Peaky Blinders: The Immortal Man ★★★

Released: 6 March 2026

Director: Tom Harper

Starring: Cillian Murphy, Rebecca Ferguson, Tim Roth, Barry Keoghan, Sophie Rundle, Stephen Graham

Since its first series premiered in 2013, Peaky Blinders has become something of a phenomenon, inspiring fashion, music, and making creator Steven Knight a household name. In the decade-plus since it first aired, he has gone on to create a string of shows for Apple TV, Disney Plus and the BBC, but nothing has had quite the same cultural impact or staying power as his Birmingham dynasty covering the Shelby family. He returns to the world of Peaky Blinders with The Immortal Man, a feature film that ties up several loose ends, but does it undo what was a solid finale on the small screen?

It is now 1940, Birmingham is subject to constant air raids from the Nazis, and the city feels on the brink. Tommy Shelby (Cillian Murphy) is now holed up in his country home, away from the main city, haunted by the ghosts of lost loved ones and friends, the events of the previous war and the main show plaguing his every thought. He has retired to write a book. Of course, it isn’t long before he’s dragged back into the fray by a combination of his sister Ada (Sophie Rundle) and the mysterious Kaulo (Rebecca Ferguson), a gypsy with abilities to seemingly communicate with the dead.

Tommy’s son Duke (Barry Keoghan), is now running the Peaky Blinders, more brutally than his father, with his safety a concern for all. Duke’s recklessness has been noticed by the Nazis, with Tim Roth’s John Beckett asking him to betray his country and help bring about a revolution.

The ghosts haunting Tommy were a constant theme in the show, so it does feel like Knight is recycling tried and tested ground here. Even so, Cillian Murphy, in what is likely his final turn as Shelby, remains magnetic. Jaded but no less lethal. The new additions do add something to proceedings, Roth’s Beckett, used sparingly, but bringing plenty of menace. There are also plenty of well-worked setpieces, sharply directed by Tom Harper, bringing a sense of grandeur.

The ingredients that made the show such a colossal hit remain intact, with plenty of swagger and an indie rock soundtrack, although this one leans heavily on Fontaines DC, with a few of their songs featuring and singer Grian Chatten also contributing new material to the film.

The 1940’s setting means the show has spanned the two wars, feeling like a fitting place to round off this part of the story. It is not the ultimate end however, with a sequel series in the works. Surprisingly, The Immortal Man does not set this up in overly obvious ways, to its credit feeling more like an epilogue to the main show.

It may be a tad uneven and repetitive, but there is still plenty to enjoy in The Immortal Man, even if it doesn’t feel totally necessary. It should whet fans appetites for the promised follow-up, currently in development and spanning a new generation of Peaky Blinders. This certainly feels like the end of one chapter of the story, mostly wrapping things up in a way that should please many fans.