British Films

This biopic of The Beatles‘ manager Brian Epstein ends with a famous quote from Paul McCartney: “If anyone was the fifth Beatle, it was Brian.” It’s both the raison d’être for this moderately entertaining but hollow film and, perhaps, the reason for its downfall. Midas Man is so busy hitting the familiar beats of the Fab Four’s incredible rise that it never really burrows beneath Epstein’s skin.

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As the Beatles’ popularity explodes, Midas Man follows Epstein and the band to America while paying lip service to other Merseybeat acts he managed, most notably Gerry And The Pacemakers. Director Joe Stephenson steers the story with brisk efficiency – no small feat given this film’s bumpy production. Shooting took place in fits and starts across nearly two years following the departure of two previous directors, Jonas Åkerlund and Sara Sugarman.

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The result is passable retro fodder with a glaring hole: a lack of Beatles songs. Presumably because these were impossible or too expensive to wrangle, we have to make do with snippets of Black’s biggest hits and the Fab Four covering Barrett Strong’s ‘Money (That’s What I Want)’. John, Paul, George and Ringo did indeed record the soulful rocker in 1963, but it’s hardly in their top-tier. Midas Man has some empathy for its subject and a warm performance from Emily Watson as his mother Queenie, but no real curiosity about what made him tick. For this reason, it ultimately does a disservice to both Epstein the manager and Epstein the man.

A documentary that lifts the lid on a “race science” network of far-right activists in Britain and its links to a rich American funder of eugenics research has been pulled from the London Film Festival (LFF) at the last minute due to safety concerns.

The organisers have taken the “heartbreaking decision” to cancel the planned screening of the “exceptional” Undercover: Exposing the Far Right this weekend due to fears about the welfare of audiences, staff and security working in the festival venues.

Havana Marking, the director of the film – which made headlines last week for identifying the backer of research into so-called race science and highlighting the racist views of former London mayoral candidate Nick Scanlon – has criticised the decision to pull the premiere as “a very unfortunate outcome”.

“I understand the festival need to look after their staff, but I am furious that our film has lost a planned theatrical release so late in the day,” she said. “We were told the LFF felt they could not show it due to security issues. I do feel, though, that the power of the far right is exaggerated, although their influence is clearly dangerous.”

Speaking to the Observer, Marking said she was worried about the climate of fear created by recent far-right riots in Britain in the wake of the killing of three children in Southport.

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“At least the film will go out on Channel 4 on Monday. And in fact, both Channel 4 and the British Film Institute, the body behind the film festival, have actually been incredibly supportive of this film.”

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The fly-on-the-wall documentary follows investigators from the organisation Hope Not Hate as they track down members of violent and bigoted far-right factions who are planning demonstrations and intimidation campaigns. It also unmasks the British far-right activist and former private school teacher Matthew Frost, also known as Matt Archer, and his connections to the Seattle-based multimillionaire Andrew Conru.

cross-posted from: https://feddit.uk/post/18769256

You’ll need a pretty high geek tolerance level for this very detailed and specialised account of Sir Clive Sinclair’s bestselling ZX Spectrum home computer, whose appearance in 1982 with its rubbery keys was thought to be as lovably eccentric as the man himself. But with this he revolutionised the market, educated the British public about the importance of computing, and virtually created the gaming industry from scratch. It was originally to be called the “Rainbow” in homage to its groundbreaking colour graphics; Sinclair instead insisted on “Spectrum” as it was more scientific-sounding.

Interestingly, the film shows that Sinclair’s flair for the home computing market arose from his beginnings in mail order and assembly kits for things such as mini transistor radios targeted at “hobbyists”, that fascinatingly old-fashioned word. His first home computers were available as kits and to the end of his days, he was more interested in hardware than software; perhaps this intensely serious man never quite sympathised with the gaming culture that drove his product around the world.

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When Sinclair is on screen, his human drama charges the film with interest, but I have to say that the film’s long central section, simply about all the different games with their blocky 2D graphics, is challenging for non-connoisseurs. But it’s always interesting to see a film dig into this level of detail, and there’s a strong awareness of the kind of art and design work that, without gaming, would never have found an outlet.

