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From Visions Home Video comes the release of DOGTOOTH on 4K Ultra HD
And to celebrate we have a copy to give away!
Synopsis:
From director Yorgos Lanthimos. A controlling, manipulative father locks his three adult offspring in a state of perpetual childhood by keeping them prisoner within the sprawling family compound.
Dogtooth is Lanthimos's third feature film. It won the Prix Un Certain Regard at the 2009 Cannes Film Festival and was nominated for Best Foreign Language Film at the 83rd Academy Awards.
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Bart Layton's Crime 101 arrives with serious intent. Adapted from Don Winslow's novella, it plants its feet firmly in sun-blasted Los Angeles and follows a trio locked in quiet collision. A jewel thief who prides himself on precision. An insurance broker tired of being overlooked. A detective who refuses to let a theory die. It is classic crime material, and Layton treats it with steady hands.
Chris Hemsworth plays Mike Davis, also known as James, as a man who has reduced crime to a system. He avoids violence, plans obsessively, and escapes along the U.S. Route 101 with mechanical calm. The opening diamond job, with its decoy delivery and $3 million in genuine stones, is staged with crisp efficiency. The editing is tight, the movement clear, the geography never confusing. When a bullet grazes him during the robbery, it lands as more than a flesh wound. It is the first crack in a carefully managed life.
Mark Ruffalo gives the film its heartbeat asColumbo like Detective Lou Lubesnick. Dismissed when he argues that one disciplined operator is behind a string of robberies, suspended when he refuses to help cover up a police shooting, Lou carries on regardless. Ruffalo plays him as weary but stubborn, morally bruised yet not broken. There is something quietly compelling in the way he lingers over details, chasing a trace of blood back to Mike's juvenile record and birth name. He feels human. Fallible. Driven.
Halle Berry's Sharon is just as important. Long undervalued at her firm and edged aside by colleagues, she is at a crossroads before Mike ever approaches her. When she finally agrees to help him target Steven Monroe's illicit $5.5 million diamond purchase at the Beverly Wilshire Hotel, it feels less like a sudden turn and more like a slow surrender. Berry brings a cool intelligence to the role, especially in the scenes where Ormon's violence forces her hand and she turns to Lou for help. Her frustration is palpable, and it grounds the film's larger mechanics.
Barry Keoghan's Ormon is chaos personified. Brought in by the fence Money after Mike calls off a Santa Barbara robbery, he represents everything Mike tries to avoid. He is impulsive, vicious, and impossible to control. The contrast between the two men adds real tension, particularly once Ormon begins tracking Mike and threatening those around him. The high speed confrontation and the hotel suite showdown both benefit from that unstable energy.
Technically, the film is polished. The cinematography makes strong use of harsh Californian light and wide urban sprawl. The choreography of the heists is precise, and Layton builds towards the final robbery with care. The sequence in the wedding suite, with Lou posing as a courier and Mike seizing the cash at gunpoint, is handled with admirable control. The interruptions, the shifting power, the sudden violence, all land cleanl
Yet for all its craft, Crime 101 never quite escapes the shadow of other crime films. The structure is familiar, the beats predictable. Even the final reversals unfold in ways that feel carefully arranged rather than shocking. The ending is the least compelling stretch. It ties threads together efficiently, but the emotional punch is softer than it should be.
The running time does it no favours. At over two hours and fifteen minutes, the film occasionally feels its weight. Subplots involving Mike's romance with Maya and Lou's estranged marriage add texture, yet they also stretch the pacing. A leaner cut might have sharpened the impact.
Still, there is real pleasure in watching a grown-up thriller mounted with this level of seriousness. The cast is strong across the board, including Monica Barbaro, Corey Hawkins, Jennifer Jason Leigh and Nick Nolte. Layton shows confidence with scale and tension, and the film remains engaging even when it is not surprising.
Crime 101 is not especially original, and it may not linger in the mind for long. Even so, it is well made, well acted, and consistently watchable. A solid 8 out of 10 feels about right.
Vue Lumière has confirmed the UK and Ireland cinema release of Diamanti, the latest feature from director Ferzan Özpetek. A major box office success in Italy, where it grossed more than €16 million, the film arrives with strong momentum behind it. Set in the 1970s, it stands as a lavish tribute to cinematic costume design and to the women whose craftsmanship gives films their texture, beauty and emotional weight.
