfits homepage.

Source (GeekSmash.Com)

This week on Misfits, the gang manage to squeeze as much trouble as possible out of posing as models for a group of blind sculptors. Believe it or not, this actually allows ol’ sour puss Curtis (Nathan Stewart-Jarrett) to have a little fun as he does his best to charm pretty blind girl Ally and feuds with horndog Rudy (Joseph Gilgun).

But the majority of episode 4.02’s drama takes place outside the community center. The series four premiere ended on the unsettling revelation that Finn (Nathan McMullen) was apparently a demented kidnapper, keeping a poor girl locked up in his flat. So things get a little awkward this week when a now-homeless Rudy imposes himself on his new chum and becomes an unwanted houseguest…

It eventually transpires that, thank goodness, Finn is not a terrifying freak, but has been corrupted by his gal pal Sadie, who used her power to transform him into the ‘perfect boyfriend’.

Sure, Finn’s efforts to escape her controlling grasp may have been a little extreme to say the least, but you can’t help but sympathize with the poor lad’s plight once you learn the truth and his bizarro relationship starts to unravel.

Both Finn and fellow newbie Jess (Karla Crome) feel a little more real this week. Last Sunday’s series opener was far too manic to get a good handle on either character – with a more traditional, less schizophrenic storyline, this episode gives both McMullen’s cheeky Scouser and Crome’s sarcastic straight-shooter more room to breath.The new group dynamic also feels like it’s taking shape, with Finn in particular having already found his role as the gang’s new punching bag.

While Finn takes the majority of the focus, we also get to see the first crack in Jess’s icy demeanour when she tries to hit on hot barman Alex (Matt Stokoe) and her attempt falls spectacularly flat.

As the newest Misfits cast addition, Stokoe doesn’t get enough screen-time to make any real impact, but introducing a new regular character into the show who’s not part of the community service gang could certainly shake things up and we’re eager to see more of the ‘standoffish’ heartthrob…

The only real bum note in this week’s installment is the quiet, underwritten departure of Seth. Last week, the retired power dealer felt like a spare part – without Kelly, he doesn’t have much of a purpose and it felt like he was being kept around more for familiarity’s sake than anything else.

This week, Seth at least briefly services the plot, but it’s still a rather underwhelming exit for Matthew McNulty’s loveable rogue, who contributed so much to Misfits last year.

But that’s a fairly minor quibble. After last week’s shaky opener, we were worried Misfits had lost its touch, but it seems that was just a temporary glitch. Episode 4.02 goes a long way towards restoring our faith in the show – and after that intriguing ‘Next Time’ trailer with a third Rudy, we’re definitely back on board.

Source (Digital Spy)

The series four Misfits opener reveals a darker show, but still one that fans know and love. Here’s Caroline’s spoiler-free review…

Before getting into this series four opener, I want to acknowledge how monumental a task the Misfits team had on their hands this year. Series three was hampered by one missing cast member in Robert Sheehan, but here there were three, and it must have seemed nigh-on impossible to sort out the mess during the writing stage. As we know, Simon (Iwan Rheon) and Alisha (Antonia Thomas) both departed in last year’s series closer, and news arrived earlier this year that Lauren Socha wouldn’t be returning in the role of Kelly.

Most people are also aware that the show is welcoming three new cast members to fill the gap, with Jess (Karla Crome) and Finn (Nathan McMullen) joining Curtis (Nathan Stewart-Jarrett) and Rudy (Joseph Gilgun) on community service for series four, before the introduction of new character Alex (Matt Stokoe). Based solely on this episode, it’s incredibly hard to judge how well they’ll fit into the regular groove of the show, as this opener does its very best to split perspective fairly equally. Curtis, Rudy and Seth are here as our familiar faces, but Jess and Finn are given enough screen-time to introduce themselves. They’re not major revelations, but there’s an interesting tease in the final moments that intrigues me for what’s to come from at least one of them.

I’ll say next that this is an exceedingly strange episode, and the writers should be praised for not taking the easiest route to a rebooted format. I say the three regulars (though it’s unclear how much Seth will be around this year) are providing our familiar faces, but they’re not quite as we knew them. The show in general seems much, much darker than it’s ever been, even after the episode’s resolution, and the departure of both the show’s love story and main female presence has made an unexpectedly major impact on the tone. Kelly’s absence is explained briefly, but you get the impression that the writers are more interested in getting on with their new start than going over old ground.

