Shank is a 2010 British action film directed by first-time filmmaker Mo Ali. Written by Paul Van Carter, it was shot in London in 2009. The movie stars Adam Deacon, Bashy, Jennie Jacques, Kaya Scodelario, Kedar Williams-Stirling and Rory Beresford in the lead roles. It was released on 26 March 2010.
Set in a pulp fiction world, Shank 2 puts players back in control of their favorite ex-mobster hitman, Shank. Klei has evolved the combat experience with precise controls, new weapons, smarter enemies, and more advanced combo techniques, all set to the backdrop of beautiful 2D art and animation. Players can put Shank’s trusty arsenal of handguns, chainsaws, grenades, plus all-new weapons to use in order to protect those close to him. Introducing an all-new Survival Mode, gamers can team up with a friend online or locally, working together to take down hordes of goons in an action-packed, arcade-style brawl. Featuring stunning visuals from Klei’s veteran cartoon director, Jeff Agala, Shank 2 raises the bar even higher for 2D brawlers with art and animation that won Klei multiple awards and nominations, including IGF’s Excellence in Visual Arts nomination, and the Canadian Animator of the Year award for Klei’s lead animator, Aaron Bouthillier.
Shank is a blistering British indie pulsating with untamed sexuality and aggression. Cal (Wayne Virgo) is a handsome teenage thug so desperate to hide his gay cravings from his fellow gang members that he binges on drugs, secretive anonymous sex and acts of violence. But the bad boy s secret desires are uncovered when he rescues a kind-eyed French exchange student from one of the clan s sadistic hate crimes. Though the two boys fall passionately in love, Cal s crew is bent on revenge for his betrayal and the young lovers are placed in unspeakable danger. Unapologetic and as poignant as it is shocking, Shank is a must see…
Drew Michael, the comedian’s first HBO stand-up special, follows him as he navigates his fears, anxieties and insecurities in an unconventional stand-up setting. Michael’s darkly comic, stream-of-consciousness monologue raises questions of identity, narrative, self-awareness and the limits of the medium itself.