Dubbed an ‘excellent movie all round’, the edge-of-your-seat war drama thriller has completely captivated audiences, with some fans declaring it’s ‘the best movie’ they’ve ‘ever seen’.
The ‘masterpiece’ film has a near-perfect rating on Rotten Tomatoes(Image: Entertainment One)
Dubbed an ‘excellent movie all round’, the edge-of-your-seat war drama thriller has completely captivated audiences, with some fans declaring it’s ‘the best movie’ they’ve ‘ever seen’.
Eye in the Sky is a 2016 war drama starring British acting royalty — and it’s currently available to stream for free on BBCiPlayer. The modern warfare thriller stars the late great British icon and acting legend Alan Rickman, and is considered his last live-action feature film — having released posthumously on April 15, 2016, just months after Rickman died on January 14 that same year. His last film overall though, is Alice Through the Looking Glass, which features him in a voice acting role only.
Eye in the Sky has been dedicated to the Harry Potter star, and while Rickman is definitely one of the highlights of the war drama, he’s far from being the only scene-stealer.
Directed by Gavin Hood with a screenplay penned by Guy Hibbert, Eye in the Sky stars the legendary Helen Mirren in the lead alongside Rickman. The pair are joined by Aaron Paul, Barkhad Abdi, Jeremy Northam, Michael O’Keefe, Phoebe Fox and Iain Glen in supporting roles to round out a talented cast.
Speaking to Collider about her co-star Rickman, Mirren shared: “I think that Alan would have been incredibly proud that this was his last movie. It is what I love about it, which is that the Alan you see up on screen is much closer to the real Alan Rickman that we all knew and loved. You see his intelligence, you see his wit, and you see his authority. I think that that was very much the Alan that we knew.”
With an almost perfect 95% approval rating on Rotten Tomatoes, Eye in the Sky seems to be loved by one and all.
One viewer was clear the film belonged to Rickman as they wrote on IMDB: “This is Alan Rickman’s movie. He is the star, the cast person who carries the movie. The movie itself is excellent. It tells a compelling story and succeeds in building dramatic tension without becoming contrived.
“The conflict is presented plainly. Every character plays an important role. Yet, Rickman drives this movie. His performance as the general in charge of the operation should earn him at least consideration for the highest official accolades.”
While another fan of the film said: “Excellent movie all around! I rarely give very high ratings, so take this 10 as solid approval. This is a very well-made movie. It’s dramatic (fitting the occasion), compelling, exciting, interesting, intriguing, well-paced, informative, insightful, well scripted, well acted, evocative, relevant, just, intuitive, comprehensive, and so on.
“All of these. I found it very enjoyable to watch, and I followed along and fully understood the situation presented and all of its challenges. It’s difficult to imagine any ways it could be improved.”
An audience review on Rotten Tomatoes states: “Genuinely one of the best films I have ever seen – could be a fantastic debating resource for schools, colleges and universities. Brilliantly communicated from every angle.”
While one viewer said in a glowing review: “I have to say: This film blows my mind. The combination of the suspense, the back-and-forth, and the frustration exceeds any out-of-the-world action sequences; not to mention Mirren and Rickman being superb as always.”
Critics were left equally impressed, with one writing: “It’s a tight thriller played out smoothly but tying the viewer in moral knots. A film to think about for days, with little hope of finding a comfortable answer.”
While another reviewer said: “Eye in the Sky is a disturbing, intelligent and very well crafted contemporary thriller with a solid screenplay by Guy Hibbert and seamless direction.”
A third critic added: “This is the kind of intelligent, thought-provoking mainstream film that’s in danger of becoming extinct. Eye in the Sky is miles above the average multiplex flick.”
Eye in the Sky is available to watch free of cost on BBC iPlayer.
Benidorm holiday films huge crowd queuing for 90 minutes before sunbed surge
A British holidaymaker has captured the moment hundreds of guests queued from 7.30am before racing for sunbeds when a hotel pool opened in Benidorm. Teaching assistant Hayley Newland, 39, from Brighton, was staying with her family at a hotel when she witnessed the scramble.
