British Films

Amazon has paid more than $1bn for “creative control” of the James Bond franchise, the Guardian understands, in a deal that has met with a mixed response from stars of the films.

Amazon MGM Studios said on Thursday that it had struck a deal with Barbara Broccoli and Michael G Wilson, the British-American heirs to the film producer Albert “Cubby” Broccoli and longtime stewards of the Bond films.

The world’s second largest corporation by revenue confirmed it had formed a joint venture with the duo to house the James Bond intellectual property with Amazon assuming “creative control”.

Amazon said the financial terms were for its eyes only, but it is understood that control of 007 was ceded for about $1bn (£790m), a figure first reported by the US Hollywood news oulet Deadline.

Daniel Craig, the most recent actor to play Bond, offered his congratulations to Broccoli and Wilson on Friday. Craig, who first appeared in Casino Royale in 2006, said: “My respect, admiration and love for Barbara and Michael remain constant and undiminished.

“I wish Michael a long, relaxing (and well-deserved) retirement, and whatever ventures Barbara goes on to do, I know they will be spectacular and I hope I can be part of them.”

The actor Valerie Leon, however, a former “Bond girl”, raised concerns that 007 would not be British any more if Amazon was calling the shots.

Leon, 81, featured in the films The Spy Who Loved Me and Never Say Never Again, alongside Roger Moore and Sean Connery. She told ITV’s Good Morning Britain that it does not worry her because “life changes and everything moves on and changes”.

“The Bond franchise was very British and it won’t be any more,” she said. “And obviously, if they make films they won’t go into the cinema … everything is so changed now, it just won’t be the same and I’m very old-fashioned anyway.”

cross-posted from: https://feddit.uk/post/24475507

Amazon MGM Studios is set to take creative control of the James Bond franchise.

The shock announcement — which is sure to shake and, indeed, stir the industry — was made Thursday, alongside the news that long-time producers and custodians of 007, Michael G. Wilson and Barbara Broccoli, would be stepping back.

As per details of the arrangement, Amazon MGM Studios, Wilson and Broccoli have formed a new joint venture to house the James Bond intellectual property rights. The three parties will remain co-owners of the iconic franchise but Amazon MGM will have creative control.

cross-posted from: https://feddit.uk/post/24148722

Hammer Films, arguably the biggest name in British genre filmmaking, is busy making a new horror feature – its first since 2023’s Doctor Jekyll. Called Ithaqua, it’s a period piece with a solid cast including Luke Hemsworth and Kevin Durand.

Shooting is currently underway in Canada, with the iconic studio releasing a number of behind-the-scenes images from the production on its Instagram feed.

Rather disappointingly, however, a separate post includes a teaser poster which bears all the hallmarks of being generated using a piece of AI software like Midjourney. We’ve contacted Hammer Films to find out whether or not it is indeed AI-generated and will update this post if and when we get a response.

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As for the film itself, it stars Luke Hemsworth, Kevin Durand, Craig Lauzon and Michael Pitt and is co-written, directed and produced by Casey Walker. If the synopsis is anything to go by, it sounds like we’re in for something harsh and gritty, like The Revenant but with a supernatural creature in the place of a hungry bear. Here’s the official description:

Set in the brutal wilderness of 1800s Canada, the fur trade is in decline and a remote outpost is starving. A mercenary fights to unite the survivors against the cold, the hunger… and something far worse. A dark force is watching. Waiting. And those who fall into its grasp are cursed with an insatiable hunger for flesh.

Last month, Boyle told Empire that he was going to be directing the trilogy capper, and claimed that it wouldn’t be shot “until audiences respond to the first film.” Judging by the record-breaking reaction to the trailer, I don’t believe Boyle/Garland will have much of a problem completing their trilogy.

In fact, it actually looks like it’s now on the fast track as a recent listing has “28 Years Later: Part 3” starting production on March 31, 2025. The entire trilogy will have been shot and completed by the time Boyle starts to do press on the first one in June.

cross-posted from: https://feddit.uk/post/23914079

On Avenue Mews in the leafy North London suburb of Muswell Hill, long-term friends Ruth (Ruth Syratt) and Megan (Megan Stevenson) run Cha Cha Cha together from rented premises. There they sell vintage goods – “anything we can get our hands on that’s from the past”, as Ruth puts it. They do not, however, sell the old dodgem car – with flashing lights and lo-fi control boards attached – which they find abandoned by the bins outside their shop, but instead, upon discovering that it is a time machine, use it to gather genuine antiques from different places and eras.

