‘The Wicker Man’ is the defining piece of work in the folk horror subgenre, and remains one of the most influential British films of all time. Exploring themes of religious and cultural conflict, ancient traditions, and the consequences of blind faith, it is more than just a straight up horror film. At times it almost feels like a musical. Even now, 50-years on from its initial release, Robin Hardy’s chilling and atmospheric masterpiece provides one of the strangest and most unsettling viewing experiences. 

A weird and tonally inconsistent film, full of jaunty folk tunes, and filmed almost entirely during the day, there’s nothing particularly scary about ‘The Wicker Man’. But the gradual slow-burn of the central mystery draws us into the world of this strange Island community, before curdling our blood in the shocking and unforgettable climax. A finale which has become an iconic moment in cinema history.

As the devout and morally upright Sergeant Howie, sent from the mainland to investigate the disappearance of a young girl, Edward Woodward gives one of the standout performances from his career. His portrayal of a man struggling to reconcile his rigid Christian beliefs with the strange and disturbing customs he encounters on Summerisle is at the very heart of the film, and plays brilliantly against Christopher Lee’s charismatic community leader.

Even with its relatively brief running time, ‘The Wicker Man’ has created a lasting legacy with its potent mix of disturbing imagery, powerful performances, and thought-provoking themes. In the pantheon of folk horror it sits proudly at the top, and remains essential viewing for those seeking intelligent and psychologically unsettling cinema. Its enduring impact on the genre continues to resonate with audiences, making it a true classic that has more than withstood the test of time.

The 4K UHD presentation brings a level of depth and definition that is quite incredible, however it should also be noted that it doesn’t perform miracles. Those familiar with previous restorations of the Final Cut will know full well that certain scenes are of a much lower picture quality. That is no different here. There are some scenes however, most of which are exterior, where the UHD transfer is truly stunning. The final sequence in particular has never looked better.

Disc One presents the Final Cut of ‘The Wicker Man’ in UHD. As well as the feature, we also have all the extras from the 40th anniversary Blu-ray edition. We also get a number of brand new featurettes exclusive to this release, including a short documentary revisiting the locations of the film, Justin Hardy (son of director Robin Hardy) interviewing filmmakers and critics about the film, and a rare insight into Hardy’s original copy of the script with Lord Summerisle’s epic final monologue which was cut from the film.

Also new and exclusive to this release is an interview with Britt Ekland, and a gallery of behind the scenes stills. Although not a new feature, there is a 2001 documentary, ‘The Wicker Man Enigma’, which wasn’t included in the previous Blu-ray edition and has instead been ported over from the 2001 DVD release.

If the Final Cut isn’t your favourite version, then disc two gives you UHD restorations of both the director’s cut and the theatrical cut (my personal favourite). There is also an audio commentary with Robin Hardy, Christopher Lee, and Edward Woodward on the director’s cut, and a behind the scenes short film about the commentary. Both of these were available on the previous Blu-ray release. Discs three and four, repeat the above in BD format.

Cast: Edward Woodward, Christopher Lee, Britt Ekland, Ingrid Pitt Director: Robin Hardy Writer: Anthony Shaffer Released By: StudioCanal Certificate: 15 Duration: 92 mins Release Date: 25th September 2023

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Often considered a cult British classic, the 1982 political thriller Who Dares Wins has always had its admirers (not least Stanley Kubrick and Ronald Reagan). The showcase for the daredevil work of the SAS – whose motto forms the movie’s title – can now be enjoyed by a whole new audience thanks to its release on Blu-ray and DVD by Fabulous Films.

Inspired by the historical events of the Iranian Embassy siege in London in 1980, Who Dares Wins follows the story of SAS operative Peter Skellen (Lewis Collins). Deep undercover, Skellen is on a mission to find out what a dangerous group of terrorists fronting an anti-nuclear power organisation called the People’s Lobby are planning. Unable to contact his wife and young daughter, and even apparently forced out of the SAS for torturing foreign operatives, Skellen is truly a man on his own. He infiltrates the People’s Lobby by seducing its leader, Frankie (Judy Davis). But when their romance comes to light, the tight-knit group are quickly suspicious, placing him in danger. When the plot to seize the US Embassy during a conference emerges, taking VIP diplomats hostage in the process, Skellen finds himself a man on the inside, with his family held hostage on the outside.