Hayley said she had never experienced anything like it, despite being familiar with the infamous holiday sunbed rush. The footage shows a large crowd waiting behind a barrier before security guards open the pool area at 9am.
As soon as the barrier lifts, guests stream through in a bid to claim their spot. Hayley said the same thing happened every morning during her 10-day stay, with some holidaymakers beginning to queue as early as 7.30am. She said: “It was madness, I have never experienced anything like this before. I would watch this all happening from the breakfast hall.”
Despite the dramatic scenes, Hayley said the rush was ultimately unnecessary – as she had no trouble finding sunbeds once the crowds had dispersed. She said: “Once the chaos was over, I would go and find some beds for my family with no problem.”
She described it as “chaos for no reason”, but admitted it was also entertaining to watch. The footage is likely to reignite the debate among holidaymakers over whether it is ever worth getting up at the crack of dawn to bag a sunbed.
Independent filmmaker Sylvia Ray always wanted to shoot her first feature film, “The Middle,” in California — as it’s set in Barstow, where she grew up.
Instead, she shot it in Mexico.
The math made the decision for her. Grants and incentives from the municipality of Torreón and the state of Coahuila covered 30-40% of her production budget, which came in under a million dollars. She didn’t pay for filming permits. On-site security was provided. Local hotels came in as sponsors. Over 21 days in March and April, the production hired 75 local crew members and college students.
“All I needed was a desert landscape and American homes. I could have definitely shot it in L.A. comfortably. Had I gotten more support and made it make sense for us financially,” Ray said. “But it just didn’t.”
Her budget was too small to qualify for any California film incentive at the time, as the state’s program doesn’t reach projects costing under $1 million. Filmmakers and producers say that gap is the whole problem. California’s incentives, even after the recent expansion, are built for productions several rungs above them.
Los Angeles County has plans to change that. Supervisors Lindsey Horvath and Kathryn Barger are developing an Entertainment Evergreen Fund, first introduced last July, which would channel money to productions the state’s tax credit doesn’t reach. It isn’t a tax credit, rather a grant program.
No dollar amount has been attached and the county has not committed funding. The board intends to explore a public-private model, with funding sources, amounts and any cost sharing determined only after an outside consultant completes an analysis and presents recommendations. Any final proposal returns to the board for public discussion and a vote.
“Like every County initiative, this work must be balanced with our current fiscal realities,” Barger said in a statement, adding that she hopes to build “a sustainable … partnership that helps keep film, television, and digital media production” and keeps L.A. “the global leader in entertainment production.”
Horvath said in a statement that direct investment in productions, like with this fund, “is the best way to keep the work here in LA. “
“State tax credits have been the most instrumental tool to keep production local, and we want to amplify their success to make clear to the industry: LA County wants you here,” she added.
Director Sylvia Ray on set of “The Middle.”
(Alex Crunker)
Why L.A. got expensive for small films
The trouble small-budget indies run into in L.A. is location and permitting costs, said Philip Sokoloski, vice president of communications at FilmLA, the nonprofit that coordinates permits and tracks local production.
“Many property owners inclined to rent out their homes or places of business for filming are used to an era where there was a lot of money to go around … It’s not true anymore,” Sokoloski said. “Until that message is widely understood, there’s a certain priced-out-of-the-market feeling that many indies are experiencing.”
Incentivized work is one of the few bright spots. FilmLA said 170 projects between July 2025 and July 2026 have benefited from the California Film & TV Tax Credit Program while 33% of the 443 feature film shoot days in 2026’s second quarter came from productions receiving tax credits.
Making an indie movie is harder than it has ever been, said Steven Wolfe, a producer whose credits include “(500) Days of Summer” and more than 45 other films. Companies are less willing to finance independent projects, buyers are spending less and the exhibition market is harder to navigate. Yet “there’s an audience that’s very hungry for them,” he said.