Six years later, business is booming, but strange meteorological phenomena suggest that something is amiss in the space-time continuum. A secret club of local eccentric inventors known as the Technology Engineering Scientific Thought and Innovation Society, or ’T.E.S.T.I.S’ (it will later be renamed B.R.E.S.T.S., in part to reflect the shifting gender balance of its membership), realises what is happening, and recruits the two women to their group.

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Narrated by Stephen Fry, Time Travel Is Dangerous is a very English kind of sci-fi comedy, with very little actual science, but plenty of absurdist emphasis on the schlubbish, amateurish, no-budget side of invention – and indeed of inventive filmmaking. It is an endearing, surreal and funny portrait of friendship lasting across time.

Trailer

Middle-aged Jack, arrested for drugs, strives in 6 weeks to repair marriage, curb bullying in-law, and guide stepbrother Kenny Boy, but his efforts fail as life spirals out of control.

IMDb

cross-posted from: https://feddit.uk/post/23605030

Studiocanal will re-release actor and comedian Tony Hancock’s feature films, The Rebel and The Punch and Judy Man on Blu-ray and DVD next month.

The Rebel:

Blu-ray Extras include “An Irrepressible Streak “ – comedian Paul Merton on The Rebel; “A Definitive Comedian – Diane Morgan on Tony Hancock; plus commentary with comedian Paul Merton and screenwriters Ray Galton and Alan Simpson, a Behind the Scenes Stills Gallery, and the film’s theatrical trailer.

The Punch and Judy Man:

Blu-ray Extras: “Hard Knocks” – Paul Merton on The Punch and Judy Man; an excerpt from the ABC Series, Hancock; a BEHP Audio interview extract with Jeremy Summers; an episode of The Blackpool Show: Season 1 Episode 7 (1966), compèred by Hancock; a Behind the Scenes Stills Gallery, and Theatrical trailer.

Also:

Hancock: The Lad Himself by Stephen Walsh and Keith Page is still available direct from B7 Media, a smashing 290-page hardback graphic novel telling the story of the much-loved actor and comedian, currently on offer for £24.95.

It's been tricky catching this, until now.

Trailer

This brings us to Bond jokes. Starting with Sean Connery's Bond in 1962, the suave secret agent often accompanied his punches with a punny punchline. In Goldfinger (1964), after electrocuting a would-be assassin in a bathtub, Bond says, "Shocking. Positively shocking." And now, according to some rumors, the next round of James Bond films will bring back these puns in a big way. But, honestly, have they ever really left?

According to a lengthy report in The Times, and reported by other outlets like MovieWeb, insiders suggest that the next installment in the franchise will "return to a Bond of quips and camp, a shift away from the Shakespearean heft of Craig. More traditional yet easier to sell via memes to Amazon’s younger demographic."

MovieWeb notes that this news "is sure to send a shiver down the spines of many a Bond fan." While Screenrant declares that this move would "would be a mistake." While there is some truth that the Daniel Craig era, beginning in 2006 with Casino Royale, was a fresh start, it's not that James Bond should be taken too seriously in general. Even the Ian Fleming novels have a certain flair for self-parody. In 1961, Bond can be found making jokes in pages of Thunderball, saying: "I'm the world's authority on giving up smoking. I do it constantly." Even the somber Daniel Craig swansong, No Time To Die, had Bond making a joke about an exploding electronic eyeball, telling Q that his watch, which caused the explosion, "really blew their mind."

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Plus, there's nothing wrong with Bond rebooting with a slightly more lighthearted feeling. Most agree that in 1995, Pierce Brosnan's first outing as 007 basically saved the franchise with GoldeneEye. But, this film was decidedly funnier than its 1989 predecessor, Timothy Dalton's brooding second mission in Licence to Kill. In GoldenEye, Bond is joking around constantly, noting that Xenia Onatopp (Famke Janssen) "always did enjoy a good squeeze." This is funny because she kills people with her thighs. Get it?

If GoldenEye or Goldfinger or Live and Let Die are somehow lesser Bond movies because they're not as serious as some of the Craig films, then it seems like we'd have to get rid of more than half the Bond canon. If EON and Amazon are really conspiring to make future James Bond movies funnier, then all they're really doing is returning to a formula that already works. Like a silver DB5 or a vodka martini, shaken, not stirred, there's nothing more classically James Bond than a bunch of silly jokes.

Close up on an undiluted bowl of water sitting centre stage. Slowly, droplets of thick, red blood fall, blotching the crystal-clear liquid – order turning into crimson chaos.

These are the opening shots in the morose, sparse vision for Shakespeare’s Scotland presented by director Max Webster, first seen at the London’s producing powerhouse the Donmar Warehouse in 2023 before hopping across to the West End last autumn.