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The Rubber-Keyed Wonder: The Story of the Sinclair ZX Spectrum is in UK cinemas from 18 October

Aardman, the iconic UK animation studio behind Chicken Run and Wallace & Gromit, has closed around 20 jobs as it grapples with the increased cost of production.

Deadline understands that Aardman is in the process of making less than 5% of its 425 employees redundant following a savings review undertaken by management.

A third of the redundancies were voluntary, while two roles remain in consultation. It is hoped that some of the individuals who have lost their jobs can return to Aardman on a freelance basis.

A new film about a gossipy and scheming group of cardinals who must select the new Pope has received its UK premiere at the London Film Festival.

Conclave, which stars Ralph Fiennes, Stanley Tucci and Isabella Rossellini, is adapted from the 2016 novel by Robert Harris.

The film is thought to be a strong contender for the best picture award at next year's Oscars, and several of its stars could also be in contention for individual acting prizes.

Conclave is directed by Edward Berger, the acclaimed German-Austrian film-maker whose 2022 adaptation of All Quiet on the Western Front was nominated for nine Academy Awards.

A passion project in the works for eight years, Alice Lowe’s follow-up to Prevenge borrows from the likes of Terry Gilliam and Stanley Kubrick to tell a story about the obsessive pursuit of love, with a healthy side of schlocky gore. Lowe has long been something of a savant of the strange and macabre, from her breakout role in Garth Marenghi’s Darkplace onwards. But her imagination really runs wild here, leaping between centuries with aplomb, even if the jokes are disappointingly weak.

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Although there’s fun to be had in the whimsy and inventiveness, the comedy could have used some extra oomph. A sense of repetition inevitably creeps in after Agnes experiences a flash of recognition from a past or future self for the umpteenth time. The character herself is also too thinly drawn: her erotomania often exists more as a device to string together a collection of zany comedy sketches rather than as an intense emotional experience. And yet, for these faults, Timestalker is a genuinely unique expression of colour and imagination, one that could only come from inside its creator’s head.

Residents reported seeing flashing lights in the sky as production work began at Canal Street, St Helens, at the former Pilkington Watson Street Works.

Oblik Productions confirmed to the Star in September that filming for a Second World War Netflix film called The Immortal Man.

An article on whats-on-netflix.com suggests that the project is a 'Peaky Blinders' film.

It says that a "long-awaited Peaky Blinders movie" entitled The Immortal Man is soon heading into production and will be "set during World War II".

It says Cillian Murphy will reprise his role as Tommy Shelby from the hit TV series.

The article adds that Tim Roth is also among the cast members to have been confirmed, and it was reported that Tom Hardy has signed on for the movie.

If there is anyone who knows what is happening behind the scenes in the saga over who will become the next James Bond, it’s Jennifer Salke, the global head of Amazon MGM Studios – home of box-office crown ­jewels including the 007 and Rocky franchises.

Salke was part of the Amazon team that sealed an audacious $8.5bn deal in 2021 to buy the 100-year-old MGM and its celebrated library of 4,000 film titles and 17,000 hours of TV programming – ranging from Gone with the Wind and The Hobbit to The Handmaid’s Tale and Legally Blonde.

Nevertheless, it is the future of the evergreen spy that remains the hottest topic of conversation among movie fans.

The problem is that control of James Bond – at 62 years old, one of the world’s longest-running film franchises – remains largely with Eon Productions in the UK, which is run by Barbara Broccoli and Michael G Wilson. Eon’s strict control even extends to who plays Bond.

Intense media interest has sparked a flurry of speculation naming almost any male actor who might fit the profile – from Idris Elba to Aaron Taylor-Johnson and, more recently, Barry Keoghan, the star of the Amazon hit Saltburn.

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Salke is neither shaken nor stirred by the hiatus. “There are a lot of ideas [about potential actors] that have popped up that I thought are interesting,” says Salke. “I think there are a lot of different ways we can go. We have a good and close relationship with Eon and Barbara and Michael. We are not looking to disrupt the way those wonderful films are made. For us, we are taking their lead.

