Malditoszombis!

“Aroooooooooooooorganic non-GMO fairtrade chocolate, please.”

Tom with dogs. :)

Tom Hardy in Screen (Japan), July 2015 | photo by Greg Williams

This magazine doesn’t have a digital edition; this is my scan of the page. 

Behind-the-scenes still (ed.) and a throwback photo from MMA fighter Dann Cucuta - The BFOJ

#TBT on the set of Warrior movie. Rabbit ears for #TomHardy. #WhatSon! #AnybodyCanGetIt!

Warrior (2011) 

“Tom Hardy, who redefined his career with his screen-searing work in Bronson, is tremendous, radiating chained anger and barely controlled bile in every scene. Yet, as Tommy’s backstory unfolds, we see the deeply rooted pain that lies at the core of it all. The word “volcanic” was often used to describe Hardy’s work in Bronson; it applies here as well.” - James Berardinelli/reelviews

Warrior - Tommy vs Mad Dog - Incredible Fight Scene

A compressed version of GQ UK:s review of London Road:

A desaturated world of grey and beige is the setting for London Road, a story around (but not precisely about) the Ipswich serial murders of five prostitutes in 2006. We begin with documentary-style interviews of the middle-class residents in a small street. These are taken verbatim from actual recordings of the people concerned, down to the intonation. But as the credits roll and the score begins, it becomes clear that this is also a musical. Unlikely as it seems, we have finally found the bastard lovechild of Panorama and Sweeney Todd.

Tom Hardy, who features heavily in the film’s advertising given the small size of his role, is a taxi driver who considers himself an expert on serial killers in one of the film’s more unsettling beats. And they all sing, and sing rather well (Hardy, who apparently worried he wouldn’t be up to the challenge, is in fact rather good). The music proves immensely effective at conveying not just the paranoia and unease when a killer is on the loose, but also the unedifying sight of a mob baying for vengeance and the unsettling similarities between “recovering from” and “covering up”.

The colours explode back into the film as the London Road’s ordinary residents begin to move on from the shock of what occurred, but it’s a sort of double bluff in the cinematography. This is not some feelgood tale of the triumph of the everyman. Even with its last big number, the film reminds us that not everyone emerges unscathed from traumatic events like these, and that darkness lingers longer than any of us might like to admit.