Contributors

Written by Nikki Baughan Wednesday, 11 August 2010 10:38

Nikki Baughan
Owner/Editor

Having begun her career as editorial assistant of Film Review, Nikki became the magazine's first female editor in 2005. She established Roll Credits in early 2009, and has also written extensively on film for a variety of publications including Little White Lies, FilmStar, Kodak's In Camera and Ultimate DVD. Nikki is also the resident Queen of the Screen for BBC Three Counties Radio. She currently edits movieScope magazine and, after guiding it through a successful relaunch, is thoroughly enjoying being a part of its growth. www.moviescopemag.com

Sheila Roberts
Official LA Correspondent

Sheila is a freelance entertainment journalist and film critic who lives in Los Angeles where she interviews leading film and television industry figures and writes about film. She is a graduate of the UCLA School of Theater, Film and Television and holds an MA in Cinema & Media Studies and an MFA in the Producers Program.

Paul Spragg

A Media Production course at Luton University more than adequately prepared Paul for a life of journalism, which is where he found himself in 1998 when he started work for Visual Imagination. After editing Xposé magazine, then Cult Times and Ultimate DVD, he left to pursue one of his first loves, Doctor Who. He now works for Big Finish Productions, purveyors of original audio plays based on Doctor Who, Stargate, Highlander and many more, as both producer and assistant.

Movie Highlight

The Woman in Black

Having relaunched in 2010 with the promise of delivering solid horror films for a modern audience, the output from the rebooted Hammer Films has been something of a mixed bag. While its inaugural release, remake Let Me In, was received with great fanfare, subsequent films The Resident and Wake Wood have been less successful. So with its first big release, The Woman in Black, Hammer has much to prove – and has piled on the pressure by choosing to adapt a story that’s not only a bestselling novel but also a long running West End play.

An additional challenge is that tale is so effective because of its simplicity; there are no big set pieces for a filmmaker to hide behind. So it’s reassuring to see that, while some elements of Susan Hill’s story have been tweaked to give it more of a cinematic scope, the narrative runs fairly true. At its heart is young lawyer Arthur Kipps (Daniel Radcliffe) who, still reeling from the death of his wife in childbirth four years previously, is sent to a remote village in order to organise the paperwork at the isolated Eel Marsh House. On his arrival he finds the locals most unwelcoming, believing that anyone disturbing the peace at the house brings tragedy to the village. Although initially sceptical, Kipps soon discovers that the mansion holds horrifying secrets, and that one of its former occupants is determined to exact terrifying revenge…

READ FULL REVIEW: The Woman in Black

DVD Highlight

The Walking Dead

The living dead have been a mainstay of horror cinema for decades. Now they maraud onto the small screen in Frank Darabont’s adaptation of the graphic novel by Robert Kirkman, Tony Moore and Charlie Adlard.

Brit favourite Andrew Lincoln (This Life, Teachers) adopts a convincing drawl to take on the role of sheriff Rick Grimes, who wakes from a coma to find the local residents have become flesh-eating ghouls. While the initial set-up is reminiscent of 28 Days Later, these zombies are not Danny Boyle’s fast moving monsters, but the lumbering breed of tradition. That doesn’t dilute their impact; as Rick teams up with other survivors, the zombies are relentless in their pursuit and the tension builds to unbearable levels.

READ FULL REVIEW: The Walking Dead

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