The movie is produced by Euan Lloyd, whose earlier credits included the Sunday afternoon favourites The Wild Geese and The Sea Wolves. Who Dares Wins is in the same rich vein of high-octane, testosterone-driven flicks of unremitting entertainment value.

A box-office success at the time, Who Dares Wins ought to have carved out a stellar career for Lewis Collins, who was already a massive star thanks to his role opposite Martin Shaw in The Professionals on television. A real-life hard man, Collins tried out for the SAS and was good enough to make the grade. He even auditioned for James Bond, and it’s clear he would have had the grit and thuggery of Timothy Dalton’s portrayal, but Cubby Broccoli found him a touch too much of a blunt instrument back in the Roger Moore era. Collins’ star sadly waned from the 1990s, but Who Dares Wins is a lasting testament to his talents, and the easy charm and handsome good looks he brought to the screen. Ahead of its time, Who Dares Wins features strong female villains. Judy Davis is intriguing as the ideologue Frankie – we’ve all met people just like her – and her chemistry with Collins is a factor in the film’s success.

The rest of the cast is like a Who’s Who? of top talent from both sides of the pond. John Duttine, who had recently starred in the best production of The Day of the Triffids, is excellent as a nerdy, rabble-rousing terrorist and Frankie’s sidekick. Edward Woodward (Callan/The Wicker Man) is typically rock-solid and authoritative as the police commander and chief negotiator. Versatile Irish actor Tony Doyle, who found considerable fame in his final role in Ballykissangel, is on top form as an SAS colonel, and Scottish actor Maurice Roeves is, as always, an assured presence as an army major. Look out also for Ingrid Pitt as a terrorist, and a predictably amusing cameo by Kenneth Griffith, here playing a mad bishop. Dependable American actors Richard Widmark and Robert Webber add a certain gravitas to the hostage scenario.

The film’s main fault is that it takes rather a long time laying its cards on the table, and the first hour is a touch ponderous. There isn’t too much fat on the bone, but there is a feeling that some details are laboured, such as the overlong sequences inside the People’s Lobby nightclub, and the number of times Skellen gives people the slip to meet his contact. However, nobody leaves the film dwelling on its overly-detailed first half. The final half hour is scintillating stuff, and a text book example of how to cut together action sequences and keep the suspense at maximum. With the rise of self-righteous organisations such as the People’s Vote and Extinction Rebellion, it’s plausible enough to see these groups infiltrated by militants for their own ends, which makes the story relevant for today. Who Dares Wins is a reminder of how the British state is well-placed to react to any such a terrorist plot, and why the SAS enjoys worldwide reverence for their ruthless professionalism.

Who Dares Wins is terrific entertainment, and it showcases a good range of performances from notable British and American talent. It’s the kind of film that doesn’t demand too much of its audience’e grey cells, but is nevertheless more intelligently-written than any detractors might think. Other than a few stodgy moments, Who Dares Wins is solid and a lot of fun. The Blu-ray edition probably doesn’t scrub up quite as magnificently as some impressive restorations have achieved, so the DVD may be sufficient for visual purists. The extra on the disc is a cinematic trailer. If you’ve never seen it and you enjoy classic British action movies – add Who Dares Wins to your list.

Cast: Lewis Collins, Judy Davis, Richard Widmark, Edward Woodward, Maurice Roeves, Tony Doyle, John Duttine, Ingrid Pitt Director: Ian Sharp Writer: Reginald Rose Certificate: 15 Duration: 125 mins Released by: Fabulous Films Release date: 1st June 2020 buy now

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Derivative because fables that are a reflection on our current time but set in the near future can’t help but recall Orwell’s 1984 – published in 1948. Drab, because 1990 wasn’t that awful or even remarkable a year; there were distinct plus points such as the then very recent collapse of the USSR and subsequent fall of the Berlin Wall and reunification of Germany. If anything, 1990’s stark warnings about the near future were unfounded. Or were they?

1990 takes place in a UK where its corrupt and incompetent socialist government has squandered the nation’s wealth, ruined the economy and reduced productivity to such a level that a brain drain has occurred – meaning all the best talent has left to live abroad. When the series starts, the Home Office has created the Public Control Department (PCD) – essentially state police and militant thugs – to prevent anyone from leaving without official permission, as they also crack down on civil liberties in a country where the standard of living is falling rapidly. In other words, 1990 is set in an England governed like any other socialist hellhole in history, from Cuba to Venezuela.

