Evil Dead’s Bruce Campbell reveals he has cancer: ‘Fear not, I am a tough old son-of-a-bitch’

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Actor and horror icon says he will need to withdraw from work to receive treatment, telling fans, ‘I’m sorry if that’s a shock – it was to me too’ Evil Dead star Bruce Campbell has revealed he has been diagnosed with a “‘treatable’ not ‘curable’” cancer, and will be withdrawing from work while he receives treatment. The 67-year-old horror icon shared the news in a statement on social media on Monday night, writing to fans : “I’m sorry if that’s a shock – it was to me too.” Continue reading... from Film | The Guardian https://ift.tt/HVL8I04 via IFTTT
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The Gallery review – bloody interactive treatise on post-Brexit Britain

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Viewers can choose the outcome of the characters in this cleverly assembled art-world thriller available on PC, console and your local screen

Interactive cinema has existed since the 1967 Czech film Kinoautomat, but remains niche, despite a brief flare-up of interest around Charlie Brooker’s choose-your-own-adventure Black Mirror episode Bandersnatch. British director Paul Raschid – ambitiously for a 30-year-old – specialises in tending these mind-boggling gardens of forking paths. His latest The Gallery is a trenchant and thoughtful post-Brexit treatise that can be played on PCs and consoles, but it’s also doing the rounds in cinemas, where the group experience – including voting by glowstick – could work something like a referendum on modern Britain, given the film’s state-of-the-nation bent.

The Gallery has two separate but symmetrical timelines in 1981 and 2021. Plus ça change: both spotlight a reeling and fractured Britain in which the Argyle Manor gallery, about to put on a portrait exhibition, becomes a microcosm for their respective social tensions. In the 1981 timeline, Morgan (Anna Popplewell), a young gallerist in a twinset, is taken hostage by bitter northern painter and would-be revolutionary Dorian (George Blagden). In 2021, Popplewell and Blagden switch roles, but the dilemma is the same: cede to the hostage-taker’s demands to hand over a prize portrait (of Thatcher in the first timeline; of a social-media influencer in the second), or get “Jackson Pollocked” by the bomb under their chair.

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