“The global audience will be patient. We don’t want too much time between films, but we are not concerned at this point.”

Salke also gives her version of reports alleging that, early on, she got on the wrong side of Broccoli for raising the idea of a Bond TV series.

“It was never really raised in that way,” says Salke, who is conducting the interview via video at an unearthly hour in the morning from her home in Los Angeles.

“When you are looking at iconic intellectual property like that, you look at what the entire long-term future might be. Of course you look at every facet.”

cross-posted from: https://lemmy.blahaj.zone/post/16564038

A karmic journey that sees the hapless heroine Agnes (Alice Lowe) reincarnated every time she makes the same mistake: falling in love with the wrong man.

https://www.themoviedb.org/movie/706693-timestalker

Day-Lewis has come out of retirement for Anemone, which his son Ronan Day-Lewis is directing, and is starring alongside Sean Bean and Samantha Morton.

Filming for the feature took place in Handbridge in Chester this week, but ran into some difficulties after the council declined an application for a road closure, and traffic wardens began issuing tickets for the prop vehicles parked on double yellow lines.

Pictures taken by a resident showed yellow parking tickets stuck to the windows of a number of vehicles, including a Ford Escort van, with production crew and filming equipment visible in the background. A row of late 20th-century vehicles can be seen parked along the road, where extras were reportedly being filmed for the backdrop of a scene.

Three-time Oscar winner Daniel Day-Lewis is ending his retirement from acting to star in his son’s directorial debut.

The 67-year-old British actor quit acting after starring in Paul Thomas Anderson’s 2017 film Phantom Thread, and has largely stayed out of public life since.

But he is now set to star in a film titled Anemone, directed by his son Ronan Day-Lewis, US independent production company Focus Features confirmed on Tuesday.

The film will feature actors including Sean Bean, Samantha Morton, Samuel Bottomley and Safia Oakley-Green, and is currently shooting in Manchester.

Father and son wrote the screenplay, which “explores the intricate relationships between fathers, sons and brothers, and the dynamics of familial bonds”, Focus Features said.

Industry figures in the UK have reacted with a mixture of defiance, fatalism and dismay to the stark data in the British Screen Forum report Show Me The Money!. Described as “lance-like in its clarity” by one attendee at its mid-September launch, the report highlights the parlous state of UK independent film financing.

Its author Ben Keen, with access to BFI certification data over a 10-year period from 2014 to 2023, revealed total investment in local film production plummeted to £160m ($214.3m) in 2023 — its lowest ever level — compared to a high of £406m ($544m) in 2016 and less than half of the £327m ($438m) achieved in the post-­pandemic recovery year of 2021. His report also highlights the “collapse” of equity investment in UK indie feature production, which covers a period before the new UK Independent Film Tax Credit (IFTC) was announced in the last government’s spring Budget, allowing eligible films to claim an enhanced Audio-Visual Expenditure Credit of 53% (approximately 40% after tax) on qualifying expenditure for budgets up to £15m ($20m).

MP Caroline Dinenage, recently re-elected as chair of the UK Parliament’s culture, media and sport (CMS) committee, has confirmed it is likely to be looking closely at the report’s claims. “The findings of the report are a stark reminder of the challenges facing the British film and TV industry,” she tells Screen International. “It is precisely why, as chair of the previous CMS committee, I was keen to launch an inquiry into British film and high-end TV. I hope I can persuade the new committee to reignite that work and build on it to help ensure the sector remains one of our global cultural success stories.”

Others have acknowledged the report lays bare uncomfortable home truths that were already widely known, if not always openly acknowledged. “All the detail in the report echoes the work we did in 2017 right through to us getting the enhanced tax credit in the Budget this year,” says John McVay, CEO of UK independent producers’ association Pact. “The fundamentals are what we’ve been talking about for years — declining pre-sales, less capital coming into the market, budgets going down which impacts on the competitiveness and quality of our product.