Edward Woodward, who had scored a massive success earlier in the 1970s for Callan, and would gain even greater worldwide fame the following decade for The Equalizer, is perfectly cast as Jim Kyle, a journalist working for the only newspaper not under government control and issuing propaganda for the state. Nobody played the everyman coping under pressure – reasonable, but a fighter when pushed – more solidly and convincingly than Woodward. Whilst it may stretch credibility a little that a totalitarian leftist government would allow any freedom of the press, this is neatly covered off by Kyle’s uneasy and unequal relationship with officials from the PCD, notably the beautiful but manipulative Delly Lomas (Barbara Kellerman), who tips him stories in return for some freedom. He’s not entirely in their pockets and finds adventures of his own. The first few episodes detail his attempts to smuggle a GP (played by the wonderful Donald Gee) out of the country without the PCD discovering his involvement. This introduces us to his sidekick Brett (Ballykissangel’s Tony Doyle) who works in exports, which is the only line of business not under stifling government scrutiny.

Other episodes cover storylines such as the torture of criminals or the mentally ill on government health farms, under the guise of curing them, and the grotesque human rights abuses this entails (an idea was ticked off to perfection in Anthony Burgess’ A Clockwork Orange, but is given a reasonable outing here); and another in which an overseas dignitary, inspired to set up a PCD in his own country, is used to try to flush out resistance. The episode is notable for featuring the legendary Graham Crowden (Waiting For God), complete with American accent, as the villainous Dr Sonderberg.

Although there were two series, there isn’t an entirely satisfying transition between them, and this speaks to the heart of the show’s main weakness. A few of the key players in the PCD are replaced. Although the implied sexual tension between Kyle and Lomas is never quite convincing (mostly down to Kellerman’s generally vague acting) she’s written out between the series but the dramatic tension is never capitalised upon. Wouldn’t it have been better to have her killed off rather than just disappear? Clive Swift (Keeping Up Appearances) joins for the second season, in familiar avuncular territory. He’s not given much to do but he’s one of those splendid actors who can make the most of not very much.

1990, as with most British TV of the era, is shot on a mixture of 16mm film and tape. There is good use of location filming in and around London, finding plenty of places that make the place look like a wasteland. It was in the late 70s – socialism and the inflation, strike action and militancy that are its calling cards saw to that. If you want to know what life in the UK will be like in just a couple of years once the Corbyn Youth vote in their deity – watch 1990.

Overall, the series is heartily recommended for its intelligence, generally good cast and unusual subject matter. It has some strong roles for women, including a villainous female Home Secretary in the second series (Yvonne Mitchell, replacing John Savident). A bit dry in parts, and more than the odd moment of awful dialogue – but satisfying. You can’t go wrong with great actors and a good concept.

Cast: Edward Woodward, Robert Lang, Tony Doyle, Barbara Kellerman, Graham Crowden, Clive Swift Certificate: 15 Duration: 880 mins Released By: Simply Media Release Date: 20th November 2017

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The draw here is the star actors who play the leading role in each episode. The sad death of Anthony Valentine last year means that they are all now deceased, but John Thaw (The Sweeney, Inspector Morse) and Edward Woodward (Callan, The Wicker Man) make up the other two leading performers.

The best part is the first. John Thaw plays an ex-soldier who, some time during The Troubles, had spent time in Northern Ireland. Now living in a secluded cottage with his wife, he’s buried the past, but it comes back to haunt him when an assassin is assigned to cross the Irish Sea, hunt him down and kill him. “Make him suffer,” the killer is told. But being an ex-soldier, Thaw’s character is able to look after himself. The story is a novel English spin of the popular Western idea of a game of cat and mouse: kill or be killed. It’s a formula that always works well – it certainly did in the Bond movie Skyfall – and for the first two thirds of this episode, it’s effective too. Sadly, the story descends into farce, which is a real shame given the tension that had been built up. Dearbhla Molloy plays Thaw’s wife.

The second episode is the creepiest. Anthony Valentine plays a troubled man fuelled by sexual jealousy. He photographs his lovers in the act of betraying him, and then lures them to a lock-up to kill them. The police are soon on to him, and look out for Michael Sheard who is in charge of the investigation. The trouble with it is that there are very few surprises.