That said, the episode doesn’t really set us up for things to come as much as last year’s premiere did, and the rest of the series is still a big unknown when the credits start rolling. It’s an episodic adventure that doesn’t seem as if it will have a huge residual impact plot-wise, but is probably a good indication of where the writers want to take the show. If I’m being honest, that’s a little worrying, since the rising darkness in each character carried over from last year left me kind of unsettled. There is a lot to love about the episode, and I’m eager not to write the series off without considering all of the different elements being brought in, but I’m concerned the light-hearted tone of early Misfits might be left behind.

The show has leaned more towards comedy in the past, with lots of thriller and action conventions thrown in and mixed up, and the overtly humorous episodes often come out as season-bests. There were obviously some laughs in this opener, but there were some over-used jokes from previous series that felt a little tedious and forced. Rudy, for example, is at his irritating best, and those who didn’t like him last year won’t be changing their minds based on this. The story of this episode, and the things that happen in it, are at times thoroughly unpleasant, and humour from an unpleasant person will almost always come across as a bit distasteful.

The whole episode seems designed to unseat long-time fans and I must, again, give credit to the writers for not making it easy for themselves. Viewers probably wouldn’t have been ecstatic with a by-the-numbers or predictable opener, but I reckon we would have understood considering the difficult stage the series was left in. That said, if anyone decides to dip into this episode uninitiated, I’d wager they’ll be a bit confused and more than a little horrified. Playing like an experimental gangster flick, things get quite nasty, and no amount of laboured masturbation jokes can counterbalance the unnerved feeling some of it leaves you with.

None of this means it’d a bad first outing, of course, and it’s the inherent strangeness that somehow makes it undeniably, unmistakingly, Misfits. No one fell in love with the show for its cosy predictability, and so I’m glad they’ve managed to change things up once again without losing sight of what made it so special in the first place. I didn’t love this episode, and found most of it hard to get my head around, but the job of moulding a new ensemble cast has been done all over again with as much grace and confidence as can be expected. It aims to intrigue, rather than excite, but, crucially, remains the same Misfits fans know and love.

Misfits series four begins on E4 on Sunday the 28th of October at 10pm.

Source (Caroline Preece at Den of Geek)

Set in the near future, Lockout follows ex-government agent, Snow (Pearce), who is falsely convicted of espionage and murder, whose one chance at obtaining freedom lies in the dangerous mission of rescuing the President’s daughter (Grace) from the vicious rioting inmates in the outer space maximum security prison, MS-One.
Capturing everything that was great about 80s action movie cinema and updating it with modern-day CGI, Lockout is essentially Die Hard on a space prison. It is not a film to be taken seriously. It is most definitely a throwaway popcorn action flick featuring a wise-cracking hero, gloriously over the top villains and a completely ridiculous premise. In short, it’s awesome!

Guy Pearce, who seems to be carving a niche for himself in sci-fi, what with this and Prometheus, makes for a compelling action hero – his character quips his way through each and every scene as only the best movie badasses can, with each quip seemingly funnier than the last. Meanwhile Maggie Grace who, to be honest, was one of the most unlikeable characters on TV’s Lost, managed to win me over as the President’s kidnapped daughter, holding her own against Pearce’s Snow come the films conclusion. Of the films villains, it’s former Emmerdale actor Joseph Gilgun (aka Eli Dingle) who’s the real standout. His skinny, tattooed and disfigured appearance, married with a frankly twisted performance makes his prisoner one of the creepiest villains to grace the silver screen in quite some time.
Not everything about Lockout was amazing however. Sadly the film is let down by the CGI in some sequences, most notably the motorcycle chase in the films opening; and the CG in final space shoot-out looked like it had stepped out an episode of the 90s TV series Space: Above and Beyond. However poor CG or no, the film makes for a riotous cinematic experience and will no doubt fare much better on DVD and Blu-ray than it did in the cinema – this is the quintessential “beer and pizza” flick and as such will definitely find a place in my collection now it’s available to buy.

Lockout is released on DVD and Blu-ray on Monday August 20th, courtesy of Entertainment in Video

Source (Blogomatic300.Com)