“That means it’s even harder to recoup and go into profit,” he continues. “The statistic in the report about how few producers went on to make another film [after their first feature] is something that all our research picked up.”

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“It is a challenging time, pre-­selling can be hard, access to equity finance is hard and access to top talent is hard. All the things that traditionally made our business run are no longer straightforward,” agreed Dave Bishop, CEO of sales, finance and production firm Protagonist Pictures. “It takes a huge team to get any independent production across the line.”

The lack of investor confidence in UK indie film after a series of well-publicised scandals was also picked up on by speakers. “There are too many stories that would ward off investors in this industry. We all remember the film partnerships. They played out on the front pages of the dailies,” noted John Glencross, chief executive of Calculus Capital.

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In the coming months, UK film is expected to be boosted by the releases of high-profile titles including Paddington In Peru, Bridget Jones: Mad About The Boy and 28 Years Later. Nonetheless the situation remains dire for smaller indie projects.

“This is the only industry where the creators of the product say, ‘I know what I want to make,’ without a great deal of reference to what the market might be looking for,” said Glencross of the struggling UK indie film sector. “In this country, there’s too little regard to what the market wants. In a way, it’s almost like swearing in the cathedral to say that.”

Archive

Previously:

• Five actions could revive struggling indie UK film sector, according to British Screen Forum report

Our TV movie pick for tonight (Friday, 27 September) is LOLA, the 2022 Irish-British found-footage sci-fi flick.

Co-written and directed by Andrew Legge in his feature debut and boasting a soundtrack by The Divine Comedy’s Neil Hannon, the film revolves around two genius sisters (Emma Appleton and Stefanie Martini) living in ’40s England.

Together, the pair build a machine they call LOLA that can intercept radio and TV broadcasts from the future.

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Holding an 98% Rotten Tomatoes score, the Irish sci-fi is airing on Film4 tonight at 11.15pm. It’s also available to rent on Google Play and the Sky Store.

Slightly late but it's on catch–up for the next month.

IMDb

The Paddington films have always been imbued with a deep love of cinema. Paul King’s Paddington and Paddington 2 revelled in creating handcrafted textures, both beautifully shot and making nods to classic slapstick comedies, prison escape dramas, and soundstage musicals. Next, Paddington is venturing out of London – make way for Paddington In Peru, a threequel that sees Douglas Wilson make his directorial debut, taking the reins from King, and sending our young furry hero (and the Brown family) on an Amazonian adventure. That change of location means an influx of new cinematic touchstones.

Notably, Wilson mentions an influence from Werner Herzog’s jungle-traversing Aguirre, The Wrath Of God, and Fitzcarraldo. Yes, in a Paddington movie. It comes with the Peruvian territory – literally. “Peru has this incredible variety of landscapes, crazy geology, especially the Andes and the mysterious Incan side,” the director tells Empire. “If you’ve seen [Werner Herzog’s] Aguirre, The Wrath Of God, we go up into similar landscapes. And the people are incredibly friendly.” Part of the mission here is to portray that sense of place and culture. “Obviously there are mopeds and mobile phones and all that, but they do still seem to wear traditional-looking clothes in the rural Andes,” says Wilson. “So I tried to show some Peruvian culture; a Peruvian legend underlies our whole story.” And since Paddington In Peru features singing nuns (including Olivia Colman’s Reverend Mother), expect a bit of The Sound Of Music and Black Narcissus in the mix.

cross-posted from: https://feddit.uk/post/17692216

In the wake of the film’s World Premiere at Fantastic Fest this Sunday, September 22, Benjamin Barfoot’s horror movie Daddy’s Head is coming to Shudder on October 11.

Watch the official trailer for Daddy’s Head below.

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In the film, “In the wake of his father’s untimely death, a young boy is left in the eerie solitude of a sprawling country estate with his newly widowed stepmother. Struggling to navigate the overwhelming task of parenthood, his stepmother grows distant, leaving their fragile bond at risk of collapse. Amidst the growing tension, the boy begins to hear unsettling sounds echoing through the corridors, and is soon haunted by the presence of a grotesque creature bearing a disturbingly familiar resemblance to his late father.

