Choose your favourite British film of all time here, Best of British: your thoughts on the top 100 (1/3), Best of British: your thoughts on the top 100 (2/3), Best of British: your thoughts on the top 100 (3/3). But contemporary critics may have overlooked in 1960 was that voyeurism was its central theme. Narrated by Tilda Swinton, Deep Water is a gravely compassionate and piercingly sad account of Donald Crowhurst’s fate in the 1968 round-the-world yacht race. Renee Zellweger's performance as the lovelorn but plucky Bridget is one for the ages, and she's supported by the ultimate British heartthrob duo: Hugh Grant and Colin Firth. Paul Thomas Anderson’s exquisite work finds Daniel Day-Lewis (in what he’s since declared his final film) as Reynolds Woodcock, a Fifties couturier with a muse (Vicky Krieps) who’s bad news. An artist (Anthony Higgins) is commissioned to draw a 17th-century estate from 12 different angles at different times of the day for a modest stipend and 12 sexual favours from Mrs Herbert (Janet Suzman), the lady of the manor. It charts the journey of five hapless British would-be jihadists, including family man Omar (Riz Ahmed), as they plan a mass suicide attack. The story it tells isn’t just of Bathsheba Everdene (Julie Christie) and her trio of imperfect suitors, but also of the frontier society that sustains all four: its songs and traditions, and bedrock-deep relationship with the landscape.
More than 50 years on, A Hard Day’s Night still feels as fresh and cheeky as when it was first released. “Dead, I think,” responds a teenage boy, covered in dust and debris. As much as paean to friendship as it is to the eccentrities of British poshness, Four Weddings is one of the all-time great comedies. But the film really belongs to Johnson: it’s her beautifully expressive (and these days almost comically refined) voice, and huge, eloquent eyes that really hammer home the gut-wrenching emotion. It’s the first and best of the five Beatles films, and follows the band on a brief trip from Liverpool to London, where they play at a televised concert.
Andrea Arnold works wonders almost everywhere in this film: the drip-drop drabness of kitchen-sink drama is stilled, alive, and newly dangerous.
The insane blood-lust of the finale won’t be forgotten in a hurry. Director Terence Young's 1963 caper was James Bond’s second screen outing. Beyond that, Leigh gives her most under-regarded performance in That Hamilton Woman by playing the tragic victim wonderfully at the film’s climax: listening to Hardy’s account of Trafalgar stricken with horror at the news he is so clearly holding back. It was Monty Python’s second film, released four years after The Holy Grail, and told the story of a Jewish man who happened to be born on the same day as Jesus and is later mistaken for the prophet. Or are they? Spectacularly original, The Draughtsman’s Conrtact seemed to herald a thrilling new filmmaking talent from Peter Greenaway.
The Telegraph values your comments but kindly requests all posts are on topic, constructive and respectful. A DJ played by David Beames drives from London to Bristol, after his brother is found dead in a bath. In part that’s thanks to David Sherwin’s shocking, revelatory script, and in part due to Malcolm McDowell – before the stardom of Kubrick’s A Clockwork Orange – whose disgruntled anti-hero Mick Travis prowls around the stately premises with menace and fulfills the dark fantasies of many a schoolboy. As an elegant suspense picture, it holds its own with prime Hitchcock: Diana Wynyard’s fine-tuned distress and Anton Walbrook’s unforgettable portrait of cunning marital sadism make it a keeper. Withnail and I are louche unemployed actors who live in squalor and drink themselves silly. Adapted from Irvine Welsh’s novel, the film follows five party-loving wastrels trying to make sense of their dead-end existence in mid-Nineties Edinburgh. It stars Julie Christie, Charlton Heston, Kate Winslet, Rufus Sewell, and even Branagh himself, who plays Hamlet. Whatever the film’s nostalgic 1920s setting suggests soundtrack-wise, it’s probably not plangent electronica from Greek keyboard whizz Vangelis, but that inspired mismatch of sound and vision only reinforces the sense that the story we’re witnessing is timeless. Simon Pegg and Edgar Wright’s British zombie comedy, which pays homage to George A Romero’s Dawn of the Dead, is hilarious, smart and, towards the end, nail-bitingly tense. This iconic 1975 parody stars the British comedy group Monty Python as King Arthur and his knights, who embark on a daring and increasingly surreal quest for the Holy Grail. A family drive around the English, Welsh and Scottish coastlines becomes a camper-van trip to the outermost fringes of Britishness in Andrew Kötting’s surreal and soul-nourishing documentary. For it’s a film that’s steeped in a very particular time and place. The all-star cast also includes Keira Knightley, Donald Sutherland and Judi Dench. In this fun-packed tale, Shaun and his flock scour The Big City for their suddenly amnesiac farmer. 