Led by David Tennant and Cush Jumbo as the cursed couple who dabble in a spot of regicide, Webster’s revival involved audiences donning headphones, lines being whispered into microphones and given skin-crawling intensity even at the back of the auditorium.

Now in cinemas from 5 February, headphones are out and a newly rendered soundscape is in: it would be logistically impossible to give every cinema-goer a headset after all. Filmed during the Donmar run (so losing some of the refinements present during the follow-up West End season), the sound mix flits between the extreme proximity and wider audio capture, thrusting spectators in and out of characters minds, see-sawing between soliloquy and wider spectacle.

Capture director Tim Van Someren is unafraid to lean into the flexibility the screen format provides: Tennant washing his blood-stained hands in ethereal slow motion, while brooding close-ups give an immediacy unavailable to a live audience. The occasional crane shot, sometimes fluttering overhead, provides a swooping sense of foreboding.

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For the most part, however, this is a fairly unobtrusive capture – the edit bounces between locked wide shots and gimbal mid-shots, occasionally having to resort to fish-eye lenses to capture the expanse of Rosanna Vize’s flat, unfussy white canvas set. It’s left to the warmths and pale iciness of Bruno Poet’s lighting to demarcate scene changes and shifts in tone – as effective here as they were in the theatre. The greatest moments of visual richness therefore come during the red-daubed Witches’ vision in act four, Macbeth descending into a sea of horror, conjured largely through the ensemble’s movement.

As it was in person, the acting is sublime – the endless malleability of Tennant’s expression is even more arresting when shown in close-up, while the scheming of Jumbo’s Lady M is presented with painstaking clarity. Webster makes the smart move to give Jumbo more to do in act four, scene two, amplifying the tragedy of the Macduff family’s murder.

On British telly in half an hour.

The US subtitles are indeed a thing:

Sparrows Can’t Sing attempts to represent the diversity of characters and cultures that were prevalent in the East End during the early 1960s, including those typically found in the local pub, as well as local tarts, Jewish tradesmen and spivs. Consequently the dialogue became a mix of rhyming slang, London Yiddish and thieves cant. It is no surprise that it became the first English language film to be released in the US with subtitles.

Also on the Internet Archive.

A24 and Alex Garland hit a home run with Civil War earlier this year. The film had pretty good reviews but did exceptionally well at the box office. There was doing well and then there were the numbers that this movie managed to pull in. If it was one of the bigger studios, they would have looked at that $124 million worldwide and probably fired someone, but for A24, that is a win. So, it's not surprising to hear that Garland and A24 are teaming up for another war-based project. This one is just called Warfare and was written and directed by Garland and Ray Mendoza, an Iraq war veteran. Whenever a movie based on modern-day warfare comes out, you always see veterans reacting to the film and talking about what aspects of the film are accurate and what aspects aren't. This time, the team for this film appears to be trying to stop that before the film even comes out by having a veteran behind the camera. It's one thing to have someone on set as a consultant; it's another to have them behind the camera and helping direct a scene. The first trailer and poster were released earlier this month, and the film will be released sometime next year, maybe in April, if they want to try and make that Civil War lighting strike twice.

Trailer

If you’re honest with yourself, you probably weren’t all that excited about 28 Years Later when you first heard about it. After all, as entertaining as 2002’s 28 Days Later was, 2007’s 28 Weeks Later demonstrated all the signs of diminishing returns. It wasn’t as scary. It wasn’t as memorable. And it turns out that things just weren’t as interesting six months after a zombie outbreak as they were four weeks after. By rights, 28 Years Later should continue this trend. And, when it comes out, that might still prove to be the case. As of now, though, it’s just about the most exciting film of 2025. And this is entirely down to its trailer.

By now, you know the basic formula for most movie trailers. Pick any song from the last 50 years, doesn’t matter which, and record a new version of it. The first half of it should be dreamy and distant, the second punctuated with big echoey drums that cut well with the action. Just recently, the Minecraft Movie trailer did this with Magical Mystery Tour, Babygirl did it with Madison Beer’s Make You Mine and even A Complete Unknown managed to find a way to shoehorn giant drum noises into Like a Rolling Stone.

But 28 Years Later, you sense, is going to change all that. The US Navy operates something called Survival, Evasion, Resistance and Escape, a training programme designed to equip military personnel with the necessary skills to survive in hostile environments. Part of this involves detaining them in a small cell while being repeatedly played the scariest thing that staff have to hand: a 1915 recording of actor Taylor Holmes reciting the Rudyard Kipling poem Boots.

