British Films

The BBFC has carried out its first major audience research for five years.

Viewers now want "a more cautious approach" to sex scenes that are on the border of a 12/12A and a 15, it said.

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The research also indicated that audiences were happy for classification to be more lenient towards some sex references at the border of 15 and 18, especially in comic contexts

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The organisation also found that people are now more concerned about depictions of violence on screen.

It said that in future, a higher rating may be required for violence across all age ratings.

When it comes to drugs, the research suggested that audiences have become more relaxed about depictions of cannabis use and solvent misuse than before.

The BBFC said it would therefore take a less restrictive approach to such content.

Conversely, the survey suggested parents are concerned about the normalisation of bad language, especially terms with sexual or misogynistic connotations. Such language may now also require a higher age rating.

Two new features show a Britain in the throes of social fissures that feel both uncanny and emblematic of existential threat. There’s The Kitchen, directed by Kibwe Tavares and Daniel Kaluuya, which takes gentrification to its logical conclusion as London’s final social housing estate struggles to survive. And The End We Start From, directed by Mahalia Belo, showing a single mother’s quest to raise her child while the nation is overcome by biblical flooding, uneasily reminding audiences of Britain’s dilapidated and dangerous infrastructure. But the modern cinematic benchmark for this apocalyptic turn remains Alfonso Cuarón’s Children of Men (2006).

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As the years have passed since Children of Men’s release in 2006, it has only felt more real. Cuarón said that he simply looked at the visible trends in Britain at the beginning of the 21st century and predicted where they would go. While it hardly disturbed the box office upon release, almost 20 years later, Children of Men is widely cited as one of the best films of the Noughties. With its themes of ecological collapse and pandemic disease, the film became a cultural touchpoint during the Covid lockdowns, as scores of online commentaries declared: “It’s like living in Children of Men.” Were they wrong?

“The truth was,” writes Danny Dorling in Shattered Nation: Inequality and the Geography of a Failing State (2022), “the state was falling apart, with rising resentment in the ‘peripheral regions and nations’, a fall in Conservative support in the Home Counties, a tacit acceptance of huge levels of inequality as normal, and a general floundering about in the dark as one crisis morphed into the next.” Dorling, a geographer, applies his deceptively simple (but revealing) mode of analysis to Britain’s national decline, drawing on empirical studies to argue that the nation “shatters” when it fails to realise its full, messy existence. For Dorling, Britain’s high point of equality was 1973, and the country has been in free-fall ever since.

Speaking to Dorling, you sense his hope that things have to get better despite the observable reality around us. “I actually think it’s quite likely, because, historically, when a state in Europe does this badly and gets to this point, normally things do turn around. Unfortunately, it’s very slowly, so it could take 20 or 30 years, so it could feel quite bad for some time to come.

The Zone of Interest has won the best international film Oscar at the Academy Awards, which are currently taking place in Los Angeles.

An adaptation of Martin Amis’ novel of the same title, and directed by British film-maker Jonathan Glazer, The Zone of Interest has largely German and Polish dialogue and therefore qualified for the award. It was the third British film to be nominated in the category (following the predominantly Welsh-language films Hedd Wyn in 1993 and Solomon & Gaenor in 2000), and the first to win.

cross-posted from: https://feddit.uk/post/8721810

Yet the Wonka experience may yet enjoy its moment in the cinematic sun. A new movie from Kaledonia Pictures is being rushed into production to capitalise on the global infamy enjoyed by the story.

The horror film will focus on The Unknown, a character devised – possibly not by a human – for the Glasgow show. Actor Paul Connell, who played Wonka in the experience, said the script was “15 pages of AI-generated gibberish,” and introduced the “Unknown [who] is an evil chocolate maker who lives in the walls.”

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The Kaledonia movie follows an illustrator and his wife who are haunted by the death of their son, Charlie. They attempt to escape their grief in the Scottish Highlands where “an unknowable evil awaits them”.

Warner Bros, which owns the film rights to Roald Dahl’s character – but not to The Unknown – has yet to comment.

Recent horror versions of children’s classics such as Winnie-the-Pooh have not met with positive notices.