Wolfe is developing what he calls a passion project with a first-time feature director, set to shoot in Los Angeles. Whether it gets made, he said, depends on whether the fund materializes. “All of us recognize the need to take extreme action and soon on trying to rebuild Los Angeles as the film capital of the world,” he said.
What’s being proposed
The fund is being shaped with input from the Indie Film Task Force, a group of industry voices led by the nonprofit NewFilmmakers Los Angeles. The task force pushed for grants rather than a tax credit, arguing that budgets this small don’t generate enough tax liability for a credit to be worth much.
“We see this as a foundational level investment. It is a trickle-up incentive that’s going to feed into the studios,” said NFMLA Executive Director Larry Laboe. “This is a way to invest very little money in a lot of different productions and hope for some big wins from those productions that can trickle up.”
Laboe points out Curry Barker’s box office underdog “Obsession” as the latest example of a major low-budget indie success. The horror flick, which hit theaters in May, was made in Los Angeles for a budget of $750,000 and has since grossed nearly $475 million worldwide.
Laboe, one of the proposal’s leading advocates, has projected the fund’s ceiling could reach $100 million depending on fundraising. NFMLA isn’t positioned to administer it, though he’s open to a role.
Cast and crew on set of Sylvia Ray’s “The Middle.”
(Adriana Martinez Benavides)
Barger said her conversations with filmmakers, labor representatives and production companies have surfaced “several promising ways an Evergreen Fund could strengthen our local industry,” including “grant incentives that encourage productions of all sizes — including independent filmmakers — to choose Los Angeles County.”
The case against
Film and TV production incentives rarely deliver the economic benefit that justifies them and only occasionally change where a project shoots, said Patrick Button, an associate professor of economics at Tulane University who studies the programs. He sees a particular problem with targeting small productions: Indie filmmakers, already working on thin budgets, are the least likely to relocate in pursuit of a subsidy. Chasing incentives across jurisdictions is largely the province of major studios.
“Despite the goal with these incentives being to attract filmmaking and lead to economic stimulus, that’s not materialized in the data,” Button said. “In general, these incentives don’t have a good return on investment for the states and their counties.” Low-budget producers, he added, aren’t the ones moving around, “which creates even less rationale.”
He also noted “a lot of stress on the LA County budget right now, and a lot of other things that the money could be spent on,” and expects the fund’s effect to be “very small.”
Laboe countered that covering even 10% of an indie production budget would help keep work local, and said filmmakers may be able to layer a county grant with the state credit where it applies.
Who it would reach
Independent productions are a meaningful share of SAG-AFTRA members’ income, particularly as major studios chase incentives abroad. More small films shot locally would mean more roles, said SAG-AFTRA Secretary-Treasurer Joely Fisher.
“People are rolling up their sleeves, raising money and going to make a movie for under a million bucks,” Fisher said. “But also they’re able to take more chances. People are being discovered in these indie movies, and I think that that’s a great thing for our newer members, who can cut their teeth on something indie.”
Making the film is only half of it. The fund should address marketing costs, or the films won’t get seen, said Jackie Brenneman, president of the Independent Film & Television Alliance. Those budgets traditionally come from distributors, but more independent films now go directly to theaters without one.
“You have to be able to exploit the thing you make,” Brenneman said. “If we want to be able to access theaters, the theater’s first question is going to be, what’s your marketing plan? What’s your marketing budget? And if you don’t have one, then you’re more likely to get four-walled” — renting the screen themselves and absorbing the risk.
Ray is still editing “The Middle.” Whatever happens with the fund, it won’t reach her first feature. But she’s already thinking about her next one.
“After this film is done, I’ll have my next one to worry about,” she said. “As a filmmaker here, there are so many hurdles, and it would just be nicer to have a clear pipeline, a scaling budget for all of these things and [provide] access to people who want to support emerging talent and artists, not just the studio system.”