The poem itself is terrifying enough, the percussive chant of an infantryman marching towards battle, trying to overcome his grinding sense of impending doom. But Holmes’s rendition almost defies definition. It begins haunted, but gradually rises to a possessed roar, as Holmes wails over and over again: “There’s no discharge in the war.” By its climax he’s screaming at the top of his voice, a prisoner of his own madness. It’s a scarring listen. It is also the soundtrack to the 28 Years Later trailer.

Trailer

Sony Pictures has released its first teaser for 28 Years Later, director Danny Boyle’s long-awaited zombie apocalypse sequel.

The footage is largely black with Morse code audio and flashes of an island connected by a long land bridge, as well as statue-like figures (crucified zombies?), red skulls and red contamination symbols.

The studio is being extra cryptic with the release, taking the unusual step of putting no movie title or description on the YouTube video, but it was also tweeted from the official 28 Years Later account on X.

Internet sleuths have said the island appears to be Lindisfarne in Northumberland, which would seemingly be a smart place to take refuge during a zombie outbreak.

The official description: “Sometime after the events of 28 Weeks Later, the Rage Virus has returned, and a group of survivors must survive in a world ravaged by hordes of the infected.”

Teaser

In 1953, the BBC aired a science-fiction serial that entranced the nation of Britain. It was the first of its kind, and it was such a raging success that an enterprising movie producer quickly snapped up the rights to turn the story into a feature film. Two years later, that movie raked in money at the UK box office and, in the process, helped give an identity to one of the most iconic movie studios the British Isles has ever seen. Even more impressively, the film crossed the water to the US, becoming Britain’s most influential sci-fi film ever.

When the BBC’s Head of Television Drama, Michael Barry, looked at the schedule for summer 1953, he saw something he didn’t like: nothing. A gap of six Saturday nights in a row needed to be filled with a serial, so he tasked one of the company’s screenwriters with filling that gap. Nigel Kneale had always been fascinated by the idea of science going wrong, so he wrote The Quatermass Experiment, the tale of the fictional British Experimental Rocket Group’s first manned flight into outer space. Two crew members are missing when the craft returns to Earth, and the third begins transforming into a terrifying alien creature. Professor Bernard Quatermass and Scotland Yard Inspector Lomax are forced to team up to prevent the mutated crewman from destroying the world.

Quatermass was the BBC’s first adult science-fiction drama, performed live at the Alexandra Palace studio in London. By the time the sixth and final episode aired, nearly five million people were watching. To put that into context, only a year before Quatermass, the entire television audience in the UK was four million, and in March 1953, it was estimated that the BBC’s average evening audience was 2.25m. By anyone’s standards, Quatermass was a phenomenon.

One of the five million Quatermass viewers was Hammer Films producer Anthony Hinds, who immediately knew the story would make a great film. He contacted the BBC only two days after the finale aired to ask about the status of the rights. As Kneale was a BBC employee, he didn’t receive a fee for the rights being sold to Hammer for a £500 advance, and this would stick in his craw until the company begrudgingly paid him £3,000 in 1967 to officially recognise his creation of Quatermass.

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Once again, Quatermass was a roaring success in the UK, this time at the box office. Interestingly, though, when it was shown in the US, it had another title change. The Creeping Unknown was shown as the second part of a double bill with the Gothic horror movie The Black Sheep and was so popular that United Artists immediately commissioned a sequel. Two years later, Quatermass 2 hit cinema screens, again produced by Hammer and directed by Val Guest, before Quatermass and the Pit followed in 1967.

The success of its Quatermass films helped cement Hammer’s reputation as a producer of horror movies, and the studio is still synonymous with that genre today. The films also reached a much wider audience than the BBC’s serial. Kneale’s biographer Andy Murray noted that several generations of sci-fi and horror creatives have spoken in glowing terms about Quatermass’s influence on them.

Part of the enduring appeal of Wallace & Gromit is its British charm. The quaint mannerisms of the hapless inventor and his canine pal–from their love of a cup of tea to their knowing colloquialisms–reflect an admiral sense of national pride, both at home and abroad. But while that British-ness is part of the appeal, it doesn’t defend Aardman from being able to get in jokes that might be a little too close to home.

Now that the latest entry in the series, Vengeance Most Fowl, is making its way around the world in January thanks to Netflix, some of the creatives behind the film revealed at recent press conference for the film that they did have to make some acquiescence to notes from the streamer on a joke that wasn’t going to play well outside of the UK.

