us as we journey back 100 years to explore one of the most influential eras in horror cinema. We're bringing three timeless classics back to the big screen—an unmissable chance to revisit these iconic films as they were meant to be seen, or to discover them for the first time in all their gothic glory. Whether you're a die hard horror fan or new to the genre, this is the perfect gateway into the world that helped shape the landscape of the horror genre forever.

With two of the three films opening in cinemas just one year before the Grosvenor first opened, there's no better spot in Glasgow to enjoy these timeless classics.

Tickets available now at: Home Page | Grosvenor Picture Theatre

Wes Anderson returns with The Phoenician Scheme, a film that feels like opening a drawer in your grandparents’ house you weren’t supposed to find, and discovering a perfectly ordered trove of secrets, maps, and faded correspondences written in beautiful cursive.
Yes, it’s symmetrical. Yes, the Futura font is back. Yes, everyone delivers their lines like they’re reading from an artfully melancholic telegram. But here’s the thing:

Repetition isn’t stagnation when you’re watching someone refine their language.

People like to say that every Wes Anderson movie is the same. That’s like saying every haiku is the same because it has 17 syllables. This isn’t laziness. It’s form. And in The Phoenician Scheme, that form becomes so distilled, so confident, it practically shimmers. This isn’t a filmmaker repeating himself out of safety - this is someone who’s spent decades tuning his voice like a violinist chasing a perfect note.

The plot? Something about a missing museum curator, a Cold War-era forgery ring, and a child cartographer with a stutter and a suspiciously accurate globe. It doesn’t matter. Or rather, it does, but not in the traditional way. Like his best work, the story feels like a fable being ed down, whispered between generations and scribbled in a hotel ledger for safekeeping.

And yes, it looks exactly like you expect. But that’s because Wes Anderson has developed his own cinematic dialect, so why would you ask him to speak in another language?

The thrill of watching The Phoenician Scheme isn’t about surprise. It’s about watching an artist speak fluently in the world only they could have built. And if that world feels familiar, it’s not because you’ve seen it before. It’s because he’s finally showing it to you more clearly than ever.

The Phoenician Scheme is showing now with screenings every day this week at The Grosvenor Picture Theatre, book here: Film | Grosvenor Picture Theatre

Tom Cruise has become the face of action cinema thanks to his iconic role as Ethan Hunt in the Mission: Impossible series. Since the first film hit screens in 1996, Cruise has pushed the boundaries of what’s possible on film, literally. He’s scaled the world’s tallest building, clung to the side of a moving plane, and leapt from planes at 25,000 feet - all for real, with no stunt doubles.

This commitment to practical stunts and high-stakes action is what sets Mission: Impossible apart. Cruise isn’t just playing a spy - he’s living the role. Each film raises the bar, delivering jaw-dropping sequences, clever twists, and edge-of-your-seat suspense.

As the franchise continues with its most explosive chapter yet, Mission: Impossible remains one of the few blockbusters that truly earns the title “action-packed.” Whether you’re a longtime fan or diving in for the first time, there’s never been a better moment to experience the thrill.

us at The Grosvenor Picture Theatre this week and dive into the action.

As the anticipation builds for 28 Years Later, Danny Boyle’s long-awaited continuation of his iconic zombie saga, there’s no better time to revisit the film that started it all. And what better place to do it than at the Grosvenor Picture Theatre? Our beloved local venue is perfect for rediscovering modern horror on the big screen.

Released in 2002, 28 Days Later didn’t just revive the zombie genre - it redefined it. Boyle’s bleak, adrenaline-charged vision of a post-apocalyptic Britain, deserted and overrun by rage-infected humans, was a radical departure from the shambling undead of past horror. It inspired countless imitators and set the tone for two decades of horror storytelling.
Watching it now, with 28 Years Later on the horizon, offers a unique opportunity: to appreciate where it all began and rediscover the raw power of the original story, characters, and style.

Boyle’s next instalment is fast approaching, and if rumours are true, it’s set to be more ambitious than ever. Whether you’re a die-hard fan or a newcomer, watching 28 Days Later is the essential first step in preparing for what promises to be one of the most talked-about horror events of the decade.

us on Tuesday 20th May at 20:10 to rediscover - or introduce yourself to - the film that redefined modern horror.