Trailer

Even though professional, cinema-quality digital cameras are now commonplace, they're generally not small or compact. (Take a look at Arri's current lineup, for example, with its Mini LF, used to capture Deadpool & Wolverine.) However, Danny Boyle’s forthcoming zombie flick, 28 Years Later, was shot over the summer with a bunch of adapted iPhone 15s, WIRED has learned, making the Hollywood thriller, with its budget of $75 million, the biggest movie to date filmed with smartphones.

Starring Killing Eve's Jodie Comer, next James Bond favorite Aaron Taylor-Johnson, and Ralph Fiennes, 28 Years Later, due for release in June 2025, is the long-awaited follow-up to 28 Days Later—the 2002 genre-defining movie that was the first to portray zombies as scary fast rather than lumbering—and 2007's 28 Weeks Later. Boyle is joined by cinematographer Anthony Dod Mantle; they won Oscars together in 2009 for their hit Slumdog Millionaire. Mantle was also cinematographer on the original 28 Days Later, as well as Boyle’s films Trance (2013), T2 Trainspotting (2017), and 127 Hours (2010).

There’s a tech story arc to Boyle and Mantle choosing Apple’s log-profile powerhouse for 28 Years Later: The pair’s 2002 kick-off movie, 28 Days Later, was filmed with an innovative-for-the-time digital camera—one of the first Hollywood feature films shot with a Canon XL-1. The lust-worthy $4,000 prosumer camcorder had interchangeable lenses and wrote data to MiniDV (digital video) tapes.

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The use of Apple smartphones as the principal camera system on 28 Years Later was subsequently confirmed to WIRED by several people connected with the movie, detailing that the particular model used to shoot was the iPhone 15 Pro Max. (Evidently, filming took place too early for Boyle and Mantle to get their hands on the new iPhone 16 series.)

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Several arthouse films have been shot with iPhones, including Sean Baker’s Tangerine (2015) and the Steven Soderbergh drama Unsane (2018), but these movies were limited-release, low-budget offerings compared to 28 Years Later.

The independent UK film sector is at “crisis” point according to research from the British Screen Forum that examines trends in film finance over a 10-year period, with investment in local film production falling miserably behind local high-end TV (HETV).

The ‘Show me the money’ report was conducted by analyst Ben Keen for the decade ending 2023, and prior to the UK government announcing the UK Independent Film Tax Credit (IFTC) in March 2024. It draws on analysis of BFI certification data for tax break claims and consultation with the industry.

The report suggests five key interventions to help revive the sector. They are: the development of ‘media management’ skills; fostering corporate partnerships for diversification; increased private equity investment; and enhancing the quality of and access to film finance data.

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Total spending across film and high-end TV rose to an all-time peak of £9.7bn in 2022. However, this fell to £5.8bn in the Hollywood strike-impacted year of 2023, a drop of 40%.

“This decline was even more extreme than the 23% recorded in 2020, when Covid hit hardest, and effectively wiped out the post-pandemic recovery that the industry has enjoyed in 2021 and 2022,” said the report.

For the UK’s local film production specifically, investment fell to its lowest ever level in 2023 of £160m. Meanwhile, local HETV production attracted five times more investment (£812m). The peak year for domestic film investment was 2016 when £405.5m was spent – only 10% less than the total invested in HETV that year.

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The annual number of UK-qualifying productions financed by legacy US-based studios peaked at 30 in 2017. Since then, the studios’ production activity has fallen and appears to have levelled out at less than half the peak annual output recorded in 2017.

Despite this, 2023 was the first time in which the total volume of films made with inward investment, combined with those made under official co-production agreements, exceeded local-only production. Historically, the volume of locally funded films produced in the UK has always exceeded the number financed from outside the UK, albeit at far lower average budgets. The average budget for a film financed through inward investment in 2021-23 was £26.4m – 18 times higher than the average of £1.5m from the UK alone.

