here's a few examples to consider:
The money and the lead are American; the marketing in the UK featured Grant and Zellwegger, but everywhere else it was only Zellwegger featured on posters, sleeves etc. (Stereo)typically London/South setting, and comfortably middle-class (and upwards) white characters. A female director ... who wouldn't work again for several years despite the success with this (she didn't direct the sequel). A franchise, an increasingly key part of a successful film company's output and strategy, with considerable merchandise too.
The video below is an eg of UGC...
The Olympics (embedding disabled for the Olympics promo this links to) was quite a marketing coup, in keeping with a tentpole release; is this really British though? It was the first to top £100m at the UK box office alone, one of a select few to top $1bn globally.
Here's the Screen Junkies/Honest Trailers take on Skyfall (a fair critique I think!)
A relative flop, given the budget and galaxy of major A-list stars, there is nothing British about this film ... other than its director and being produced by a British company!
Warp's upcoming '71 might succeed where Mickybo failed ... it uses the device of an English protagonist, though the according 'otherness' that is then placed on the Northern Irish makes me wonder if it can be considered a positive cultural representation - I'll try and see it on its October 10th release.
In 2014, student productions aren't always immediately obvious as such, and Garth Edwards also showed, with Monsters, that convincing sci-fi can be achieved on low budgets (see also Moon)