12. Generally favouring the claustrophobia of the westbound Orient Express over grandstanding set-pieces, it has a first-rate villain (Lotte Lenya’s Rosa Klebb), henchman (Robert Shaw’s Donald “Red” Grant) and girl (Daniela Bianchi as Tatiana Romanova), not to mention the mighty Connery in his pantherine prime. Michael Caine is pitch-perfect as the pompous Lieutenant Gonville Bromhead, but it’s Stanley Baker as the heroic Lieutenant John Chard who really captures the sense of panic that rattled through the British camp that sweltering day in 1879. An adaptation of Henry James’s The Turn of the Screw, The Innocents remains one of the most spine-chillingly eerie horror films ever made, as well as one of the earliest to tap into the “creepy” qualities of young children. To add to the chaos, there is a scary bull, a malevolent poacher and a flirtatious Uncle Monty (Richard Griffiths), who unexpectedly turns up with amorous designs on a decidedly unwilling I.
The French writer and artist Hugues de Montalembert was blinded in 1978, at age 35, when a drug addict in New York threw paint-stripper in his face.
Shaun (Pegg), a Londoner in a dull job and a fractious relationship, finds his humdrum routine disrupted when almost everyone else in the country turns into a zombie. Peter Middleton and James Spinney’s intelligent and reflective film dramatises Hull’s inspiring journey. Scarlett Johansson plays a nameless alien creature who’s harvesting men for their meat, seducing them into her transit van and taking them to be pulped. Right from the desolate establishing shots of the Kentish marshes – Guy Green’s glorious cinematography won one of two Oscars – David Lean’s approach here is all contrasts: innocence versus experience, light against dark. Gary Oldman made his directorial debut with this unflinching portrait of life in a London family. There are no good guys in this quietly gripping adaptation of Ted Lewis’s 1969 novel Jack’s Return Home, but cinematographer Wolfgang Suschitzky brings out the stark beauty of the North-East while capturing their attempts to kill each other.
Gheorghe (Alec Secăreanu) is a handsome Romanian farmhand who arrives in Yorkshire for lambing time; Johnny (Josh O’Connor) is the 24-year-old son of the ailing sheep farmer (Ian Hart) to whose estate Gheorghe comes. There’s a sleek parallel between Michelle Pfeiffer’s moll in Scarface and Mirren, wife to Hoskins’s gangster Harold. The 100 best British films of all time Hollywood brings glitz, glamour and big budgets; France has avant-garde artistry. The 1981 Maze Prison hunger strikes, in which provisional IRA member Bobby Sands famously died, gave McQueen his first subject for a feature – as scalding, uncompromising and intellectually rigorous a debut as any British filmmaker has managed in decades. Michael Redgrave stars as the real-life aviation designer Barnes Wallis who invented the bouncing bomb that was used to breach enemy dams during night-time raids. One of Ismail Merchant and James Ivory’s finest collaborations, this adaptation of EM Forster’s novel about a class-obsessed family earned nine Oscar nominations. The result is a zinging enigma of a movie, punctuated with disquieting images and haunting snatches of speech. Jim Broadbent gives a career-best performance as the librettist WS Gilbert, whose creative partnership with Arthur Sullivan (Allan Corduner) has run aground – but, inspired by an exhibition of Japanese art and culture, he sets about writing what would prove to be his masterpiece. Haigh’s film captures the nervous rhythms of a new mutual crush beautifully, but also makes their pillow-talk dig bravely down into the loneliness and frustration of contemporary gay culture. This visually innovative and psychologically rich thriller often tops lists of the Best British Films of All Time, and with good reason.
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