Bone Keeper review – there’s a critter in the caves in serviceable Brit horror

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An unconvincing group of friends is briskly picked off one-by-one while searching for a beastie that hitched a ride to Earth on a meteorite You get the measure early on of the tentacled predator in this British horror film when it makes mincemeat out of a hairy tough-guy Neanderthal. The movie opens with some punching-above-its budget special effects explaining the origins of the flesh-eater, which crash landed on Earth with a meteorite. Like Neil Marshall’s The Descent, it’s a creature that makes its home in caves – though unlike the earlier movie, Bone Keeper lacks a sense of sweat-trickling-down-your-back claustrophobia, despite a couple of good scares. Sarah Alexandra Marks plays Olivia, whose journalist grandfather vanished in the 1970s while investigating reports of a creature in a cave somewhere in the UK. Now years later, Olivia’s mother has disappeared while searching for him. So Olivia heads to the caves with a group of mates, who feel as if they’ve been dreamed up in a 20-...
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The rise and fall of Disney: how the company found then lost its backbone

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Recent storm over Kimmel’s suspension is latest black mark for corporation that has been abandoning diversity and inclusivity

The Walt Disney Company is probably hoping that upon viewing the new trailer for the upcoming Star Wars film The Mandalorian and Grogu, audiences feel a swell of nostalgia. No, not for 1977, when Star Wars was fresh and wondrous; after all, Disney didn’t even own it then. Not even for a decade ago, when the company brought the film series roaring back with 2015’s The Force Awakens, still the highest-grossing movie in US box office history. Rather, the trailer, consciously or not, hopes to transport viewers, and presumably profits, back to the halcyon days of … 2019.

They would probably settle for any time before their brief but tumultuous suspension of Jimmy Kimmel from ABC became national news. But 2019 would be preferable. That year, Disney’s exercised almost unprecedented box office domination, boasting an astonishing seven of the year’s 10 biggest hits – and an eighth featuring Spider-Man, a Disney-owned character in a movie produced by Disney’s Marvel Studios (but released by Sony). Remakes of Aladdin and The Lion King, sequels to Toy Story and Frozen, two to three Marvel installments (depending on how to count Spider-Man), and a new Star Wars movie added up to around $10bn in global grosses. If the Star Wars movie The Rise of Skywalker landed a little soft compared to its better-reviewed predecessors, even that cloud had a silver lining: the late 2019 debut of The Mandalorian on the then new Disney+ streaming service was an instant sensation. Even genuinely rapacious corporate moves, like Disney’s purchase of 20th Century Fox, were greeted in some fan corners with unthinking delight, because it meant some errant licensed Marvel characters could be in the MCU.

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