Paddy Considine is a recognizable face onscreen thanks to memorable (and diametrically opposed) turns in movies like Dead Man’s Shoes and Hot Fuzz. You may also recognize him from recent (and fantastic) movies like Red Riding 1980, The Bourne Ultimatum, and Submarine. After years of toiling in supporting roles and the occasional lead Considine has taken a step back behind the camera for his feature directorial debut, Tyrannosaur. The film stars Peter Mullan (pictured above) as an angry drunken Irishman prone to violence and verbal meanness, and yes, Mullan is at risk of being typecast. He meets a woman who’s seen her fair share of violence and pain but still manages to hold onto a forgiving and caring heart. The two become friends, for lack of a better term, but her abusive husband (Eddie Marsan) suspects there’s more to their relationship. Check out the clip below to see the three fantastic actors play off each other with dialogue and even more powerful silence.

The bleak, grey world of Tyrannosaur will be familiar to anyone who’s spent time in the cinematic universe of British miserablism, that subgenre of grim movies set on the isles. Protagonist Joseph (Peter Mullan) inhabits a milieu of depressed flats and rundown pubs, living a hopeless existence on the estate in Leeds. Yet, the movie is the feature filmmaking debut of the terrific character actor Paddy Considine, who is not content to simply wallow in the misery.  The director transforms what, at first appears to be the straightforward portrait of a violent man, into an affecting love story that chronicles his subtle redemption. In doing as such, the filmmaker has given an exceptional vehicle to Mullan and Olivia Colman, who plays a shopkeeper named Hannah. Considine’s characters are not simply defined by first impressions and easy conclusions; instead, they’re afforded the opportunity to grow and change, to reveal the reservoirs of experience, the unexpected strengths and profound, hidden weaknesses that collectively define their lives.

When the calendar page turns to October, we Rejects have only one thought: horror. To celebrate this grandest and darkest of months, we’ll cover one excellent horror film a day for the entirety of the month. That’s 31 Days of Horror and 31 Films perfect for viewing on a dark, chilly, October night. If you, like us, love horror and Halloween, give us a Hell Yeah and keep coming every day this month for a new dose of adrenaline. Synopsis From the brilliant mind of Shane Meadows, Dead Man’s Shoes is a vengeance-soaked slasher, told from the perspective of the slasher, and as raw as an exposed nerve in places. It focuses on Richard (played by the inimitable Paddy Considine), who returns from seven years military service to his hometown in a town within Meadows’s particularly grim version of modern Britain. His intentions become clear very quickly, as he seeks to confront a gang of locals who have committed some unspoken attrocity on his mentally disabled brother, Anthony (Toby Kebell), who follows him around as he stalks and terrorises those responsible with increased ferocity. The film is underpinned by a piquant and ominous dread, as the secret of what happened to Anthony is slowly revealed, as Richard’s venom intensifies, and his vengeful acts of retribution cut a bloody swathe through the Midlands landscape.

It’s not often that two tough guys like Jason Statham and Paddy Considine share their feelings, but it does happen. And while we don’t know much about Blitz, a new direct-to-DVD actioner starring the pair, we do know that some feelings will be shared in between rounds of ass-kicking. In fact, we’ve got an exclusive clip to debut for you that proves said assertion. Don’t worry though, the trailer for this film also indicates that many a mean person has their face kicked in by a big ole’ Statham boot, so it’s not all therapy sessions.

Almost two years ago to the day we first brought you news that Jason Statham would be starring in a movie called Blitz. Remember? You were really excited at the time. Well guess what? It’s finally ready to see the light of day. Sadly it’ll be bypassing theaters and going straight to video, but hey, at least we’ll get to see it. Statham plays against type as a detective fond of circumventing the rules in his quest to bring down the bad guys, but when a serial killer (Aidan Gillen) starts capping cops Statham’s skills are put to the test. Together with a new partner (the always awesome Paddy Considine) the duo must work fast before the madman murders his way through the entire force. Check out the brand new trailer below.

Submarine is the coming-of-age tale of a cold, calculated, and pretentious teen by the name of Oliver Tate. Oliver, like Benjamin Braddock in The Graduate, could easily come off as a downright off-putting and self-absorbed kid. He starts off as an arrogant and creepy kid dealing with what seems to be the weight of the world on his shoulders. Oliver’s romance that comes out of seeking pure lovemaking turns into something genuine. His parents’ love is dying, and he can’t fix it. Through nearly all of this, Oliver stays near-emotionless and blank. His transformation and revelations are shown through writer-director Richard Ayoade‘s unique visual eye, which also never sugarcoats Oliver’s oddness. Ayoade has crafted a young protagonist that while many will love many others will question his sanity… a rare type of lead these days. Here’s what Richard Ayoade had to say about not writing too much style, the moral ambiguity of the film’s characters and, of course, Oliver Tate.

Richard Ayoade’s Submarine is a much-needed corrective to the twee adolescent indie dramedy. The film maintains many of the recognizable bells and whistles of that exceedingly tired subgenre, but like the potential available in any catalog of clichés, Submarine finds a way to make them work. Instead of simply presenting us a socially outcast teen protagonist who speaks and thinks like somebody possessing cleverness and insight far beyond his years, Submarine provides specific reasons why its protagonist is so articulate while still giving us plenty of evidence that he is indeed an inexperienced teenager who has a lot to learn. Instead of assembling random visual quirks into a Jared Hess-style landscape in which decades of fashion are collapsed into one oppressively ironic and ahistorical moment, the setting and style of Submarine is (mostly) consistent in presenting a historical moment informed by nostalgia, even if we don’t quite know when that moment is (but we don’t really need to). In short, Submarine is refreshingly sincere. It’s an all-too-familiar coming of age tale, but the film gives us plenty of reasons to give a damn – its story in particular.

After getting locked out of the press screening for this year’s Grand Jury Prize Dramatic Winner, Like Crazy, I skipped over to the next theater, which sadly played the worse film I saw at the festival this year, The Ledge. Despite that mishap, there were a lot of great films at Sundance. Here are my top 5 in no particular order, alongside the best film I saw at this year’s festival (which may surprise you). I felt that each film had the most impact during my stay at the festival and introduced us to some fantastic new voices that will be coming to a cinema near you.

What is Movie News After Dark? This is a question that I am almost never asked, but I will answer it for you anyway. Movie News After Dark is FSR’s newest late-night secretion, a column dedicated to all of the news stories that slip past our daytime editorial staff and make it into my curiously chubby RSS ‘flagged’ box. It will (but is not guaranteed to) include relevant movie news, links to insightful commentary and other film-related shenanigans. I may also throw in a link to something TV-related here or there. It will also serve as my place of record for being both charming and sharp-witted, but most likely I will be neither of the two. I write this stuff late at night, what do you expect?

If you’ve never heard of director Shane Meadows, I highly suggest rushing out and renting, if nothing else, Dead Man’s Shoes. His films often employ a healthy dose of humor, but I don’t believe anyone would characterize him as a comedy director; enter Le Donk and Scor-Zay-Zee.

The core of the corruption and evil birthed in 1974 is in full form here and a formidable foe for any hero to face and survive. There’s no getting around it… the Red Riding films (at least the first two) are bleak and at times depressing movies.

Foreign Objects travels the world of international cinema each week to highlight films worth visiting. So renew your passport, get your shots, and brush up on the local age of legal consent, this week we’re heading to… the United Kingdom!