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Over the four years to 2022, Netflix, was involved in the financing of more UK films than Warner Bros, Disney and Universal combined, while Netflix, Amazon and Apple were involved in the financing of more productions over those four years than the six legacy Hollywood groups (Disney, Warner Bros, Universal, Sony Pictures, Paramount and MGM) combined.

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The demise of Enterprise Investment Scheme (EIS) and Seed Enterprise Investment Scheme (SEISS) following the introduction of more restrictive rules in 2018, to include a ‘risk to capital’ funding test, has cut off further routes to film investment. The schemes no longer allow investment in individual films; however, investments in company shares are deemed to meet the ‘risk to capital’ test.

The number of UK film productions with money from specialist investment companies peaked in 2017 and fell by 60% the following year after the EIS changes came in. Specialist film financiers still active in the market, such as Head Gear Films and Ingenious Media, mostly now offer forms of loan finance rather than the equity investments that UK film producers are calling for, with financiers asking for bigger percentages in return for their investment.

SHOCKER: Napoleon: The Director's Cut is good! It may be longer, but it improves upon the theatrical version with better pacing, restoring scenes and moments that explain the historical and political reasons for the characters' actions and is also a more complete story that makes director Ridley Scott's true intentions, which is to make an anti-Great Man story as an utterly irreverent comedy. The main character is not a Great Man but a miserable jerk, and the message of the film seems to be "Don't trust the myth of any Great Men." This makes it the most subversive historical blockbuster epic of the 21st Century. If you watch it knowing this, it is actually very funny, even if some of that laughter turns bitter.

Ridley Scott seems to have a very strong point of view here, which is in opposition to the "Great Man of History narrative." It feels like he deliberately had Joaquin Phoenix play Napoleon Bonaparte as the most unlikable, uncharismatic, insecure, incel dweeb imaginable. He's petulant and uncouth, makes weird noises with his mouth to get attention, and is prone to tantrums. He's the epitome of every unhappy twelve-year-old boy you've ever had the misfortune to babysit, made even worse that he's a horny grown man, and even sex and love don't make him happy. It's hard for me not to laugh at every scene in which Phoenix does something, either physical or verbal, that just makes this guy utterly appalling and hilariously unappealing. Phoenix plays Bonaparte as if he didn't want to be here, and Paul Schrader's complaint about his lack of charisma might be the whole point. Bonaparte's military prowess or skill does not make him charismatic or glamorous here; he doesn't even take any joy from winning. Some viewers might have found the subversion of "The Great Man" story confusing since we've all been conditioned to treat historical biopics as respectful, but this movie is very funny. The casting of many British comedy actors who are normally familiar to British TV audiences seems to be a clue to Scott's intentions here.

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The French still have a sentimental and romantic view of Napoleon and even his romance with Josephine, and Scott seemed to make it so toxic and horrible as if he really wanted to piss them off. The whole movie gets funnier when you start to think Scott spent over $100 million to piss off the French, which any Englishmen would love to do if given half a chance.

On Sunday, the Toronto film festival will hand out its prizes and roll up its red carpet, a week after the Venice film festival did the same. This means only one thing: the start of Oscar season.

And, as the dust settles on these prestige launchpads, pundits have started to notice that there’s something remarkably similar about three of the key best actor contenders. They’re British. They’re former pin-ups now hovering around 60. And they’re all awards bridesmaids, so far unfeted by Oscar and long overdue for podium toasting.

Of the three, Ralph Fiennes looks the strongest bet. Now 61, Fiennes has won rave reviews for his performance as a troubled cardinal in classy pulp thriller Conclave, adapted from the Robert Harris bestseller and directed by Edward Berger, whose All Quiet on the Western Front won four Oscars from nine nominations two years ago (and swept the board at the Baftas).

Despite his status as one of the most acclaimed actors of the age, Fiennes hasn’t been on an Oscar shortlist for almost three decades. His nomination in breakout film Schindler’s List was unsuccessful, in part because of his youth, in part because the Academy is squeamish about appearing to actively celebrate Nazis. Then, in 1997, he lost out on the lead actor gong to Shine’s Geoffrey Rush (though The English Patient, in which Fiennes starred, did bag nine other Oscars).

