Kurt Russell stars as a truck driver who unwillingly gets sucked into the world of ancient martial arts, evil sorcery and monsters rising out of the black blood of the Earth.

It is breathlessly-paced, wittily-scripted, amusingly played, action-packed and relentlessly spooky.

It penetrates the catacombs of San Francisco’s Chinatown to take on supernatural overlord Lo Pan in John Carpenter's cult film masterpiece.

A tribute to Hong Kong films that was way ahead of its time.

Carpenter’s take on Stephen King’s novel is the most reserved, deliberately-paced, and psychologically terrifying film of his career.

On its surface, a supernatural tale of a 1958 Plymouth Fury possessed by hell; at its core, a character-driven, mind-unravelling nightmare about a high school nerd (Keith Gordon) and his descent into madness as his obsession with the titular vehicle accelerates.

Dismissed upon its original release, Christine has since developed a cult following and demands to be revisited for its powerhouse performances (Harry Dean Stanton hilarious as a laid-back detective in a slick blue suit ), outstanding practical effects (Christine’s regeneration scenes are mind-blowing), and key John Carpenter score.

Chow Yun-Fat - a tough guy with a sense of honour - is nearly killed in an explosion that leaves an innocent girl disfigured.

He emerges from the flames a new man, setting out to right wrongs and exact purgative vengeance on those who double-crossed him, including former friend Anthony Wong and his crime-lord cousin, Simon Yam (in a career defining performance).

A beautiful bullet ballet that sends the camera sailing along with fired rounds, and perhaps the most ruthless movie that Lam ever made, not easing up until the final, unforgettable exhortation, “Go masturbate in Hell!”

'It's what you call 'Japanese Kindness' ''

Ugly things beautifully presented.

Takashi Ishii's Gonin tells the story of five men, each desperate for quick cash, who decide to rob a yakuza office; they botch the heist and quickly find themselves hounded by the syndicate's attack-dogs.

It's far from original, but that's kind of the point.

With Gonin, Takashi Ishii has taken a well-worn yakuza narrative, distilled it down into its most archetypal form, and turned it into something close to modern mythology.

This mythologising is most clearly visible in Takashi Ishii's vision of Japan as a lascivious pulp dreamscape. It's a Japan of neon lights, fluorescent tubes, heavy rain, chain-link fences, and almost perpetual nighttime.

A Japan of cold concrete, and hot, wet blood.

A Japan of nightclubs, gay trysts, and torture.

It's totally unreal, but it perfectly captures an atmosphere of fantasy Japan—somewhere between gritty realism and ultra-exaggerated V-cinema kitsch.

It's almost magical in a grim kind of way.

Beyond the film's aesthetic, Gonin's attention to detail is just as striking. Nothing is ignored. Every moment, however seemingly insignificant, ends up rippling out believably.

Even throwaway background elements in the film's first few minutes have natural, believable consequences over an hour later.

Many of these moments don't affect the plot in any significant way, but that only makes them feel more real. They're these wonderful little logical consistencies that make the world feel tangible and lived-in. And they really make it clear that Takashi Ishii poured a lot of love into this film.

As did everyone else involved. The performances are incredible across the board.

Takeshi Kitano, as expected, absolutely kills.

And Kippei Shiina, as Jimmy - a bleach-blonde perpetual fuck-up with a heart of gold - is captivating in the way that only Kippei Shiina can be.

Masahiro Motoki (Mitsuya) and Koichi Sato (Bandai) are also fantastic.

It’s criminal that Gonin hasn't become a cult-film in the West. All of the ingredients are present: it's stylish in the extreme, it has set-pieces that are both impressive and incredibly strange, its violence is masterful, it's ultra-melodramatic, it stars some of Japan's great cult actors...

And yet, tragically, the film seems to have been largely ignored outside of its home nation.

A weird, bleak, grisly vision of a purely cinematic Japan. Gonin is something totally unique, and something truly special.

If any film deserves a cult renaissance, Gonin is it.

We venture in the murky depths of our 35mm print archive and find the weirdest looking unknown print we can find.

Life is about taking chances. There is no reward without risk.

It might be a horror film, a kung fu movie, a nudist movie, a hillbilly film, a musical or a western.

Hosted by Ant Timpson.

We invite you to celebrate the late and great Prince's ongoing legacy by attending this 35th anniversary screening of PURPLE RAIN.

Instead of mourning one of the world's most iconic musicians of all-time following the third year anniversary of his passing, we invite you to celebrate his life and music.

His Purple Majesty Prince Rogers Nelson plays “The Kid,” a Minneapolis musician who finds an escape from a turbulent home life through rehearsing and playing out with his band, The Revolution, locked in a competition for control of the city with rival band Morris Day and the Time, whose frontman conspires to turn The Kid’s disgruntled bandmates and girlfriend Apollonia against him.

Part autobiographical psychodrama, part First Avenue nightclub dance party, and 110% Prince—so come on down and Let’s Go Crazy.

The life of a repo man is always intense.

Repo Man has the type of unerring energy that leaves audiences breathless and entertained..

In this clever punk comedy that revels in the bizarre, alienated Otto (Emilio Estevez) quits his soulless supermarket job and loses his girlfriend, eventually finding a form of salvation as an apprentice to career repo agent Bud (Harry Dean Stanton, in one of his quintessential roles).

