Saturday nights on Horror Channel at 9pm in June will be devoted to John Carpenter, one of the true Masters of Horror.
The celebratory season is highlighted by the network premieres of Carpenter's classic car-rage chiller Christine , with the superb Harry Dean Stanton, and John Carpenter's Vampires , a horror Western starring James Woods, as a
vengeful, stake-wielding bloodsucker hunter. It also includes iconic favourite The Fog , the high-kicking fantasy thriller Big Trouble in Little China and his timely sci-fi political thriller They Live .
Brawl in Cell Block 99 is a 2017 USA action crime thriller by S Craig Zahler.
Starring Jennifer Carpenter, Vince Vaughn and Tom Guiry.
A former boxer-turned-drug runner lands in a prison battleground after a deal gets deadly.
The BBFC has just passed a video with a 15 rating for strong violence, threat, language, injury detail, sex and drug references after 44s of BBFC category cuts with some cuts substituted for:
2018 Universal video
The DVD and Blu-ray has already be released in uncut 18 rated DVD and Blu-ray form. It is not yet clear where this cut 15 rated version will be used.
The BBFC commented:
Distributor chose to reduce or remove moments of stronger. sadistic violence and injury detail in order to achieve a 15 classification. An uncut 18, in line with previous versions of the work, was available.
Kissing Candice is a 2017 Ireland / UK drama by Aoife McArdle.
Starring Ann Skelly, Ryan Lincoln and Conall Keating.
17 year old Candice longs to escape her seaside town and finds solace in her imagination. When her disillusionment calcifies into an obsession with a troubled stranger, she becomes entangled with a dangerous local gang.
THE Irish Film Classification Office (IFCO) has upheld an 18 rating for an Irish film by a debut director Aoife McArdle despite the film being given a 15 rating in the UK.
Kissing Candice is a youth oriented film about a young girl in a border town who first dreams of and then meets a young boy who's connected to a gang that is terrorising her town.
The film premiered at the Toronto International Film Festival and has been shown at other youth-orientated festivals.
Wildcard Distribution is the Irish distributor for the film and its managing director Patrick O'Neill has said that the company was surprised when it was given an 18 cert:
We just thought the rating was a little harsh for the film, we just thought something along the lines of a 15A or a 16 would have been more in keeping with the content of the film.
IFCO's 18 rating has the consumer advice: contains scenes of strong drugs abuse, strong violence and language and strong sex references.
The UK's BBFC was less severe in its rating of the film, giving it an uncut 15 rating for very strong language, strong threat, drug misuse.
Kissing Candice is released in Irish cinemas on 22 June
Two pre-roll ads seen on YouTube in late December 2017 and early January 2018 for the 15-rated (PG-13 rated in the US) horror film, Insidious: The Last Key . Both ads featured a number of scenes in quick succession and tense sound effects:
a. The ad opened with a shot of a house in the dark and then showed a young woman walking through it. She was shown looking at some medical instruments on a table before being thrown backwards by a force. She was then depicted lying on the floor
screaming whilst a humanoid creature with claw-like fingers probed at her throat. Further scenes included a creature hanging upside down, the same woman screaming on a hospital bed and a clawed hand emerging from a sleeve. Another female
character said, People who need help with hauntings come to me, but this house is my family's house. I'm going to find it and I'm going to finish it. In the final scenes of the ad a male character said, Lisa there's someone right in front of
you. Lisa replied, I don't see anything. A hand was shown reaching out to her in the dark and then a sudden shot of a grinning creature with fanged teeth was shown next to a woman.
The ad was seen before a video of songs from Frozen, a video about how to build a Lego fire station and a video of the children's cartoon PJ Masks.
b. The ad opened with a young woman lying on a floor immobile, bloodied and distressed while a humanoid creature crept towards her and then probed at her with claw-like fingers and pierced her skin. At the same time another female character
said, People with matters that can't be explained, come to me. But this one is different. This was my family's house. A male character than stated, I'm going to count back from five, four, three, two and a number of brief scenes were shown,
including a woman's eyeballs turning to white, a huddled female figure on the floor in the dark, a woman lying on a bed screaming and a screaming woman appearing and then disappearing behind someone. In the final scene of the ad a woman was
shown slowly opening a suitcase and a creature suddenly leapt from it.
The ad was seen before two Minecraft videos.
The ASA received five complaints, three of which were from parents who said their children saw the ads and two from adults who said they had found the ads distressing. They objected that:
the ads were irresponsibly targeted because they were seen before videos which were of appeal to children; and
the ads were unduly distressing.
