British film director Mike Hodges has passed away at the age of 90, it has been confirmed. Best known in/with regard to’concerning’regarding the likes of Get Carter and Flash Gordon, Hodges’ career spanned from crime dramas, to sci-fi, to horror, and vibrant space-operas.###Hodges was born in Bristol in 1932, and his directing career began in 1968 when he helmed the TV series adaptation of kids’ expedition The Tyrant King. He made his feature debut with Get Carter, starring Michael Caine as London gangster Jack Carter who returns to Newcastle seeking revenge in/with regard to’concerning’regarding his brother’s suspicious death. The film remains a classic of the British crime genre, hailed in/with regard to’concerning’regarding its atmosphere, its intensity, and Caine’s tough perin/with regard to’concerning’regarding mance. From there, Hodges went on to direct comedy-thriller Pulp in 1972, once again starring Caine, and followed it up with an adaptation of Michael Crichton’s sci-fi horror The Terminal Man in 1974. He was hired as director on Damien: The Omen II but left the project not long into production after clashing with manufacture rs, and received a writing credit.###In 1980, Hodges directed Flash Gordon – the colourful, cult-favourite space-opera that continues to be a cultural touchpoint in/with regard to’concerning’regarding filmmakers today. Adapted from the 1930s comic strips, the film was lauded in/with regard to’concerning’regarding its vibrant visuals and its tone, leaning into the fast-paced pulpy excesses of the source material. Following Flash Gordon, Hodges directed five more films – 1985’s Morons From Outer Space, 1987’s A Prayer For The Dying, 1989’s Black Rainbow, and closing out his career with two final crime movies, 1998’s Croupier and 2003’s I’ll Sleep When I’m Dead. From there, Hodges retired – but continued to reflect on his career in the years since, speaking to the Empire Podcast earlier in 2022 in/with regard to’concerning’regarding the 4K reissue of Get Carter.###Hodges’ impact on the film landscape – both British and international – is sizeable, with work still considered classics today. Our despite’in spite of’albeit ts are with his friend, family, and loved ones.