“There’s some actually that we’ve had to sort of take out, because just in terms of the Britishness of the film and the sort of cultural references, there’s certain things that don’t travel,” Vengeance Most Fowl executive producer Carla Shelley said. “I remember we had a sort of gag about a bog chain at one point… for anybody that doesn’t out there, that’s like a toilet flush. We were talking to Netflix and [the note back] was like ‘what’s a bog chain!?’ There are certain sorts of references that we might pull back on now.

Len Deighton published his first spy novel, The Ipcress File, shortly after the blockbuster success of the very first Bond movie, Dr. No. When The Ipcress File became a bestseller, Bond producers Harry Saltzman and Albert R. Broccoli tapped Deighton to pen the script for the sequel, From Russia with Love. Not much of his screenplay made it to the final film, but the producers enjoyed working with Deighton.

Saltzman decided to adapt The Ipcress File for the screen in the hope of launching a second spy movie franchise that could run alongside the Bond films. He cast Caine to play the lead role of Palmer, with the aim of bringing him back for an endless string of sequels. The Ipcress File was conceived as the polar opposite of the Bond films, with a naturalistic style drawing from the world of kitchen-sink drama. It seemed like a sure-fire path to success, but the Palmer movies never reached the same blockbuster heights as the Bond movies.

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Palmer’s stories are the opposite of Bond’s in every way. Whereas the Bond movies offered lighthearted escapism, the Palmer movies offered gritty realism. Whereas Bond is characterized as posh and upper-class, Palmer is a working-class hero. Whereas the Bond films carried an optimistic message about good triumphing over evil and maintaining the world order, the Palmer films took a bleaker and more pessimistic approach to their storytelling. The cynical tone and grounded, naturalistic style of the Palmer movies had more in common with John le Carré’s espionage stories than 007’s globetrotting adventures.

In the hit 1990 film The Krays, the East End gangsters were portrayed as “identical twins who rose from poverty to power”, “from obscurity to fame” and “from the back streets to the attention of the world”. They were “special” boys, the film claimed, who loved their mother.

But the producer now says he regrets glamorising them and is making another film that will portray the mobsters as they really were.

Ray Burdis said he wants to put the record straight: “They weren’t folk heroes. They were just a pair of cowardly psychopathic bullies, who terrorised the East End of London in the 1960s.”

He said that films such as The Godfather, the Marlon Brando classic about the mafia, had made it fashionable to idolise gangsters.

The Krays, which starred brothers Gary and Martin Kemp in critically acclaimed performances, was a huge box-office success, taking more than £100m globally.

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The new film, which he is writing and directing, is titled Last Kings of London. It will be much darker, depicting swinging 1960s London, “where corruption plagued the police force and crime families ruled the streets”, he said.

cross-posted from: https://feddit.uk/post/19488160

Fans of Peter Cushing are in for a Halloween treat, with the iconic Frankenstein star the latest to be resurrected by AI.

In Hammer: Heroes, Legends and Monsters, a Sky doc airing in two days’ time, viewers will be treated to a “powerful and poignant reveal of Hammer royalty,” Sky said, with what is being described as a “special homage” to Cushing.

Cushing, who died in 1994, played Doctor Van Helsing in five Dracula films and Baron Frankenstein in six movies from that franchise. He will be the latest celebrity given the AI resurrection treatment.

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Narrated by Charles Dance, the doc is celebrating Hammer Films‘ 90th birthday and will track its progression from a back office in London’s Regent Street to its iconic status within the horror film genre. We first revealed news of the doc in August.

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This isn’t the first time Cushing has been resurrected. His likeness was revived as Grand Moff Tarkin for 2016’s Rogue One: A Star Wars Story and a high court legal battle over the use of the image was recently ruled by a judge to go to trial.

Ben Field, who runs Deep Fusion, said the Hammer doc resurrection has secured all necessary permissions. The decision to resurrect Cushing is “tied to his significance to the Hammer legacy,” he added. “As a figure central to Hammer’s success, Cushing’s presence is crucial to telling the story authentically,” he added. “His work, particularly alongside Christopher Lee, was instrumental in shaping the brand and legacy of Hammer Films. Including him allows the project to honor the spirit and impact he had on the studio and its fans, creating a connection between the past and this new exploration.”

The use of deepfake technology has been approached with “great care,” Field added. “The team’s intent is not to manipulate or sensationalize but to use technology as a tool to bring audiences closer to the history of Hammer Films in an engaging and reverent manner.”

Hammer: Heroes, Legends and Monsters will follow other influential figures from the horror genre such as Lee. Tim Burton, John Carpenter, Joe Dante and John Logan will also feature. Through a series of fateful turns, the film will reveal how Hammer’s distinct visual style and storytelling continue to shape modern horror and inspire filmmakers around the world.

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.