Columbia Pictures Corporation Ltd t/a Sony Pictures Releasing UK said they had targeted the ads on YouTube to an adult audience, by excluding audiences below 18 years and preventing the ads being shown before content with unknown audiences. They
said their agency had also added a layer of safety by using further YouTube targeting, including content exclusions such as content that was suitable for families, over 1,000 negative keywords exclusions including keywords with appeal to children,
over 40 negative topic exclusions including religion, politics, news and children's content, and they opted out of all display network content to ensure they had control over websites and apps with audiences aged under 18 years.
YouTube said that advertisers administered their own campaigns, and were responsible for determining the appropriate targeting, and could control what types of users saw their campaigns and against what types of content they did not want their
campaigns to appear. They said advertisers could target specific demographics, excluding anyone who was not logged-in with a declared or inferred age of over-18.
ASA Assessment: Complaints upheld
1. & 2. Upheld
The ads were for a 15-rated horror film and featured a series of clips from the film. The ASA recognised the complainants' concerns that both ads were seen before content on YouTube with particular appeal or interest to children, including videos
of songs from Frozen, of the cartoon PJ Masks and videos relating to Minecraft and Lego. We considered that the ads were unsuitable for children because they were excessively frightening and shocking, and were likely to cause fear and distress,
most notably the scenes with the woman on the floor screaming and in distress while the humanoid creature approached her and clawed at her throat, and in which the creature's face appeared suddenly.
We noted that three complainants also believed the ads were unduly distressing for adults and two stated that they had suffered particular distress from viewing the ads. We understood that ad (b) had been cleared for TV with a post 11 pm
scheduling restriction by Clearcast, which indicated that it contained the strongest allowable content of a graphic or distressing nature for TV. Ad (b) featured in particular a close-up shot of the humanoid creature's claw piercing the woman's
throat, and built suspense with sound effects and screaming, and a voice-over countdown, at the end of which a creature suddenly jumped out of a suitcase. We considered that ad (a), although slightly less graphic, contained a similar level of
frightening content. Furthermore, both ads contained other content which was shocking in nature. Several scenes featured the sudden appearance of the creature's face or a woman with white eyeballs, together with tense sound effects.
We considered that the ads may have been appropriate to show before limited content on YouTube with similar themes and imagery that was intended for adults. However, when seen by the complainants the ads were juxtaposed against unrelated content
such as Minecraft videos. They also were not skippable until five seconds into the ads and did not contain any warning regarding their content. We therefore considered that the ads, in that context, were likely to cause excessive fear or distress
for some adults without justifiable reason, because they were unexpectedly shocking and frightening.
We understood that Sony Pictures Releasing UK had identified and restricted the YouTube content before which the ads should not be shown, in particular putting in place topical and demographic exclusions on content with appeal to children or with
unknown audiences. However, the ads had appeared before various videos that were highly likely to be of appeal or interest to children, and we noted that one of the complainants viewed ad (b) when they were not signed in to YouTube. The ads were
also likely to be unduly distressing to some adults in the context in which they appeared. For those reasons, we concluded that the ads had not been targeted appropriately and were likely to cause undue distress, and therefore were in breach of
We told Sony Pictures Releasing UK to ensure that future ads that were unsuitable for viewing by children were appropriately targeted, and that similar future ads were targeted appropriately to ensure they did not cause undue distress to their
likely audience without justifiable reason.
23rd - 27th August 2018
Prince Charles + Cineworld, Leicester Square, London
Arrow Video FrightFest 2018 is delighted to present Graham Humphreys' stunning artwork for this year's annual Bank Holiday event, the UK's largest celebration of genre cinema, taking place at Cineworld Leicester Square and The Prince Charles
Cinema between Thurs Aug 23 & Mon Aug 27, 2018.
For Graham, celebrating the 200th anniversary of Mary Shelley's Frankenstein seemed too important to ignore:
Love, Simon is a 2018 USA gay drama by Greg Berlanti.
Starring Katherine Langford, Nick Robinson and Jennifer Garner.
From the producers of The Fault in Our Stars comes the relatable and heartfelt coming-of-age film LOVE, SIMON. Everyone deserves a great love story, but for 17-year-old Simon, it's a bit complicated. The gay teenager hasn't come out yet, and
doesn't know the identity of the anonymous classmate he's fallen for online. Resolving both issues will be a hilarious, scary, life-changing adventure.