The horror genre has been enjoying a fantastic resurgence in recent years — and 2025 shows no signs of change; if anything, things are only looking up! Hot on the heels of Sinners, the next two months promise a non-stop slate of major releases, including Final Destination: Bloodlines, 28 Years Later, Meghan 2.0, and I Know What You Did Last Summer.
But it's not just about the big franchises. This summer also brings a slate of original films, and adaptations: from Hallow Road, Hurry Up Tomorrow, and Dangerous Animals to Clown in a Cornfield, Together, Bring Her Back and The Shrouds. Rounding off Summer is the release of Weapons, from Barbarian filmmaker Zach Cregger, sure to be one of the highlights of the stacked release slate.

Of Course, Summer is only the tip of the iceberg. As we move into the second half of the year, there's even more to look forward to, including The Conjuring: Last Rites, the final instalment (of phase one...) of The Conjuring Universe; HIM, the new film from Jordan Peele's Monkey Paw Productions; the second instalment of Renny Harlin's The Strangers Trilogy; a sequel to Blumhouse's incredibly popular The Black Phone; not one, but TWO new Predator films; another round of Five Nights at Freddy's; and to cap things off, a meta-reimagining of Anaconda featuring none other than Jack Black and Paul Rudd!

All this before we even get into the films yet to secure a release date in the UK with titles such as; The Toxic Avenger; Beneath the Storm; Silent Night, Deadly Night; and of course, Guillermo Del Toro's Frankenstein!

It feels like we're heading into a Golden Era of horror — and here at The Grosvenor Picture Theatre, we’re embracing this with open arms. Throughout the summer, we’ll be celebrating the rich legacy of the horror genre, with a packed programme of screenings and events to complement what looks to be a great year of new releases!

Friday 13th June: A Double Bill screening of Friday the 13th Part I & Friday the 13th: The Final Chapter. (On sale Now)
The Birth of the Horror Film: We're going back to the roots of the horror film, with a selection of silent classics that would go on to influence the shape of modern horror as we know it today. (Announced by the start of June)
A 100th Anniversary presentation of The Phantom of the Opera — a timeless masterpiece starring the legendary Lon Chaney. (On Sale Now)
An All-Night Horror Marathon coming this summer — from 11pm through till dawn (or more accurately, till the Subway opens for the morning), featuring a line up of spine-chilling favourites; featuring your favourite Slasher Icons, Classic Monsters, Vampires, Ghosts and Creatures. (On Sale in June)
And to top it all off, we’ll be marking the 50th Anniversary of Jaws with a full programme of special screenings and surprises — details to be announced soon.
Whether you're a die-hard horror buff or just dipping your toes in for the first time, us this summer as we honour the genre’s past, present, and future.

Cinema has few masters as revered as Akira Kurosawa, and among his rich body of work, High and Low (1963) stands out as a suspenseful, morally complex, and visually commanding masterpiece. Screening at The Grosvenor on Tuesday, 6th May, this is a rare chance to experience a film that has influenced generations of filmmakers and is about to make headlines once again.

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Based on Ed McBain’s novel King’s Ransom, High and Low begins as a gripping kidnapping thriller but quickly evolves into something deeper: a moral exploration of wealth, justice, and human fallibility. Kurosawa uses the wide frame and black-and-white photography to stunning effect, contrasting the rarefied air of a businessman’s hilltop mansion with the gritty realism of the city below. Toshiro Mifune, one of Kurosawa’s most frequent collaborators, delivers a commanding performance as a man torn between ambition and conscience.

Critics and filmmakers alike have hailed High and Low as a structural and thematic triumph. Martin Scorsese, Steven Spielberg, and Paul Thomas Anderson have all acknowledged Kurosawa’s impact on their work, and it’s easy to see why in this film’s meticulous pacing, sharp social critique, and unforgettable visuals.

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What makes High and Low endure isn’t just its craftsmanship, it’s its conscience. At a time when the gap between rich and poor feels more visible than ever, the film’s questions about what we owe each other across class lines feel strikingly relevant. The moral dilemma at the heart of the story remains potent, and its portrayal of the police investigation is still one of the most compelling in film history.