The Bafta-winning producer behind Ken Loach’s acclaimed films has warned that the UK indie film sector will “die” without additional fiscal support.

Appearing in front of a session of the Culture, Media and Sport Committee’s inquiry into British film and high-end TV, Rebecca O’Brien – who runs the production company Sixteen Films with Loach and screenwriter Paul Laverty – raised urgent concerns about the state of the industry.

When the puerile comedy bombed, the film-makers blamed the critics and the Tories blamed the UK Film Council. Twenty years on, we reassess the legacy of a cinematic pariah whose champions include Stewart Lee and Mike Leigh

Seen any good films lately? Then let us know.

28 Years Later, the hot package from director Danny Boyle and writer Alex Garland, has landed at Sony.

The Culver City-based studio has come out on top after a protracted bidding war to win the rights to the sequel package to the 2002 horror classic 28 Days Later.

Director Danny Boyle and writer Alex Garland have reunited to write and direct the sequel, which also comes with a Part 2, to be written by Garland. Boyle would only direct the first project, with the sequel’s director to be determined at a later stage. Cillian Murphy, whose career was launched thanks to the original movie, is also returning, as an executive producer. The Oppenheimer star could also possibly act in the project, although details are being quarantined.

Yes, a little late in the day but I've watched a lot this month and will work back through the list.

Aneurin Barnard, Hayley Atwell and Jack Lowden lead the cast of science fiction movie “Rogue Trooper,” written and directed by Duncan Jones, whose credits include “Moon,” “Source Code,” “Warcraft” and “Mute.”

The animated film, which is being created with Epic’s 3D tool Unreal Engine 5, was adapted by Jones from the comic book published by 2000 AD, home to “Judge Dredd,” “Halo Jones” and “Sláine.” “Rogue Trooper,” produced by Rebellion and Liberty Films, has wrapped principal photography at Rebellion Film Studios in the U.K. The film is set to be finished next year.

Barnard (“The Goldfinch,” “Dunkirk”) stars as the eponymous Rogue Trooper. Cast alongside him are Atwell (“Captain America: The First Avenger,” “Mission: Impossible – Dead Reckoning Part One”), Lowden (“Slow Horses,” “Dunkirk”), Daryl McCormack (“Bad Sisters,” “Good Luck to You Leo Grande”) and Reece Shearsmith (“Inside No. 9,” “Saltburn”).

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“Rogue Trooper” tells the story of 19, a “Genetic Infantryman,” who finds himself the sole-survivor of an invasion force. Desperate to track down the traitor who sold him and his comrades out, the super soldier is accompanied by three killed-in-action squad mates, whose personalities have been stored in his gun, helmet and rucksack.

The “Rogue Trooper” comic book was created by artist Dave Gibbons (“Watchmen,” “Kingsman”) and writer Gerry Finley-Day (“Dan Dare”).

Jones said: “2000 AD offers a very different flavor of comic action: Political and brutal at times, but always with a Pythonesque twinkle in the eye. ‘Dredd’ (2012) was a taste of what 2000 AD has to offer and now we get to show the world another side of the beast. It is a genuine privilege to be given the opportunity to make ‘Rogue Trooper.'”

The film is something of a big deal, despite its unheralded Netflix premiere. The Kitchen marks Daniel Kaluuya’s (Nope, Judas and the Black Messiah) directorial debut, alongside short film director Kibwe Tavares. Kaluuya also co-wrote the film with Gangs of London’s Joe Murtagh, cementing a vision of dystopian, near-future London alongside an unconventional tale of found family. It’s Blokamp-esque in design, but is centered on Britain’s Black diaspora. It’s a shame such a unique film can’t be seen on the biggest screen possible, but it at least deserves to be seen by as many eyes as possible.

cross-posted from: https://feddit.uk/post/6701660

I’ll save you the math: It has not (yet) been 28 years since 28 Days Later. The 2002 movie, directed by Danny Boyle and written by Alex Garland, was a surprise hit for many reasons, including the facts that a) the speedy zombies were terrifying and b) people really enjoy watching Cillian Murphy on film (see also: Oppenheimer).