The film was banned by the film censors of the Central Board of Film Certification on the day of its release. The CBFC has said little so far beyond noting that the film was banned for gay content.
The film contains no explicit content although there is a kiss between the two lads.
In the UK the cinema release was passed 12A uncut for moderate sex references, infrequent strong language.
In the US the film was rated PG-13 for thematic elements, sexual references, language and teen partying
Update: Film censor says that the ban is not down to him
CBFC chairperson Prasoon Joshi has completely denied that the CBFC has banned on Love, Simon. He said that an adults-only CBFC 'A' certificate has been given to Love, Simon four months ago, on February 6, 2018 after 2 cuts described as minor.
Another source from the CBFC says, This is one more attempt to use the censor board to gain publicity for a film.
However it is has not been made clear an alternative reason for the film being pulled from cinema s at the last moment.
Show Dogs is a 2018 USA comedy by Raja Gosnell.
Starring Stanley Tucci, Natasha Lyonne and Will Arnett.
Max, a macho, solitary Rottweiler police dog is ordered to go undercover as a primped show dog in a prestigious Dog Show, along with his human partner, to avert a disaster from happening.
The studio behind new family comedy Show Dogs has agreed to a last-minute edit in response to morality groups and bloggers claiming that the film might suggest to children that sexual molestation is something that should be silently endured.
Global Road Entertainment have now confirmed they would be cutting two scenes that some have deemed not appropriate for children. The scenes in question are thought to involve Max, a police rottweiler who has his genitals groped by cop Will Arnett
as part of his training to go undercover at dog shows. Initially, Max is upset by the intrusion, but is instructed to go to a zen place. Global Road said:
The company takes these matters very seriously and remains committed to providing quality entertainment for the intended audiences based on the film's rating. We apologise to anybody who feels the original version of Show Dogs sent an
inappropriate message. The revised version of the film will be available for viewing nationwide starting this weekend.
In the US, Morality in the Media, now going by the name National Center on Sexual Exploitation, flagged the film for the similarity of tactics used with Max and abusers grooming children, telling them to pretend they are somewhere else and that
they will get a reward for withstanding the discomfort.
In the UK, the film was seen by the BBFC some weeks ago and was passed PG uncut. The UK and Irish distributors intend to stick with the BBFC/IFCO approved uncut version. A spokesman for Entertainment One said:
We are taking the BBFC/IFCO guidance on this matter in the UK and Ireland and will be releasing the original version that has been censored and reviewed.
The BBFC said in a statement that:
The scenes in question are entirely innocent and non-sexual and occur within the clear context of preparation for and judging in a dog show. We regard the comments made about the film as suggesting 'grooming' as a misinterpretation of the scenes
Meanwhile in New Zealand, Chief Censor David Shanks made the unusual decision to call the film in for review following a number of complaints. Normally, films rated G or PG arrive in New Zealand without requiring a localised classification. Shanks
said in a statement:
We understand the film's distributors are currently re-editing this film in response to public concern. We can confirm that the version distributed in New Zealand will be classified, regardless of any edits made prior to release, the office said
in a statement.
Open Letter to Australian Cinemas: Don't screen Show Dogs movie
We are writing to you in regards to the children's film Show Dogs, due for release 5 July. Upon its release in the US, it attracted substantial criticism from parents and child advocates over concerns of grooming children for sexual abuse.
The film tells the story of a police dog going undercover at a dog show. There are reportedly several scenes in which the dog, Max, has to have his genitals inspected. When he is uncomfortable and wants to stop he is told to go to a zen place.
When he submits and allows his genitals to be touched, he is rewarded by advancing to the next level of the show.
In response to the global backlash, the production company withdrew the film, promising to re-cut it to remove the scenes in question. The film has been re-released, however the scenes remain, with only the encouragement to go to a zen place
(essentially, to dissociate) being removed. The meaning remains intact, that unwanted sexual touching is to be endured and may be rewarded.
The film sends a disturbing and dangerous message to children about sexual touching. In Australia, one in five children are thought to be victims of sexual abuse. This film undermines efforts in prevention and education to address the scourge of
child sexual abuse.
Collective Shout: for a world free from sexploitation is calling on Australian cinemas to take a stand against child sexual abuse and refuse to screen the film. We hope that cinemas will be prepared to take a role of leadership in the community,
to stand up for the rights of children and refuse to profit from this film.