Hollywood has taken notice, for better or for worse... Spike Lee is currently working on a high-profile remake of High and Low starring Denzel Washington, due out later this year. Lee, who has long explored the intersection of race, class, and justice in his films, is an ideal director to reinterpret Kurosawa’s vision for today’s audiences. The remake has generated considerable buzz, making now the perfect time to revisit, or discover, the original before it’s reimagined.

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There’s simply no substitute for seeing High and Low on the big screen. The Grosvenor’s intimate, stylish setting is the ideal venue to take in Kurosawa’s dynamic compositions and atmospheric tension. Whether you’re a seasoned cinephile or a newcomer to international classics, this is an unmissable opportunity to engage with one of the finest thrillers ever made.

us at The Grosvenor on Tuesday, 6th May, for a night of timeless cinema.

Moore International Entertainment and The Grosvenor Picture Theatre are excited to present a VINCENT PRICE DOUBLE FEATURE with HOUSE ON HAUNTED HILL and THE LAST MAN ON EARTH.

Both films have been digitally remastered for this classic double feature program, including two hand-cut vintage horror trailer reels and a vintage drive in intermission countdown between titles!

Tickets available now at: Film | Grosvenor Picture Theatre

When The Worst Person in the World premiered in 2021, few could have predicted the cultural impact it would have just a few short years later. Directed by Joachim Trier and starring the luminous Renate Reinsve in a career-defining performance, this Norwegian romantic dramedy has quietly solidified its place as a modern classic. Now, film lovers in Glasgow have a rare chance to see it the way it was meant to be experienced , on the big screen, in an exclusive one-night-only screening at the Grosvenor Picture Theatre on April 29th, 2025.

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At its core, The Worst Person in the World is a tender, chaotic, and brutally honest portrait of one woman’s search for identity in an increasingly uncertain world. Julie, played with magnetic realism by Reinsve, is an emblem of millennial malaise. She is smart, restless, and haunted by the pressure to live meaningfully in a society that rarely offers clarity.
Trier’s storytelling is intimate yet expansive, blending realism with moments of surreal magic, dark humour, and aching vulnerability. The film is divided into 12 chapters, each one a poignant snapshot of Julie’s life as she navigates relationships, ambition, and self-doubt.

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Upon its release, The Worst Person in the World received widespread acclaim, earning two Academy Award nominations (Best International Feature and Best Original Screenplay) and winning Best Actress at Cannes for Reinsve. But beyond the awards, it’s the quiet afterlife of the film, shared in conversations, referenced in essays, and endlessly quoted on social media - that’s cemented its classic status. The film has become a touchstone for a generation reckoning with love, time, and the pressure to "figure it all out" before it’s too late. It doesn’t offer easy answers, and that’s precisely why people keep returning to it.

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The Grosvenor Picture Theatre invites you to us for a special one-night screening of The Worst Person in the World on Tuesday, April 29th, 2025.

Whether you’re discovering Julie’s story for the first time or returning for a deeply personal rewatch, this is a rare opportunity to immerse yourself in one of the defining films of the 21st century.

Tickets available now: Film | Grosvenor Picture Theatre

When a filmmaker like Ryan Coogler is handed a blank cheque by a major studio, it's more than just a financial gesture, it's a cultural moment.

Sinners, Coogler’s first fully original film in years, marks a pivotal turning point not just for him as a director, but for the state of cinema as a whole. And that’s exactly why we need to show up for it.

Coogler has already proven himself a master storyteller, but he’s done so mostly within the confines of established IP. His debut, Fruitvale Station, was a harrowing and deeply human retelling of a real event. His major ascent into Hollywood however came through the Creed series, a spin-off of the Rocky franchise, and then Black Panther, one of the most significant and successful Marvel films to date. In both cases, Coogler brought a level of emotional truth, social commentary, and stylistic vision that elevated what those franchises could be. But make no mistake: they were still franchises.

Now, with Sinners, he’s stepping into uncharted territory - his own territory. This is Ryan Coogler unrestricted, and unbound from brand expectations. That matters. Because original stories are the lifeblood of a healthy cinematic landscape. They’re where risk lives, where new characters and mythologies are born. And when someone as talented as Coogler finally gets the freedom to build something from the ground up, it’s our job as audiences to make sure the industry takes notice.

