Forthcoming Events

Paddington, now happily settled with the Brown family and a popular member of the local community, picks up a series of odd jobs to buy the perfect present for his Aunt Lucy’s 100th birthday, only for the gift to be stolen.

“This is exactly what a sequel should be, respectful, goose bumpy and warm hearted . . . To find a sequel that embraces the best from its predecessor and then improves upon it is as rare as Tinker’s bell. Magical.” Eye for Film

“Like its predecessor, this Paddington redux touches on societal themes in subtle-smart fashion. While Paddington gently grappled with the very real-world fear of immigrants to British shores, this film addresses the currently lacking imperatives of civility, and the small kindnesses that are the bulwark against our baser natures. Mainly, though, Paddington 2 is a comic triumph chock-full of slapstick, heart, and hope. Well done, Mr. Paddington Brown, well done.” Austin Chronicle

Frances McDormand plays Mildred, who in order to stop herself drowning in grief after the brutal murder of her daughter, decides to fight back when the case remains unsolved, purchasing the titular billboards and plastering them with details of the crime and the question: “How come Chief Willoughby?”

“McDormand is a force with which to be reckoned as the grieving mother desperate for the law to take its course. Fearless and lacking in vanity, she grabs this gift of a role and delivers an unforgettable performance. We feel her pain, angst, frustration and impotence. ‘Looks like we got a war on our hands’ Woody Harrelson’s police chief Willoughby mutters, as the town prickles at the confrontation.” Urban Cinefile

“The ability to balance extreme violence, emotional substance to chew on and black comedy has been evident in McDonagh’s work since In Bruges. There, he struggled to completely marry them together, but here he finds a way to keep things on track. No moment, it seems, is too horrific for humour, a stance that particularly suits Rockwell’s ability to shift from comedy to danger and on to tragedy in the space of a few lines of dialogue.” Eye for Film