The final episode is the most unusual and depicts Edward Woodward, inexplicably going for a northern accent, playing a multi-millionaire at the opening of a new office block, designed with up-to-the-minute horrendous 1980s decor. His daughter, played by Caroline Bliss (Moneypenny to Timothy Dalton’s Bond) is kidnapped and Woodward is blackmailed for ransom. David Sibley gives a horribly ponderous performance that leaves you wishing he’d just spit the line out and get on with the scene. Poor pacing is its undoing. It’s the only one of the three parts that never quite takes off, or feels like it has much of a life as a standalone drama; but any time in the company of the wonderful Edward Woodward is always well-spent.

The real shame about Killer is that you don’t get to see the great leading actors on screen at the same time, or at the very least Edward Woodward reunited with his Callan sparring-partner Anthony Valentine. Overall, these thrillers are unusual, unintentionally daft at times and tenuously grouped. The title is, however, an interesting curiosity.

Cast: John Thaw, Edward Woodward, Anthony Valentine, Wanda Ventham, Michael Sheard, Caroline Bliss, Dearbhla Molloy Certificate: 15 Duration: 158 mins Released By: Network Release Date: 12th September 2016

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Despite the phenomenal talent behind it, Two Cities was not an overwhelming success and has slipped into obscurity. Thankfully, a full cast recording was made at the time, which has now been released by Stage Door, allowing contemporary audiences to re-evaluate this ‘lost’ British musical.

This blessing is as mixed as the original reviews, and certainly Two Cities is an odd bunch of songs with moments of greatness and moments of awfulness. Things get off to a good start with The Best of Times, a bombastic ensemble piece that introduces the audience to the crux of the story. It’s title comes from one of the most famous opening sentences in English literature (and one of the best uses of the semi-colon): “It was the best of times; it was the worst of times.”

Tender Love and Patience introduces the audience to Lucie (Elizabeth Power), and as a lullaby it is fairly effective, but since it’s a solo it’s exposing early on what is perhaps the musical’s main weakness – there isn’t much interaction between the characters through song. The isolation of the major players leaves it difficult to follow the narrative thrust, even for those who may know Dickens’s story well, and leaves the whole thing oddly uninvolving.

Independent Man introduces Edward Woodward’s Sydney Carton, who is upbeat to begin with – and in fact the whole musical is strangely chirpy. Undoubtedly, Woodward’s involvement is a major draw, and will be the main source of interest in this release. As well as being a very fine actor, Woodward was also a magnificent singer, and would come to have around half a dozen albums to his name. Whenever he’s in full voice, Woodward brings Two Cities to life.

Ultimately, though, a musical has to be more than the performance of its leading actor. Lionel Bart’s Oliver! successfully removed all of Dickens’s teeth – yet the musical was a hit because it retained the essence of the story and had some memorable tunes to boot. Two Cities doesn’t achieve that, and consequently, whilst a lot of it is perfectly competent, it fails to bring the story to life.

Perhaps the best song on the album is the climactic It’s A Far, Far Better Thing, which Woodward delivers with gusto and plenty of vibrato. It’s certainly a standout, and Woodward nails it, but it feels as if it has come out of nowhere. Fans of Woodward’s singing career should certainly check it out.

There are a few extra tracks on the disc that were cut from the production. The Wine That Flows In The Street is perhaps the best. It’s a decent ensemble piece with an effective chorus and a sinister edge, similar to the Work Song of Les Miserables. There’s a wicked humour to Let Them Eat Cake, which is also worth a listen. Other songs deserved to be cut, especially the trio accompanied by an end-of-the-pier organ, more redolent of a wet bank holiday weekend in Morecambe than the French Revolution; and there is an occasional tinniness to the vocals as the bonus songs play out.

Overall, Two Cities isn’t a great musical, but it’s decent enough. Edward Woodward’s involvement is enough to recommend it, and it’s another enjoyable curiosity from the Stage Door collection.