Original cinema has been under siege for years. Studios have leaned heavily on sequels, remakes, and shared universes. Why? Because they’re "safe." But that safety comes at the cost of innovation. It makes movies feel algorithmic, designed to meet expectations instead of challenge them. Coogler getting a blank cheque to make something original is the exception, but it should be the rule.

There’s also a deeper cultural stake in this. Coogler is one of the few Black directors to be given a consistent platform at the blockbuster level. His voice carries weight not just artistically, but socially. Letting him tell an original story means allowing space for new perspectives, themes, and worlds that don’t come pre-packaged through the lens of existing white-led franchises. Sinners could very well be a defining statement, the kind of film that inspires the next generation of filmmakers to take risks of their own.

So when Sinners hits theaters, it's more than just a movie night. It’s an act of for a kind of filmmaking that’s in danger of vanishing. It’s a way of telling studios: this is what we want. Not just content. Not just IP. But vision. Soul. Cinema.

Ryan Coogler has given us more than enough reason to trust him. Now he’s giving us something entirely new. Let’s show up. Sinners is screening now at The Grosvenor Picture Theatre: Film | Grosvenor Picture Theatre

When you think of an action hero, Rami Malek probably isn’t the first name that springs to mind. He’s cerebral, angular, and enigmatic—less "punch first, ask questions later" and more "question everything first, probably don’t punch at all." And yet, here he is in The Amateur, headlining a thriller that puts him in the lineage of lone-wolf spies and vengeance-driven protagonists. At first glance, it’s a strange fit. But lean in a little, and you’ll see something far more interesting: the rebirth of the unconventional action star.

Malek, known for his emotionally precise performance in Mr. Robot and his Oscar-winning turn as Freddie Mercury in Bohemian Rhapsody, doesn’t have the physical heft of your typical genre icon. He doesn’t growl like Stallone, doesn’t flex like Schwarzenegger, and he’s certainly not leaping from helicopters like Tom Cruise. But that’s exactly what makes him so compelling in The Amateur—he’s not pretending to be any of those guys.
Instead, Malek plays a CIA cryptographer—an everyman haunted by grief—who’s pulled into a violent mission of revenge after his fiancée is killed in a terrorist attack. He’s not a trained killer. He’s not even remotely ready. And the film doesn’t hide that. It leans into his vulnerability, his awkwardness, his fear. That tension—between a mind built for puzzles and a world built for brutality—gives The Amateur its bite.

In many ways, it’s a playbook last used to unexpected perfection in the late '90s, when Nicolas Cage transitioned from quirky indie darling to unlikely action god. The Rock, Face/Off, Con Air—these films didn’t work in spite of Cage’s weirdness, they worked because of it. He brought something off-kilter, unpredictable, even dorky to roles that would’ve been flat with a more conventional lead. You believed Cage was in over his head, and you rooted for him because of it.

That same energy runs through Malek’s performance. He’s not slick. He’s not smooth. But he’s human. His anxiety feels real, his desperation honest. When he acts out of anger, it’s not righteous—it’s messy. You’re not watching a mythic hero emerge. You’re watching a man break, then claw his way toward something resembling control.

In an era where action movies often flatten characters into stoic muscle-machines, The Amateur dares to make space for psychological complexity. And casting someone like Malek isn't just bold—it's strategic. His presence says: this isn’t just about explosions and gunfights. It’s about the cost of violence, the fracture points in the soul, and what happens when someone who shouldn’t be holding the gun ends up with their finger on the trigger anyway.

There will be those who balk at Malek's action credentials. But they said the same about Cage. And look how that turned out. If anything, The Amateur proves that maybe we don’t need more perfect heroes. Maybe what we need are more strange ones—flawed, twitchy, neurotic, brilliant. The kind who think too much. The kind who shouldn't be doing this. The kind, in other words, like Rami Malek. And that’s what makes him the perfect action hero for right now.

The Amateur comes to The Grosvenor Picture Theatre on Friday 11th April 2025, with the first screening at 20:10. Book tickets now at our website: Home Page | Grosvenor Picture Theatre

From April 29th - May 13th The Grosvenor Picture Theatre has teamed up with the GU International Film Society to screen a programme of classic films curated by their .