Now, the writer and director are hoping to launch a whole new trilogy of zombie films with 28 Years Later.

Very little is known about this potential film or trilogy, though The Hollywood Reporter notes that the creators are “expected to hit studios, streamers and other potential buyers later this week.” Boyle (Trainspotting) will direct at least the first film, and Garland—now also a well-regarded director (Annihilation)—is set to write all three films.

Murphy is not officially part of the new project, at least not yet, though he has spoken about the possibility of reteaming with Boyle and Garland. When NME asked in 2022 if the gang might get back together, Murphy said, “[E]very time I do bump into Danny or Alex I always mention it. Because I showed it to my kids recently, some Halloween about four or five years ago, and they loved it. It really stands up, which is amazing for a film that’s 20 years old. So yeah, I love the idea and it’s very appealing to me.”

Aardman Animation has found itself in a situation that’s not as malleable as the clay they used for their films. In fact, that happens to be the issue they’re facing: a lack of clay. Newclay Products, which creates a specialty clay unavailable anywhere else in the world, closed its doors in March, leaving Aardman to look for another solution, as reported by The Telegraph.

The makers of Wallace and Gromit and Chicken Run: Dawn of the Nugget scrambled to buy the last of Newclay Products’ stock to at least finish the films they already had in development. Valerie Dearing, one of the directors of Newclay Products, said, “Aardman bought a lot of our remaining stock of Newplast to keep them going. They got what they said was two years’ worth. It came to about 40 boxes, which must have been around 400 kg.” The report stated that Aardman has enough clay for one more movie, putting future products from the studio on hold until they can find another supplier. It is unknown at this time what the long-term impacts will be on the company.

cross-posted from: https://feddit.uk/post/4279877

Here’s one for Nessie enthusiasts and cryptozoologists everywhere: a documentary about the monster-hunting frenzy at Loch Ness in the 1970s and 80s. “It was a race! It was zoological Mount Everest!” remembers one hunter. Someone else recalls reading that discovering the Loch Ness monster would be bigger than the moon landing. There’s even an old clip of David Attenborough on Michael Parkinson’s chat show discussing – with not a trace of scepticism – the search for a creature lurking in the deep dark waters.

What strikes you seeing Loch Ness in the film – as it does in real-life – is what a whopper it is: 23 miles long and over 700ft at its deepest point. The monster hunters who made the pilgrimage to the Highlands in the 70s split broadly into two types, according to one of them. There were the army veterans, bored with life, and the hippie dropouts. Frank Searle was in the former camp, a cockney ex-soldier who parked his caravan on the shore and took more pictures of Nessie than anyone else in history, or so he claimed (they were later exposed as fakes). Searle did a bunk after a nasty incident involving a Molotov cocktail and a rival hunter. (Searle denied any involvement in the incident.)

By the late 70s, there were more monster enthusiasts than midges by the loch. Tim Dinsdale shot famous footage in 1960, and spent the better part of 20 years trying to get a better sighting. Robert Rines, an American, captured the image of an underwater “flipper” in 1974. A 20-strong team arrived from Japan. It’s a lively, entertaining story, full of intrigue and eccentric characters. Personally, I would have preferred a bit of a broader sweep, more history of Nessie sightings and folklore. Perhaps something too on why creatures of myth and legend capture our imaginations; a blink-and-you’ll-miss-it interview with writer Marina Warner is bit of a wasted opportunity.

• Loch Ness: They Created a Monster is released on 10 November in UK cinemas.

cross-posted from: https://lemmus.org/post/1414782

Guy Fawkes Night, also known as Guy Fawkes Day, Bonfire Night and Fireworks Night, is an annual commemoration observed on 5 November, primarily in Great Britain, involving bonfires and fireworks displays.

Traditional English rhyme celebrating the failure of the Gunpowder Plot, 1605, and associated with Guy Fawkes Night in the UK.

