The Secret Life of Pets – Competition

Join Cineworld Rugby in celebrating our fluffy pals and their wagging tails! Send us a picture of your adorable pet and be in with a winning a fantastic bundle of prizes!
The cutest pet will win a photoshoot thanks to Spitfire Photography, a £25 Pets at Home Voucher, and some more goodies!
So send us photos over at Cineworld Rugby Facebook page and we’ll pick winners on Monday!
Get meowing or barking about your pets now!

– Collection from Cineworld Rugby Only
– Winners have to live in Rugby or catchment areas
– The competition is not open to Cineworld Employees
– Competition closes Monday 27th June 11.59pm
– Entry via Facebook only.


1. No spiders

  1. No stairs
  1. Rugby Area Only
  1. WEEKENDS ONLY (Saturday and Sunday)
  1. Photos will be placed onto a memory stick and given to the winner for their own usage such as printing or sharing.
  2. The photoshoot is only for the winner of the competition and their pet

7. Spitfire exercises the right to refuse the photoshoot if any of the terms and conditions are broken

  1. The copyright of all the photos stays with me and no third party (i.e. Cineworld.)
  1. All photographs must be credited and linked to my website when used on social media or public forum.


Open City Documentary Film Festival: The Prison in 12 Landscapes – Review

When you see the word prison in a film’s title, it automatically brings to mind images of violent criminals, claustrophobic cells and monotone colour palettes. Documentarian Brett Story’s latest film, however, eschews all the traditional notions of what one might expect from a prison movie, in favour of an expansive look at the modern day American justice system.

The film takes us across America in twelve distinct segments (the landscapes of the title) and captures both the intrinsic beauty and ugliness the country contains. Through visits to landmark cities such as New York, Detroit and Los Angeles, we see the effect that prison and the modern justice system has had on individuals, their families and their communities.

Visually the film is stunning. Vibrant vistas bursting with colour sear the screen, in one segment involving prison fire crews, nearly very literally. Bustling cityscapes sit alongside these expansive exteriors, helping to ensure that the film remains visually stimulating throughout, even in it’s more sombre, upsetting moments.

The film deals with very emotive, hot button topics, and it does so in a restrained but sympathetic way. The film takes it’s time, initially delivering a series of elegiac visual moments, before building to a much more direct style as we begin to see just how badly the justice system is affecting people.

The film does seem somewhat conflicted in it’s views on prison, however. Overall it paints a picture of a justice system riddled with institutionalised racism and a police force that oozes corruption, but it also shows some positive things to come from time in the clink.

One of the first ex cons we are introduced tells how, through learning to master chess during his sentence, he managed to learn strength of mind and keep himself on the straight and narrow, and residents in particularly gorgeous looking rural Kentucky extol the virtues of a local prison and the jobs it brings to the community.

As the film unfolds though, these positives do begin to be replaced with a depressingly familiar picture of a modern justice system that lacks logic and integrity, one where African-Americans are routinely exploited and heavy handed tactics are used to disperse protests.

The slow pacing does sometimes work to it’s detriment, and certain segments feel unnecessary. An early trip to Detroit focusing on a modern corporation redeveloping the city’s down town area is interesting, but  feels out of place in the wider context of the film, even when compared with another segment showing the race riots of the city in the 60s.

Overall however, the film paints a vivid picture of a modern day America full of both beauty and cruelty. It’s slow pace and somewhat abstract visual style may put some people off, but it is a film that demands to be seen, both for it’s beautiful cinematography and it’s powerful, despairing view of a inherently unfair justice system.


Mechanic 2: Resurrection – Brand New Trailer!

Jason Statham is one of Britain’s greatest action heroes despite the fact that he delivers all his lines in the same gruff tones. Still, we love to see him kick the crap out of people and luckily, we get to see him do so in Mechanic 2: Resurrection.

After leaving his deadly life, disappearing into the nether sphere, the titular protagonist is forced back into commit assassinations after the woman he loves is kidnaped.

Looks it’s really hard to take Jason Statham seriously after watching his frankly impeccable performance as Rick Ford in Spy. Taking this piss out of yourself has repercussions when you try to play a similar character to what you have played before. That being said, the whole opening pool scene made me quiver in my pants so this could be good!


East End Film Festival: A Punter’s Prayer – Review

A Punter’s Prayer looks at a group of lads down the ol cream cookies, in the ‘opes of landing a few squid. But we ain’t talking a couple o’ monkeys ‘ere. Our diamond geezer, Jack (Tommy O’Neill) reckons he can win a cool ‘alf a mil on a treble. Or e’ll get bugger all. While his mates put in their two pennies worth (Yiannis (Andreas Karras) has absolutely no bollocks and chats shit, but Ian (Jamie Crew) is a bit of a boy chancer) obviously word gets round. Before you can say ‘Bob’s you’re Uncle’, Jack’s landed him and his mates right in it with some real dodgy fuckers. The rest, as they say, is ‘istory.

TRANSLATION: A Punters Prayer tells a day in the life of our main character, Jack, who apparently spends most of his time at the local betting shop with a few close friends. To avoid becoming a part of the mainstream rat race, he places a risky bet on several horses that, if it pays off, will guarantee a better life for him and, altruistically, his friends. Other characters attempt to steer his decisions (Yiannis is particularly weary of taking such a risk, whereas Ian, barely out of school, is excited at the prospect of winning big). Soon some very dangerous people hear about Jack’s chances and things take a turn for the worst. The rest, as they say, is history.

Let me get this out of the way first. A Punter’s Prayer, from first time writer/director Savvas D. Michael and newly formed Liontari Pictures, is clearly heavily influenced by the Lock, Stock & Snatch genre from the nineties. Does this diminish the talent behind it at all? Not by any means. If anything it panders to our sense of nostalgia and wears a smile for it. The writing and the acting are fresh and obviously skilled, particularly considering how many new comers we have here. It is a film that is proud of its heritage but showcases some fresh talent and thinking

Taking some of the best elements from this genre, we see a story unfold full of grit, humour, violence and, at times, crushing sadness. What shows the most is the character development that has taken place prior to filming – I only wish there was more of it on screen! From just a few choice lines and interactions, we come to realise that each character has their own, carefully constructed story to tell. Even the gang henchmen and the store clerk have more to them than meets the eye. This level of detail is what makes Michael’s characters so believable, but equally leaves you frustrated because so little is revealed. We are left to fill in a lot of gaps for ourselves.

For the most part, we are guided by Jack’s inner monologue which again, although is powerful and compelling, restricts us. Often poetic, his views seem a little misguided at times and leave us questioning his mental state. Maybe he shouldn’t be making potentially life-changing decisions right now? He goes through religious crisis, epiphany, suicidal intentions, contempt for individuals and society as well as naive optimism all in the space of one day. And with little background to go on, apart from the death of his cousin two weeks earlier, we have to wonder what led him to this point. Once again I am sure Michael could write a whole essay on this topic alone, but not much is actually put up on the screen.

The story is complex – perhaps ninety minutes just isn’t long enough to do it justice? Give Michael more time and he could write us the next Trainspotting! Grit and witty banter are definitely his remit.