April 29th - The Worst Person in the World
May 6th - High and Low
May 13th - The Umbrellas of Cherbourg

Tickets available now at Home Page | Grosvenor Picture Theatre

“I Don’t Believe In Vampires, But I Believe In My Own Two Eyes, And What I Saw Is F****** Vampires!” 3l3r3t

Written by Tarantino. Directed by Robert Rodriguez. Starring George Clooney, Harvey Keitel, Salma Hayek, Danny Trejo, Juliette Lewis, and Tom Savini. Make up effects by Greg Nicotero. Vampires. Snakes. Endless quotable one-liners. The best vampire movie of the 90's? Absolutely. 

If you've never seen it, firstly; why not? But more importantly, free your schedules, and us for a one-off screening of From Dusk Till Dawn on 4th May at 6pm.

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​"Flow," directed by Latvian filmmaker Gints Zilbalodis, is a remarkable animated feature that took five and a half years to create using Blender, a free and open-source 3D software. The film's journey began in 2019, with Zilbalodis dedicating the first year to writing the script, mastering Blender, and seeking funding under his Dream Well Studio. ​

By 2020, after securing initial funding, Zilbalodis collaborated with artists and developers in a co-working space, gradually assembling a small yet dedicated team. The Latvian studio comprised about 15 to 20 individuals, though typically only three to five worked concurrently, reflecting the project's intimate scale.

A significant aspect of "Flow" is its extensive depiction of water, a challenge adeptly handled by team Martins Upitis and Konstantīns Višņevskis. Upitis developed a Blender add-on specifically for the film's complex water simulations, which has since been made publicly available. ​

The production timeline was as follows:​
2019: Scriptwriting, learning Blender, and initial fundraising.​
2020: Secured funding; began collaboration with artists and developers.​
2021: Expanded the team with concept artists, riggers, and developers to streamline the workflow.​
2022: Belgian and French co-producers ed, enhancing character animation and other aspects.​
2024: "Flow" premiered at the Cannes Film Festival. ​

The dedication invested in "Flow" has been richly rewarded. The film has garnered over 60 awards, including a Golden Globe for Best Animated Picture and an Academy Award for Best Animated Feature and becoming Latvia's most-viewed theatrical film. ​

Flow" offers a meditative and poetic narrative on climate change and the interdependence of animal life. Its wordless approach and surreal, sensory experience have captivated audiences, making it a standout in contemporary animation.

For those interested in innovative animation and compelling storytelling, "Flow" is a film not to be missed. Catch it at the Grosvenor next week, starting on Friday 28th March 2025.

​A prevalent critique of Bong Joon-ho's latest film, Mickey 17, is that it doesn't replicate the essence of his Oscar-winning Parasite. However, upon closer examination, Mickey 17 mirrors Parasite in its incisive satire of 21st-century capitalism, employing Bong's signature to craft an "eat the rich" narrative with absurdist style and humour. Notably, the film distinguishes itself by embracing a playful tone, diverging from the somberness typical of Hollywood blockbusters from the usual suspects such as Christopher Nolan or Paul Thomas Anderson.​

Mickey 17 introduces audiences to a dystopian future where Earth faces environmental collapse, prompting humanity to embark on space colonization missions. The protagonist, Mickey Barnes, portrayed by Robert Pattinson, serves as an "Expendable"—a crew member designated to undertake perilous tasks due to his ability to be cloned upon death. This premise allows the film to delve into themes of identity, exploitation, and the human spirit's resilience. As Mickey confronts the ethical implications of his expendability and encounters with indigenous alien species, the narrative critiques technological overreach and capitalist exploitation. ​

The film's audacious approach is evident in its over-the-top satire, targeting figures reminiscent of contemporary tech moguls and political leaders. Mark Ruffalo's portrayal of Kenneth Marshall, a disgraced politician leading the colonization mission, is a thinly veiled caricature of Donald Trump, blending elements of narcissism and authoritarianism. This character, alongside his wife Ylfa, played by Toni Collette, embodies the film's critique of white nationalism and capitalist hubris.