The Fifth of November (Guy Fawkes Night Poem) Lyrics

• Remember, remember!
• The fifth of November,
• The Gunpowder treason and plot;
• I know of no reason
• Why the Gunpowder treason
• Should ever be forgot!
• Guy Fawkes and his companions
• Did the scheme contrive,
• To blow the King and Parliament
• All up alive.
• Threescore barrels, laid below,
• To prove old England's overthrow.
• But, by God's providence, him they catch,
• With a dark lantern, lighting a match!
• A stick and a stake
• For King James's sake!
• If you won't give me one,
• I'll take two,
• The better for me,
• And the worse for you.
• A rope, a rope, to hang the Pope,
• A penn'orth of cheese to choke him,
• A pint of beer to wash it down,
• And a jolly good fire to burn him.
• Holloa, boys! holloa, boys! make the bells ring!
• Holloa, boys! holloa boys! God save the King!
• Hip, hip, hooor-r-r-ray!

Traditional English rhyme celebrating the failure of the Gunpowder Plot, 1605, and associated with Guy Fawkes Night in the UK.

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Fireworks scene:

Remember Remember the 5th of November - V for Vendetta

https://www.youtube.com/watch?v=RS2HLC0sipA

Peter (Scott Haran) is a former child chess prodigy who these days excels at nothing much in particular, except perhaps his ability to blend into the background. A birthday card at his office is handed to him to sign – for his own birthday. None of his colleagues know who he is, and the card is crammed with polite, anodyne messages. But he discovers that there’s one arena in which his anonymity might be a boon rather than a liability: he is recruited into the world of Bystanding, a parallel universe filled with invisible guardian types whose job is to imperceptibly guide or nudge their charges into making better life choices. They are all, in their own ways, as unremarkable as Peter, hence their selection for bystander duty.

There’s a scrappy energy to this British sci-fi comedy that offsets its micro-budget limitations. The premise is part of a cinematic family tree of quirky, metaphysical science fiction that includes the likes of Cold Souls, The Adjustment Bureau and Another Earth. There’s also a strong strand of UK comedy in the DNA, recalling material like Red Dwarf and The Hitchhiker’s Guide to the Galaxy in its desire to juxtapose the mundane, trivial annoyances of life with a more expansive sense of the universe. There’s something neat too about the film’s focus on life’s quiet losers, in an era when the loudest “main character energy” personalities seem predestined for rewards in the attention economy. It almost feels like a throwback to the loose mumblecore movement of the early 2000s.

Filmed mainly on location in and around east London, this modest film clearly doesn’t have a lot of cash to splash, but sets out to prove that you don’t need much money to have a reasonably interesting idea and make a diverting film. Sci-fi is often thought of as an expensive genre, but it doesn’t have to be; this micro-budget effort proves that leaning in to charmingly cheap SFX can prove just as engaging – or even more so – than throwing billions at the screen to create a soulless churn of random pixels in the service of the latest cookie cutter superhero adventure.

one legend interviews another

cross-posted from: https://feddit.uk/post/3800489

Hammer Horror returns with a genderflipped take on Robert Louis Stevenson's iconic novel, starring Eddie Izzard as a leading figure of the pharmaceutical industry with a dark secret.

In a delicious example of nominative determinism, British horror powerhouse Hammer Film Productions was recently acquired by theatre producer John Gore. He will oversee a revival of schlocky, low-budget British horror – starting with a new adaptation of Robert Louis Stevenson’s 1886 Gothic novella Strange Case of Dr Jekyll and Mr Hyde. It is well-worn territory for the studio, including Hammer staple Terence Fisher’s The Two Faces of Dr. Jekyll (1960), and Dr. Jekyll and Sister Hyde (1971) directed by Roy Ward Baker.

The latter version rode on a wave of gender-swapped horror remakes, playing to the suspense potential of an oh-so-innocent female secretly veiling the monster inside. As with bigger-budget horror movies from Hitchcock’s Psycho to De Palma’s Dressed to Kill, Dr. Jekyll and Sister Hyde played to the most terrifying trope of all – the man whose alter-ego is a woman. It’s important to have all of this in mind when watching Joe Stephenson’s Doctor Jekyll, which goes one step further than previous iterations by changing the genders of both Jekyll and Hyde, now Nina and Rachel.

