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Monday 9th January • Cinema
Monday Cinema: The Way (12A)
Emilio Estevez 2010 121 mins
7.30 p.m. £5/£4
Emilio Estevez directs his father, Martin Sheen, in this metaphorical journey film about a father connecting with his son. When Tom’s (Sheen) son dies in a freak accident whilst walking a pilgrim’s path, the Camino de Santiago, an 800-mile trek from the Pyrenees to the Cathedral of Santiago de Compostela in Spain, he decides to collect his ashes and complete the journey himself. Deborah Kara Unger and James Nesbitt play his irritating travel companions on the road. “The Way is really a gift from this son to his father. Sheen, gradually revealing a man painfully getting reacquainted with long buried feelings, who gives the film its bruised heart.” Rolling Stone

Monday 16th January • Cinema
Monday Cinema: Beautiful Lies (12A)
Pierre Salvadori 2011 110 mins
7.30 p.m. £5/£4
An entertaining romantic comedy starring Audrey Tautou (Amélie) as the owner of a hair salon and the subject of the adoration of her handyman (Sami Bouajila). When she re-sends his anonymous love letters to her mother (Nathalie Baye), who is in need of some romantic attention, chaos ensues. Shot in the Mediterranean town of Sète, the film is a visual treat.

Saturday 21st January
Jeremy Hardy
SOLD OUT!
8.00 p.m. £14/£12
Jeremy Hardy has been a stand-up comic since 1984 and will be one until he dies or wins the lottery. Jeremy is best known for his work on Radio 4, notably on The News Quiz, I’m Sorry I Haven’t a Clue and Jeremy Hardy Speaks to the Nation. In 2010, he published a book, My Family and Other Strangers, chronicling his desperate search for interesting ancestors. “In an ideal world, Jeremy Hardy would be extremely famous, but an ideal world would leave him without most of his best material.” The Guardian. “A comic genius” Sandi Toksvig. www.jeremyhardy.co.uk
SOLD OUT!

Monday 23rd January • Cinema
Monday Cinema:
The Tree of Life (12A)
Terrence Malick 2011 133 mins
7.30 p.m. £5/£4
Winner of the Palme d’Or at this year’s Cannes Festival, and only the fifth film in Malick’s thirty-eight year career, The Tree of Life has polarised the opinions of audiences. Narratively evasive, the film raises issues of nature and grace, life and death. The centre of the narrative is the story of a grieving family, but this story sits alongside Malick’s cinematic musings on nature. The Observer’s audience poll found people voting narrowly in favour of the film as profound masterpiece over being pretentious nonsense. Actors include Brad Pitt and Sean Penn. “This is trademark Malick, using all of cinema's possibilities to express the ineffable: sound, image, dialogue, music, design.” Observer

Jazz at The Edge
Saturday 28th January 2012  8.00 p.m.
Zoe Rahman Quartet
SOLD OUT!
£12/£10 
Zoe Rahman  piano
Idris Rahman clarinet
Alec Dankworth  bass
Gene Calderazzo  drums
Zoe Rahman has firmly established herself as one of the brightest stars on the contemporary jazz scene, a vibrant and highly individual pianist/composer. Her style is deeply rooted in jazz, yet it reflects her classical background, British/Bengali heritage and her very broad musical taste. After studying at Oxford University, Zoe won a scholarship to study under the inspirational pianist JoAnne Brackeen at Berklee College in Boston. Her albums, including Melting Pot and Where the Rivers Meet, celebrate what The Sunday Times described as “a wholly original brand of Anglo-Asian music”. The new album, Kindred Spirits is released in this month.
“A remarkable pianist by any standard.” The Observer. www.zoerahman.com
SOLD OUT!

Monday 30th January • Cinema
Monday Cinema: Project Nim (12A)
James Marsh 2011 99 mins
7.30 p.m. £5/£4
Oscar-winning documentary film-maker James Marsh (Man on Wire) turns his attention to a 1970s behavioural experiment that took a baby chimp, named Nim Chimpsky, from his mother and raised as a human baby in an experimental study of human-animal communication. The experiment failed and Nim’s life was troubled, until he was rescued by an animal sanctuary. “Marsh, by allowing those closest to Nim plenty of room to explain themselves, examines the moral complexity of this story without didacticism. He allows the viewer, alternately appalled, touched and fascinated, to be snagged on some of its ethical thorns.” New York Times