Starring Luisa Ranieri and Jasmine Trinca, the story centres on two dressmaker sisters who run a prestigious Roman fashion house. Their professional world is thrown into sharp focus when they are tasked with fulfilling an intricate commission for an Oscar winning costume designer. What follows is a portrait of creativity under pressure, as skill, ambition and loyalty intertwine within a workspace dominated by women, where the hum of sewing machines becomes its own kind of soundtrack.
The film unfolds through the perspective of a director gathering his favourite actresses with the intention of making a film about women. He reveals little at first, choosing instead to observe and draw inspiration, until imagination transports them into another era. In this imagined past, cinema is explored from the viewpoint of costume, shifting attention away from the usual focal points and towards the artistry that often remains unseen.
As reality and fiction begin to overlap, the emotional lives of the actresses echo those of their characters. Themes of loneliness, passion, rivalry and sisterhood surface alongside unbreakable bonds and quiet heartbreak. Diamanti not only celebrates fashion and film, it reframes the way stories are told, offering audiences in the UK and Ireland the chance to experience a richly layered Italian success that honours the invisible craft behind the screen.
DIAMANTI will have a preview screening on Wednesday 15 April at Cine Lumiere, followed by a Q&A with Ferzan Özpetek. Further details and tickets can be booked here: https://www.institut-francais.org.uk/cinema/diamanti/
A new cinematic retelling of one of the most sacred moments in Christian history is set to reach cinemas this Easter. The Last Supper arrives in time for Lent, offering audiences a reverent and emotionally charged portrayal of the night before the crucifixion.
Jamie Ward - The Last Supper
Set in Jerusalem, the film centres on the final meal shared between Jesus and his twelve disciples. Bread is broken. Wine is passed. Yet beneath the familiar ritual lies a gathering heavy with unspoken tension. Words of devotion sit alongside warnings. Faith wavers in quiet corners of the room. And as the hours slip away, one disciple moves steadily towards a choice that will alter history forever.
Robert Knepper, Charlie MacGechan and James Oliver Wheatley - The Last Supper
Rather than presenting the event as distant or untouchable, The Last Supper leans into the humanity of those present. Love, fear, loyalty and doubt all surface during these final hours. The story unfolds with an intimacy that highlights the personal cost behind a moment that would resonate through centuries of Christian tradition.
Jamie Ward praying - The Last Supper
The cast brings together a strong ensemble led by James Oliver Wheatley of The Lost Pirate Kingdom, Jamie Ward of Juliet and Romeo, James Faulkner of Da Vinci's Demons, and Robert Knepper of Prison Break. The film is co written and directed by Mauro Borrelli, with executive production from music star Chris Tomlin, marking his first step into cinema.
Presented by Dazzler Media, The Last Supper will open in cinemas across the UK and Ireland from 20th March, inviting audiences to experience this pivotal biblical moment on the big screen.
Severin Films has announced the worldwide UHD premiere of Zulu Dawn, Douglas Hickox's 1979 war film and the prequel to the 1964 classic Zulu. The film has been given a new 4K digital remaster and will return to cinemas on 13 March 2026.
The cast brings together some of the most recognisable names of its era. Burt Lancaster, known for Gunfight at the O.K. Corral, stars alongside Peter O'Toole of Lawrence of Arabia. They are joined by Simon Ward, who appeared in The Three Musketeers, and Bob Hoskins, remembered for The Long Good Friday.
A special preview screening will take place at Southampton Harbour Lights on 25 February 2026. The event will include an introduction and a question and answer session with Ian Knight, regarded as the UK's leading historian of the Anglo Zulu War.
The nationwide cinema release follows on 13 March 2026 in a new edition scanned in 4K from the interpositive. A UK physical release is scheduled for 25 May 2026, with further details still to come.
Zulu Dawn is set in January 1879. Officials from the British colony of Natal issued a list of ultimatums to the Zulu Nation. When the Zulu King refused to accept the terms, the Empire declared war. What followed was a series of serious tactical mistakes. A garrison of 1,500 British soldiers faced 25,000 Zulu warriors, in what became the most devastating disaster in British military history.