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Doctor Jekyll revives a missing element of British cinema – you can see the walls shaking, the cheapness of the props, the hamminess of the acting. But that’s what Hammer is all about, the sort of horror that has you laughing one minute and throwing your popcorn in the air in fright the next. Izzard also subverts the fear of gender that has long haunted horror cinema by both playing to and away from the ongoing ‘trans scare’. It looks like Hammer has returned from the dead.

cross-posted from: https://feddit.uk/post/3785127

Matt Smith and Morfydd Clark's upcoming film Starve Acre has debuted with a perfect Rotten Tomatoes score.

Premiered at this year's BFI London Film Festival, this folk horror from writer-director Daniel Kokotajlo (Apostasy) is set in rural Yorkshire, England, in the 1970s. There, the idyllic country life of couple Richard and Juliette takes a sinister turn when their son Owen (Arthur Shaw) starts acting out of character.

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While the film — an adaptation of the 2019 novel of the same name by Andrew Michael Hurley — doesn't have a wider release date just yet, it sure seems to have wowed critics who have managed to see it. It currently sits at a score of 100% out of 5 reviews on review aggregator Rotten Tomatoes, though this is likely to change once more reviews are in.

Sorry, bit late with this. I should be more on the ball going forward.

cross-posted from: https://beehaw.org/post/8722763

Archive link: https://archive.ph/xrzxY

Sir Michael Caine is retiring from acting.

The 90-year-old actor confirmed his retirement — which comes after the Oct. 6 release of his latest, and now final, film The Great Escaper — in a new radio interview on Saturday.

"I keep saying I'm going to retire. Well, I am now,” Caine told BBC Radio 4’s Today show.

"I've figured, I've had a picture where I've played the lead and it's got incredible reviews. The only parts I’m likely to get now are old men,” the acting legend explained. “…And I thought, well I might as well leave with all this — what have I got to do to beat this?”

Caine’s retirement announcement comes after he hinted at retiring in an interview with The Telegraph last month, where he discussed his new role in The Great Escaper, his age and said he was "sort of" retired.

Caine shared during his latest BBC Radio 4 interview that he believes it’s important old age is portrayed in movies, offering that as part of the reason he has kept acting up until now.

When asked if he would ever return to acting, Caine replied, “No. There’ll be writing. I’ll write another book sometime because I so enjoyed writing.”

December 26th 2023.

there’s a reason for us meeting in the casino, and it isn’t that we’re about to play baccarat. Skinner discovered Les Ambassadeurs while looking for locations for his new feature film, The Darker the Shadow, the Brighter the Light. The film, which he wrote, directed and acts in (yes, he also did the music), is about a DJ called Mike, who gets drawn into various non-DJ activities: financing and messing up a drug deal, romancing a rich woman, solving a sort-of murder. Though much of the action takes place in clubs – the scenes where the dance crowds go mad are the best parts of the film – the story also moves between Mike’s rubbish flat and his rich girlfriend’s life. And he needed a swish casino for a couple of scenes. Once he came across Les Ambassadeurs, with its huge chandeliers, wide balconies, swathed curtains and silk wallpaper, he was in.

So, us meeting here is a sort of celebration: of the film itself, but also of the film being finished. The Darker the Shadow has dominated Skinner’s life for the past decade, and even last week, he was still tweaking it – the music, the effects – staying up for three nights straight adjusting and editing in post-production. But finally, he had to let his baby go, and the premiere was a few days ago, in east London. He had a brilliant time.

Been to anything good? Let us know.

Writing in his forthcoming memoir TV: Big Adventures on the Small Screen, a follow-up to his best-selling 2007 autobiography The Sound of Laughter, Kay said that he could imagine bringing back Potter for a feature film.

“I still write down ideas. I had an idea only today of Brian getting Young Kenny to paint an enormous letter ‘H’ on the roof of the club so he can advertise they’ve got a helicopter pad,” writes Kay, according to extracts published by The Sun.

“The chance of a helicopter ever landing is, of course, zero,” he goes on. “As the years pass, I’m becoming more like Brian, but if Phoenix Nights rose again it’d have to be for something very special, maybe a film? Perhaps Brian could get visited by three ghosts. Now, wouldn’t that be an idea?