Track Listing 1. The Best Of Times, 2. Tender Love And Patience, 3. Independent Man / What Would You Do, 4. Look Alike, 5. And Lucie Is Her Name / Golden Haired Doll, 6. Suddenly, 7. The Time Is Now, 8. The Machine Of Doctor Guillotine, 9. Two Different People, 10. Only A Fool, 11. Will We Ever Meet Again, 12. Knitting Song, 13. Quartet – Two Different People / Will We Ever Meet Again / Only A Fool / Knitting Song, 14. Long Ago, 15. It’s A Far, Far Better Thing, 16. The Wine That Flows In The Street (Bonus Track – Original Demo Recording), 17. Tender Love And Patience (Bonus Track – Original Demo Recording), 18. What Would You Do Without Me (Bonus Track – Original Demo Recording), 19. Look Alike (Bonus Track – Original Demo Recording), 20. Someone To Love (Bonus Track – Original Demo Recording), 21. For Justice We March (Bonus Track – Original Demo Recording), 22. Let Them Eat Cake (Bonus Track – Original Demo Recording), 23. The Proposal Song (Bonus Track – Original Demo Recording), 24. I Would Give My Life (Bonus Track – Original Demo Recording), 25. The Machine Of Doctor Guillotine (Bonus Track – Original Demo Recording) Record Company: Stage Door Release Date: 24th June 2016

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Now, a three-disc spectacular, Callan: This Man Alone, is being released from 30th November, available exclusively through Network, which includes a brand-new 130-minute documentary.

Callan: This Man Alone features input from many of the surviving key players, and is narrated by Peter Woodward – Edward Woodward’s son. Several years in the making, the documentary turns out to be a poignantly timely one, since both Reginald Collin (a later Callan producer) and Jim Goddard (a director), who offer their memories of the series here, have subsequently died. This is a thoughtful, thorough and insightful documentary, with Peter Woodward’s linking narration moving from one contributor to the next. Each one has been asked an intelligent question and provides a suitably engaging response.

There are many great contributors. Peter Mitchell, the son of Callan creator and writer James Mitchell, speaks about growing up in the North East with his father in the limelight, and the impact the success of Callan had on their lives. Piers Haggard, who went on to have considerable (and cult) success as a director, also remembers the series in detail, as does fellow director Mike Vardy. On the writing side, Trevor Preston and Robert Banks Stewart (well known for his contribution to many great TV series of the time, including Doctor Who) are on hand to supply another perspective of working on the series. Surviving actors Clifford Rose (the sinister Snell) and Patrick Mower (Callan’s younger rival Cross in the later series) are on hand to give their views, with Mower in particular amusing and jovial. Actors who are now sadly deceased, such as Woodward himself and series regulars Russell Hunter (Lonely) and William Squire (Hunter) are represented through audio interviews that are, owing to generally poor sound quality (they were telephone interviews that would have been transcribed) backed up with subtitles.

The documentary covers the Armchair Theatre pilot, A Magnum For Schneider, to the first two monochrome series; followed by the two later colour series and the subsequent 1980 special and big screen outing. It’s incredibly comprehensive, and where gaps may exist in the details for the contributors as they recall aspects of their profession nearly half a century earlier, the BFI’s Dick Fiddy is on hand to supply his encyclopaedic knowledge of the show.

The documentary represents only the first of three discs in this release. The second disc holds new transfers of classic episodes previously released under the Monochrome Years title, including A Magnum For Schneider and The Good Ones Are All Dead. It also contains the complete recording block for The Worst Soldier I Ever Saw, which comprises the full recorded tape of the episode, including cue cards and multiple takes of single scenes. Dry and not very scintillating viewing to the general public, but a truly fascinating glimpse into how television drama was made in the late 1960s for archive TV buffs – who are, let’s face it, the target audience of this title.

The third disc holds a few more extras worth seeing, including a full episode of The Edward Woodward Hour, which was basically an opportunity for Woodward to sing his favourite songs (and what a lovely voice he had) in an hour-long show linked by sketches. For Callan fans, it’s the Father, Dear Father (an immensely popular situation comedy starring Patrick Cargill) and Callan crossover that’s the biggest draw. It is painfully, embarrassingly awful – but as compulsive to watch as a car crash. Satisfyingly, Beryl Reid pops up in a few sketches and salvages the whole production. The documentary about James Mitchell, Flashback, is rather more serious, and also contains footage and out-takes from the production that was made towards the end of his life. A World of My Own was filmed contemporarily with the broadcast of Callan. It survives in very grainy black and white, with a dodgy and intermittent sound, but it is the genuine voice of the creator of Callan, and that makes it worth persevering with.

There is over six hours’ worth of material spread across the three discs, making this a dream, must-have title for any Callan aficionado. It’s the original documentary that’s the real draw, and it’s very well put-together, encapsulating just in time the breadth of talent that went into making the remarkable series, before any more of those great old gentlemen inevitably die off. As such, Callan: This Man Alone is a fitting tribute to and celebration of a brilliant series that is well worth remembering.

