Ironclad: Battle for Blood

Ironclad: Battle for Blood
Directed by Jonathan English
Produced by Rick Benattar
Jonathan English
Andrew J. Curtis
Jamie Carmichael
Marija Djukelic
Milos Djukelic
Marko Jocic
Nigel Thomas
Screenplay by Jonathan English
Stephen McDool
Story by Jonathan English
Starring Roxanne McKee
Michelle Fairley
Danny Webb
Tom Austen
Music by Andreas Weidinger
Cinematography Zoran Popovic
Edited by Laurens Van Charante
Production
company
Mythic International Entertainment
International Pictures One
Gloucester Place Films
Distributed by Content Media
Warner Bros.
Release dates
  • 14 March 2014
Running time
108 minutes
Country United Kingdom
Serbia
Language English
Box office $1,477[1]

Ironclad: Battle for Blood is a 2014 adventure film directed by Jonathan English. It is the sequel to his 2011 film Ironclad.

Plot

Five years after the events of Ironclad, the de Vesci family struggles with Pict raiders along the English-Scottish border. In one of these raids, the patriarch of the family loses his arm to the chieftain's son, who is killed by the family manservant and hung on the wall. While resting in bed, the father commands his son Hubert to seek out his cousin to assist in defending the castle from the Picts. Hubert leaves in silence the next night.

Hubert discovers Guy in Kingstown at an underground brawl with his friend Berenger. Guy tells Hubert that he will help if he is paid. While they leave, they barter with the executioner, Pierrepoint, to let a prisoner, Mary, live. Even though he insists on her death because of her brutal murdering spree, he relents and eventually joins the group. Upon their return, they see that the castle is once more under siege, so they enter through the sallyport. Guy, Berenger, Mary, and Pierrepoint demonstrate their fighting capability as the successfully repel the assault.

Cast

Reception

Guy Lodge of Variety wrote that English "rehashes most of his technical devices from the first film" and noted that the "production and costume design on the Serbian-shot production are economically restrained," though "Andreas Weidinger’s kitschily choral score is anything but."[2]

See also

References

External links