...In common with the internet, this lightning take-up of VHS bypassed barriers built to meet the threat outlined by the
Council of Irish Bishops in 1927. They warned:
The Evil One is ever setting his snares for unwary feet. At this moment his traps are chiefly the dance hall, the bad book, the indecent paper, the motion picture, the immodest fashion in female dress - all of which tend to destroy the virtuous
characteristics of our race.
The Free State quickly appointed its first film censor, James Montgomery, who worked tirelessly to turn back the tide of foreign filth. Montgomery proudly boasted:
I know nothing about films but I do know the Ten Commandments.
And so it remained into modern times, with the Nanny State taking a firm hand in protecting the Irish people from themselves. While Dustin Hoffman and Anne Bancroft were being nominated for Oscars for The Graduate in 1968, Irish cinema audiences
were watching a version in which the seduction scene between the two - the pivotal point on which the whole movie hinges - was ripped out to protect public morals.
A letter to the Guardian responding to an article inspired by faked animal cruelty in Lars von Trier's upcoming The House That Jack Built:
Anne Billson asserts that the British Board of Film Classification (BBFC) still cuts non-faked animal abuse, although it is more lenient on arthouse than horror . The article goes on to cite Sátántangó (1994) and Oldboy (2003) as examples of our alleged leniency towards "arthouse" films, in contrast to our long history of intervention with
The Mountain of the Cannibal God (1978) and Cannibal Ferox (1981). I am afraid this statement is incorrect and no preferential treatment is given to "arthouse" films.
Sátántangó was only classified uncut after we received detailed assurances from the film-makers regarding how the scenes with the cat were prepared and filmed in such a way as to avoid cruelty to the animal involved. Those assurances were
consistent with the onscreen evidence. Oldboy was classified uncut because the Cinematograph Films (Animals) Act 1937, which is mentioned in the article, only applies to "protected animals" as defined by the Animal Welfare Act 2006.
Currently invertebrates, such as octopuses, are not covered by the 2006 act and we therefore had no grounds on which to intervene.
By contrast, The Mountain of the Cannibal God and Cannibal Ferox both feature scenes of animal cruelty that are clearly real, that involve vertebrate animals and that certainly appear to have been deliberately orchestrated by the film-makers.
Indeed, the makers of those films have confirmed that this is the case.
Creators of Sesame Street are suing the production company behind The Happytime Murders, claiming the mainstream comedy that features ejaculating puppets and other sexual puppetry routines is appropriating its brand.
Sesame Workshop, creators of the kids show, alleges that the misuse of its brand is intent on confusing the public and infringes on it intellectual property rights. The company has initiated a lawsuit as a result of a trailer with explicit,
profane, drug-using, misogynistic, violent, copulating and even ejaculating puppets, along with the tagline 'NO SESAME. ALL STREET'.
The Happytime Murders, set for an August, is a murder mystery revolving around puppets who exhibit raunchy behavior.
Update: Judge not impressed by Sesame Street claims
Manhattan federal Judge Vernon Broderick has rejected a request by the Sesame Workshop for a temporary retraining order to halt ads for the upcoming comedy Happytime Murders, including a YouTube trailer with the tagline, No Sesame. All
Broderick ruled that the STX film -- directed by Brian Henson, the son of the late Jim Henson, whose Muppets have been central characters in the children's mainstay since its inception in 1969 -- was geared toward an entirely different audience
than Sesame Street. He also found that the trailer's No Sesame. All Street tagline was intended to differentiate the raunchy adult film from the wholesome educational show featuring Big Bird and Oscar the Grouch. The judge added:
I find the use of the tagline to disclaim -- albeit in a short and pithy manner.
The Akal Takht, the highest seat of authority of Sikhism in India, has formed a 21-member film censor board and claimed that its
clearance will have to be taken before making any movie on the Sikh religion and culture. Giani Gurbachan Singh, the Akal Takht head claimed:
The decision was taken because of controversies over films on Sikh gurus and distortion of Sikh history in movies. Any film that plans to portray any sequence related to Sikh gurus, their kin and Sikh history will have to seek clearance from the
Sikh Film Censor Board.
Over the past few years, the Shiromani Gurdwara Parbandhak Committee has been demanding that at least two of its members be included in the Central Board of Film Certification (CBFC), India's official film censor.
Unlike the CBFC, which comes into play after a film is complete and before its release, the Sikh board has said its approval will have to be taken for the script of any feature film, documentary, animation and play based on the Sikh religion.