“Fiennes has the perception of being overdue,” says Jenelle Riley, deputy awards and features editor at Variety. She believes he was particularly egregiously ignored for his mad chef turn in 2022’s The Menu; similar outrage met snubs for roles in The End of the Affair, The Constant Gardener, Coriolanus, A Bigger Splash and, especially, The Grand Budapest Hotel.

Awards expert Guy Lodge agrees. “Fiennes has the kind of IOU from the Academy that often translates into an overdue Oscar when the right vehicle comes along,” he says, “and the chewy, accessible dramatics of Conclave fit the bill.”

cross-posted from: https://feddit.uk/post/17353054

The live intro and live Q&A are only at the Leicester Square Odeon.

General screenings Friday 27th - Sunday 29th September, with an iSense one on Wednesday 2nd October (the one I'm going to).

cross-posted from: https://feddit.uk/post/17323607

A new documentary on the history of the Sinclair ZX Spectrum is set to premiere at the BFI IMAX, in London, next month on Thursday, October 3rd, 2024

The Rubber Keyed Wonder - Story of the Sinclair ZX Spectrum is a new documentary from the directors of Bedrooms To Billions, Anthony & Nicola Caulfield. It aims to chart the history of the iconic British microcomputer, looking at how it originally came to be and how it opened the doors for a generation of game developers.

The documentary will feature new interviews with Sir Clive Sinclair’s family (such as his son Crispin Sinclair and nephew Grant Sinclair), various media personalities, former members of Sinclair Research, and the developers of several legendary ZX Spectrum games. It will also feature some rare archive footage, which will further help tell the story of the iconic machine.

Trailer

The Thursday Murder Club is one of our most-anticipated upcoming movies, and Richard Osman has shared an exciting update for the Netflix adaptation.

Talking on The Chris Moyles Show on Radio X, Osman revealed that today (September 11) marks the final day of filming on the movie, which has been in production since late June in the UK.

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We still don't have a confirmed release date for The Thursday Murder Club movie, but Osman added that it "should be out next year" albeit with the caveat that "who knows with films".

The nominative deterministic owners of Hammer Films, the classic British horror movie studio and library, John Gore Media Limited, have announced the acquisition of Silver Salt Restoration, a British film restoration studio, as part of what they call "our ongoing commitment to preserving cinematic history." Silver Salt, which has a long history of working with the likes of Arrow, StudioCanal and the BFI, will now take on some of the more memorable films within the Hammer Films portfolio for restoration.

And right now Silver Salt is working on the remastering of a number of rare Hammer Films cult classics, many of which have been out of circulation for years. These films will undergo 4K restoration and preservation, for new and old audiences.

This comes as Hammer Films celebrates its 90th anniversary in November, with a special documentary, Hammer: Heroes, Legends and Monsters on Sky TV, exploring the legacy of Hammer Films, its many productions, and its impact on British cinema.

When you think of British sci-fi movies, what comes to mind? For many, it will be directors like Ridley Scott and Alex Garland being exemplary of UK filmmakers who have put a stamp on the genre with films like Alien and Ex Machina. However, outside the heavy hitters and big titles, British sci-fi movies largely go underappreciated; relegated to cult status, or completely ignored in America.

These 10 movies don't get nearly enough attention for their approach to sci-fi, whether it be innovative techniques, a clever approach to the genre, or being so over-the-top they had problems finding an audience. To celebrate the stand-out sci-fi movies, we will blast off and jump between these gems that present some of the best British sci-fi seldom seen but loved by a core audience.

1. Triangle (2009)
2. The Boys from Brazil (1978)
3. Sunshine (2007)
4. Journey to the Other Side of the Sun (1969)
5. Morons From Outer Space (1985)
6. Frequencies (2013)
7. Phase IV (1974)
8. Unearthly Stranger (1963)
9. Under the Skin (2014)
10. Xtro (1982)