Central to the film's success is Robert Pattinson's performance as Mickey. His portrayal infuses the character with a delightful eccentricity, grounding the story in relatable humanity. Pattinson's choices border on the cartoonish, yet they are precise enough to make Mickey's existential plight resonate with audiences. His interactions with Naomi Ackie's Nasha, Mickey's girlfriend, add depth to the narrative, highlighting personal connections amidst the broader societal critique. ​

Visually, Mickey 17 captivates with its imaginative depiction of alien creatures known as "creepers," which, despite their initially menacing appearance, evolve into endearing entities symbolizing the potential for interspecies communication and coexistence. The film balances dark humor with philosophical musings, offering a visually stunning experience, reminiscent of the works of Terry Gilliam.

In essence, Mickey 17 stands as a worthy successor to Parasite, channeling Bong Joon-ho's trademark absurdity to deliver a fresh and audacious satire of contemporary capitalism. Its playful tone, combined with sharp social commentary and standout performances, particularly by Pattinson, cements its place as a remarkable addition to Bong's oeuvre. Don't miss your last chance to see it this coming week in the Grosvenor.

It’s completely understandable to feel hesitant about watching a film that tackles themes of depression and the suffocating grind of finding yourself trapped within a soulless corporate machine. The emotional weight of these topics can be difficult to face, and the idea of engaging with a film that reflects these harsh realities might feel overwhelming or even too close to home. However, it is precisely because of these themes that such a film is essential to experience.

While it may be uncomfortable, it also provides an opportunity to confront and process the very emotions that often get buried in the monotony of life itself. Films that explore these issues can be cathartic, offering a space for reflection, understanding, and even healing. It’s through engaging with the hard truths that we often find the strength to push back against the very systems that drain us, and such a film can ultimately offer a sense of solidarity and empowerment.

The film, which explores themes of personal struggle and societal challenges, has resonated deeply with political leaders who advocate for social justice and systemic change. Jeremy Corbyn, the former leader of the Labour Party, has long championed causes related to inequality and the marginalised, making On Falling’s message align with his views on societal transformation and migrant workers rights. Zahra Sultana, a prominent Labour politician known for her activism on issues such as climate change and economic disparity, has also shown for the film. Their attention to On Falling reflects the growing intersection of art and politics, where powerful storytelling can help amplify calls for change and social progress.

On Falling is an it’s an emotional journey that speaks to the heart of what it means to navigate life's falls and get back up again.

Don't miss your last chance to see it at The Grosvenor Cinema on Thursday 20th March at 12:20.

GSFF is Scotland’s biggest short film event. This year, we’re proud to be hosting a selection of screenings at The Grosvenor Picture Theatre.

From their international competition, the Bill Douglas Award; to festival favourites; to a collaboration with Scottish Opera and more.

For more info, follow the link below.

Tickets (filmchief.com)

On 17th March, MUBI GO will be hosting a special screening of Bong Joon Ho's MICKEY 17 at The Grosvenor Picture Theatre, giving MUBI GO subscribers a chance to meet fellow cinema GO-ers and discuss the film.

Just turn up, scan your MUBI GO ticket in the app, pick up your free tote bag and enjoy the film (and a free drink after the screening).

The one question we get asked more than any other?

"when is your next dog friendly screenings?"

Now we finally have an answer...

Dog Friendly Screenings will be returning.
Beginning April 2025, Every Sunday afternoon.

Keep and eye out for tickets at: grosvenorpicturetheatre.co.uk

Take a piece of Glasgow's oldest Cinema home, with our exclusive range of Grosvenor Picture Theatre Tote Bags and T-Shirts, available in a selection of colours. Only available to purchase from the ticket desk, while stocks last!

to grab a 'Grosvenor Rewards Card' when you stop by, for a free popcorn on your 4th visit and a free ticket on your 8th!

Coming Soon...

A selection of some of the Greatest examples of German Expressionist Cinema, a rare chance to see these iconic films on the big screen (in a cinema that was around during their first release!)

Following last year's Summer Gone Wrong Season, we're taking inspiration from Hollywood and moving full steam ahead with a sequel.

This year we're going bigger and better (as all sequels must), including a special CineXperience screening, Kids Club additions and Late Night cult classics.

Keep an eye out for more updates coming (very) soon!