A: When Studiocanal emailed Redbrick Film with an invite to a press screening of Wicked Little Letters (2023), we replied on a whim, not expecting much of a response. After they replied saying the event was full, we accepted that the red carpet (which actually turned out to be blue) would not yet fill the Film Section’s path. But then in a startling turn of events, Studiocanal invited us to the film’s premier instead, and two thirds of us (sorry, Tom) were able to accept the call. We dressed to the nines – well, maybe more like sevens or sixes – and headed off to London for what was shaping up to be a very exciting event.

J: Leicester Square was packed. I’d been to the Leicester Square Odeon twice before and both nights were nights to remember. The first was Black Widow (2021) to celebrate my 18th birthday; the second Scott Pilgrim vs. the World (2010), a tenth anniversary event with a special in-person appearance from director Edgar Wright himself. This third trip (to see Wicked Little Letters) was by far my favourite of the three. And not just because I spotted Lou Sanders from Taskmaster (2015-) on my way in.

A: I have no idea who that is. 

J: We picked up our tickets from the Leicester Square Radisson hotel – just a stone’s throw from the cinema itself. In line with the theme, said tickets were presented to us in a sizably chunky envelope – our envelope was emblazoned with the words Redbrick; the envelope in front of ours bore the name ‘EMPIRE MAGAZINE’. We were in the company of greatness and I’m not just talking about the ominous bronze statue of Batman that lurks atop the Leicester Square Odeon. Watching (Christian) balefully as we approached the cinema. We could almost hear its thoughts… Who are YOU?… YOU aren’t famous… I don’t remember YOU from The Lost Daughter (2021).

A: We were a little confused about what to do next, with everyone around us seeming to be seasoned premier-goers. Google Maps very nearly failed us (that’s what you get for searching ‘carpet’); but thankfully the entrance finally revealed itself just when all hope seemed lost. We did a very self-conscious walk down the blue carpet, within reach of the paparazzi lying in wait for the film’s stars. I suddenly became very aware of the banged-up Doc Martens I had chosen over heels – the very boots that have softened my tread through countless sports nights and Circos suddenly seemed inadequate. Some people, like us, looked confused and overjoyed at the fact they had been invited, blinking in the glaring lights above; others walked with a more confident strut, clearly more accustomed to their average Tuesday including a rendezvous with Jessie Buckley. The whole experience was highly unique and very exciting, but we felt a little out of place – after all, how had we, the humble Redbrick, managed to breathe the same air as Olivia Colman? 

The loveable yet run down Odeon New St. can’t hold a candle to its sister in Leicester Square; white stucco ceilings, with soft lights casting a glow on the cavernous auditorium, make up the space, now London’s default premier venue. We were led to our seats in the upper circle – I was  told that the Prosecco I was nervously reaching for was in fact not complementary, so my walk was a hunched and shameful one – and we took our seats. Outside, celebrities like Colman, Buckley, Anjana Vasan and Timothy Spall began to arrive. The interviews they took part in were broadcast live into the auditorium, building a real sense of anticipation in the now-full room. 

J: But before the film could begin, we were treated to a few words from the cast and crew. It was downright surreal. The people we had observed just moments before on the big screen were now standing just metres below it – in the flesh! And smaller! Director Thea Sharrock began the proceedings, praising writer Jonny Sweet’s script: in her words an irresistible proposition for any established director. Producer Colman also said a few words, the whole cast praising youngster Alisha Weir (of Matilda! fame) for her performance. Nobody said a whole lot else – being as eager to watch the film as we were, the cast and crew settled into their seats fairly quickly. 

And that was (mostly) it. As the movie progressed, I couldn’t help stealing the occasional glance at Jessie Buckley and Olivia Colman, seated just ten rows ahead of us; their matching bleach-blonde bonces instantly recognisable even in back-of-head form. This was the one thing that stayed with me, long after the movie ended and long after we had made our way back to Birmingham, bags stuffed with complimentary canned Odeon water. The eternal question, one that I just couldn’t stop pondering: should Alice and I get matching haircuts? 

Thank You to Studiocanal for making our experience at the Premier possible.

Enjoy this article? Check out Redbrick Film’s Wicked Little Letters double perspective review!

Review: Wicked Little Letters – A Double Perspective