Bolstered by some of the best comedic writing of the 80s, and a punk rock score featuring Iggy Pop, The Circle Jerks, and Black Flag, Alex Cox's directorial debut excoriates Los Angeles with playful rage.

It looks at the neon-lit, horizontal sprawl of Los Angeles in a way that no film had before, and a great deal of credit for the film's distinctive look goes to German cinematographer Robby Muller, who'd already distinguished himself via numerous collaborations with Wim Wenders.

Pre show will be music videos of songs featured in the movie.

Poor Steve Kovacs (Matthew Broderick).

His girlfriend rejected his marriage proposal; now he's gotta find a new apartment. His pal suggests slipping the cable guy a few bucks, so he can get some premium channels for free.

This simple ethical lapse has opens the door to the most intense relationship of Steve's life: an irrevocable and all-consuming bond with his cable guy (Jim Carrey).

Originally conceived as a straight-forward buddy comedy, it turned into the darkest comedy. A seminal film… for the striking new tone it helped to establish, The Cable Guy is the closest we could ever get to seeing Jerry Lewis star in a Alfred Hitchcock movie.

Look out for Owen Wilson’s hysterical cameo.

Directed by Ben Stiller.

A timeless classic. We follow a boy who reads a magical book that tells a story of a young warrior whose task is to stop a dark force called the Nothing from engulfing a mystical world.

A mystical and fantastical world filled with empresses, dragons, and almost anything else you could imagine… including the coolest sidekick ever Falcor.

Directed by Wolfgang Petersen (Das Boot)

Johnny is a successful banker who lives happily in a San Francisco townhouse with his fiancée, Lisa. One day, inexplicably, she gets bored with him and decides to seduce his best friend, Mark. From there, nothing will be the same again...

The Room has been slaying audiences now for over 10 years throughout the world with rabid fans called Roomies screaming out lines and tossing plastic spoons in the air. Why? No matter what you’ve already heard, nothing can prepare you for the once-in-a-lifetime big-screen experience of seeing actor/director/producer Wiseau mumbling his way through this excruciating love triangle about a kind-hearted banker, his best friend and his cheating bride-to-be. It has many unforgettable scenes, but keep your eyes peeled for pictures of spoons, close football tossing, characters vanishing and emerging and even one that announces ‘I definitely have breast cancer’ as a throwaway conversation starter. Unmissable.

A man learns that his entire life in a storybook coastal town has been the subject of a live 24-hour-a-day television drama.

Peter Weir directs Jim Carrey in a remarkably astute vision of runaway celebrity culture, voyeurism, media surveillance and lack of privacy.

Written by New Zealander Andrew Niccol.

Warriors 40th anniversary screening- ORIGINAL THEATRICAL CUT.

From its powerhouse opening, in which all the gangs of New York gather in tribal splendour in Riverside Drive Park, to the last ditch stand in dilapidated Coney Island, Walter Hill (Streets Of Fire) has elevated his story of a novice gang on the run into a heroic epic of Arthurian dimensions, with sex as sorcery and the flick-knife as sword.

Anyone expecting gritty realism will be disappointed, because Hill is offering something better: shooting entirely on NY locations at night, he has transformed the city into a phantasmagoric labyrinth of weird tribes in fantastic dress and make-up who move over (and under) the streets as untouched as troglodytes by the civilisation sleeping around them.

The novice gang from Coney accidentally encounters some middle class swingers on the subway, and the two groups stare at each other like aliens from different galaxies (while the gang's new female recruit has to be gently restrained from instinctively putting a hand up to straighten her hair).

Mixing ironic humour, good music, and beautifully photographed suspense, it's an urban classic that must be seen with a crowd. Come as your favourite gang member!

80th Anniversary Screening

Judy Garland is Dorothy in this sublime, candy-coloured adaptation of L. Frank Baum’s children’s favourite, one of the most beloved film classics of all time!

Must see in this breathtaking 35mm print.

Eleven-year-old Dawn “Weinerdog” Wiener is a junior-high geek who just wants to be popular.

Teased by her classmates and tormented by the school bully, she develops an improbable plan to seduce the star of a high-school garage band.

One of the key American independent films of the 90s, Todd Solondz’s celebrated black comedy follows Dawn through the many dark corners of suburban youth.

Bitterly funny and true to life, the film launched Solondz’s career, won the Grand Jury Prize at the Sundance Film Festival, and is now hailed as a classic of modern independent cinema.

With Young Frankenstein, Mel Brooks managed to perfectly combine the romance and intrigue of the classic black & white Universal monster movies of the 1930s and 1940s with the shtick comedy that made Brooks famous.

With the script, Gene Wilder managed to write something not only witty and amusing but rife with the old-world nostalgia that made the original Universal monster films so appealing.

The film itself is ageless - shot beautifully in black & white, while using the original Universal Frankenstein sets.

The comedy is perfect in its execution and Gene Wilder is superb as Frederick Von "Fron-ken-steen" the brilliant neurosurgeon and grandson of Victor Von Frankenstein.

His charm, sharp-tongued wit and comedic timing really is a study on the craft of acting in itself. The supporting cast of actors are wonderfully cast and compliment each other perfectly, with the late Marty Feldman stealing the show as Dr. Frankenstein's loyal but slightly defiant assistant Igor.