Cast: Edward Woodward, Ronald Radd, James Mitchell, Russell Hunter Released By: Network Certificate: 12 Duration: 400 mins Release Date: 30th November 2015

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To coincide with the DVD and Blu-ray release of the hit Sony Columbia movie The Equalizer starring Denzel Washington on 26^th January 2015, Fabulous Films proudly present this feature- length made for television episode, starring the legend that was Telly Savalas (Kojak). The Sony Columbia movie grossed nearly $200 million worldwide at the box office, reigniting the Equalizer franchise once again…

BAFTA & Golden Globe® winner Edward Woodward O.B.E. plays Robert McCall – a retired covert intelligence officer trying to atone for past sins by offering his services, free of charge, as a troubleshooter, protector and investigator. Aided by a group of mysterious contacts who date back to his spying days, he prowls the streets of New York City, applying his own justice.

Edward Woodward Facts:

*He played professional football for Brentford and Orient before a knee injury ended his career

*He was so good on the stage that Sir Laurence Olivier invited him to choose his own role in the Royal National Theatre, and he chose Cyrano de Bergerac

*Long before the phrase “What Would Jesus Do?” – people said “Would Edward Woodward?” Generally he wouldn’t as he was quite a private man.

The Equalizer – The Movie: Blood and Wine synopsis:

Robert Mccall (Edward Woodward) is forced to work with a former terrorist by the name of Joseph Hayden (Telly Savalas), whom he despises and mistrusts, on a deadly mission in New York.

Cast: Edward Woodward, Telly Savalas, Robert Lansing, Keith Szarabajka.

To be in with a chance of winning one of 3 The Equalizer – The Movie: Blood and Wine DVDs, just answer the question below.

The competition closes at 23.59 on 20th February 2015.

*You can enter once per day to increase your chances of winning but please note, only one entry per day will be counted*

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The film is directed by Antoine Fuqua (Training Day, Brooklyn’s Finest, Olympus Has Fallen) and co-stars Bill Pullman, Melissa Leo and Chloe Moretz.

The official synopsis reads;

The Equalizer tells the story of a former black ops commando who faked his death and is now living a quiet life. He returns to action to rescue a prostitute from evil pimps. His actions cause the Russian mob to send rogue CIA agents to kill him, he battles back against overwhelming odds to become The Equalizer.

The Equalizer opens in cinemas on 10th October 2014.

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Starring Golden Globe® winner Edward Woodward O.B.E. as Robert McCall – a retired covert intelligence officer trying to atone for past sins by offering his services, free of charge, as a troubleshooter, protector and investigator. Aided by a group of mysterious contacts who date back to his spying days, he prowls the streets of New York City, applying his own justice.

Edward Woodward is accompanied by an impressive array of guest stars. The Equalizer Season 1 alone has appearances from, Alex Winter (Bill and Ted’s Excellent Adventure, The Lost Boys), Adam Horovitz (The Beastie Boys), Jim Dale (Carry On Films), Brad Dourif (voice of Chucky in the Child’s Play franchise, Death Machine), Meat Loaf and Adam Ant.

The Complete Collection includes appearances from John Goodman (The Big Lebowski, Roseanne, Argo), Steve Buscemi (Reservoir Dogs) Christian Slater (True Romance) Kevin Spacey (The Usual Suspects, American Beauty), William H. Macy (Fargo), Quentin Crisp, Robert Mitchum (El Dorado), Telly Savalas (Kojak), Macaulay Culkin (Home Alone), Amanda Plummer (Pulp Fiction), Sam Rockwell (The Green Mile), Laurence Fishburne (The Matrix), Ving Rhames (Pulp Fiction, Mission: Impossible) and Jenny Agutter (Logan’s Run, An American Werewolf in London).

The original music score was created by Stewart Copeland, founder and drummer of rock band The Police, who also made a cameo appearance in the series as a pickpocket!

All four seasons of the series originally aired in the UK between 1985-1989. Woodward won ‘Best Actor in a Dramatic TV Series’ for his lead role in The Equalizer at the 1987 Golden Globes®. Plus at the Emmy Awards from 1986 to 1990, he was nominated every year.

To celebrate the release, we are giving you the chance to win The Equalizer – The Complete Collection on DVD with 3 runners-up each winning a copy of The Equalizer-  Season 1 on DVD.

To be in with a chance of winning simply answer the question below.

The competition closes at 23.59 on May 17th 2013.

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