50 Best British Movies on Amazon Prime

Lauren Greenfield’s film follows the Siegel family’s decline from opulent abundance to gaudy ruin. Mega wealth, delusions of grandeur, and grotesquely opulent taste—the Siegel family were the perfect subjects for the film, which sets out to document their most lavish expense: their Versailles home, a mansion sprawling more than 85,000 square feet and modeled after the Palace of Versailles.

The Siegels, no doubt, are entirely out of touch with reality. David Siegel, the owner of one of the world’s largest timeshare developers, married Jackie, a former Mrs. Florida who is 30 years younger. The Versailles home is to be Jackie’s castle, an enormous home for her eight kids and numerous pets.

But the 2008 recession does not spare the Siegels, and their company is devastated. After layoffs and desperate attempts to recover financially, the family struggles to pay back the banks. Construction halts. The Versailles home remains vacant and unfinished.

While the film does not sympathize with the Siegels, Greenfield creates a space where pity is possible as well as criticism. And from there comes the universal: desperation, longing, hope for better, if not also more, more, more.

It may look like a cheap TV movie, but this quietly affecting story of a lonely grandmother looking for kindness and meaning at a retirement hotel is an absolutely charming watch for you, your parents, and your own grandparents. The stakes are refreshingly low, as the title character’s quick friendship with a twentysomething writer helps each of them get through their feelings of being out of place. There’s lots of effective, British-style comedy from this small cast of instantly likable actors, and an unexpectedly potent emotional core, making you realize only by the end just how invested you’ve become in their interactions. As Mrs. Palfrey, Joan Plowright is a wonderful, gentle presence, and her easy chemistry with Rupert Friend is exactly as wholesome as the film needs.

Kenneth Branagh’s third Hercule Poirot movie does everything it can to divorce itself from the quaintness of a typical Agatha Christie adaptation. Loosely based on the novel Hallowe’en Party, this outing swaps exotic locales for the claustrophobic confines of a gothic Venetian palazzo and flirts outright with horror. The film, shot through more Dutch angles than an Amsterdam maths class has ever seen, uses the genre’s visual language to credibly suggest that this mystery might actually have paranormal undertones. Forcing Poirot to reconsider his die-hard loyalty to rational explanations is an interesting twist — it punctures the idea of him as a mystery-solving god and gives the film bigger questions to chew on than whodunnit.

What that does, however, is sap the satisfaction of watching him expertly crack the puzzle, because the movie spends so much time centering Poirot’s crisis of confidence. A Haunting in Venice’s tone switch to serious horror is also at odds with the campily bad accents and mostly overwrought acting from the (much less starry than usual) cast. It’s not the same kind of reliable guilty pleasure we expect these vehicles to be, then, but this outing of Branagh’s Poirot is at least an interesting experiment in expanding these stories’ usual limits.

As a result of the miraculous success of the famed Tham Luang cave rescue, which saw the return of 12 kids trapped in a cave for more than 15 days, you’ll find no shortage of documentaries about the mission. Some take the point of view of the children, even others the locals and loved ones. But National Geographic’s The Rescue largely focuses on the volunteer rescuers, all of whom were foreigners who flew from different parts of the globe to risk their lives for the young victims. The film dives into their personal lives and their psyches, even going so far as their childhood to explain the motivations behind the heroic decisions they made at that moment. In less deft hands, The Rescue might seem like yet another White Savior Complex story, but directors Jimmy Chin and Elizabeth Chai Vasarhelyi (the same creative couple behind the Oscar-winning doc Free Solo) prove that the divers’ expertise, skill, and personal stakes make for a story worth telling.

It would be easy to define Rose Plays Julie as a cross between Promising Young Woman and Killing Eve, but this psychological thriller turns the camp factor down to zero and makes even just the act of watching somebody else an existential experience. Directors Joe Lawlor and Christine Molloy treat this story with stone-cold intensity (perhaps to a fault), transforming their title character from a confused girl to somebody who relishes the power they have to disrupt other people’s lives through her mere existence. There’s something eerie about it that crawls under your skin if you let it, like a ghost story told among the living.

Green Day’s Bullet in a Bible has certainly aged well. Maybe it’s even better now with time and hindsight, and knowing that the once punk group would commit to their alternative sound from that point forward. Green Day with their American Idiot tracks and frontman Billie Joe Armstrong’s stage presence absolutely belongs as a stadium-level act, but you could argue they could’ve cut down on the heavy American Idiot representation to have more of a mix of albums in the setlist. The film could’ve also had less of the vignettes and montages with edgy editing—we don’t need that many breaks from 14 songs—but it’s all nitpicking, really. Say what you want, but this concert marks the birth of Green Day as rockstars.

Never has evil been so darn fun to watch. Bridget (Linda Fiorentino) is such a captivating villainess, you’ll actually find yourself rooting for her at times in this noirish take on…, I don’t know what, but it involves drug money, double-crosses, lots of witty repartee and cat-and-mouse manipulation that will make your stomach hurt. The script is tight, the acting is all testosterone driven and crisp and you’ll hear some choice words come from nice guy Bill Pullman (as Bridget’s husband Clay) that you never imagined he could say. Peter Berg (Mike) is fantastic as the guy’s guy determined to earn his Alpha-dog badge by subduing the fierce and wickedly intelligent heroine, Bridget. Fiorentino won a BAFTA award for her performance and was nominated, along with Director John Dahl, for several others. The movie did not qualify under Academy rules for the Oscars, but it would have been a strong contender.

No one watches a romantic comedy expecting anything novel, although it’s nice to be surprised once in a while. In the past years, we’ve seen movies like Rye Lane and Palm Springs subvert expectations and give the genre a pleasant, refreshing twist. Upgraded isn’t like those movies. It’s pretty standard and formulaic, but I would be lying if I said it wasn’t enjoyable—Amazon Prime’s latest romcom is breezy good fun from start to end. The predictable parts of the film are buoyed by vibrant performances. As leading lady Ana, Camila Mendes expertly toes the line between approachable and aspirational, while Marisa Tomei delivers campy goodness as Ana’s boss Claire Dupree, who is like a less serious, more humorous Miranda Priestly. In fact, the entire film is like a pleasant blend of The Devil Wears Prada and every single Cinderella story in Hollywood, from Pretty Woman to What a Girl Wants. If you’re looking for something new, you can skip this film, but if you like recalling your favorites and are satisfied by performances before anything else, then Upgraded comes highly recommended.

Usually a film like this wouldn’t care to take the perspective of the perpetrator, and would instead dramatize a heavy, unsettling feeling around a victim being caught within their operation. But Felicia’s Journey doesn’t take that route– instead, at the same time, we meet both serial killer and potential victim through a snapshot of their lives, with writer-director Atom Egoyan adeptly intercutting Felicia’s Journey with Hilditch’s video-recorded childhood and Felicia’s much more natural flashbacks. It’s an interesting visual take on the 1994 novel, that doesn’t take the usual thriller motifs and that would rather linger on studying the characters. Felicia’s Journey might be Egoyan’s first non-R rated film, but it still delivers his signature uneasiness and eeriness he is known for.

Adults and kids can be friends, but there’s obviously a line that shouldn’t be crossed. This line is why most people would look at a friendship like this and automatically assume terrible things, but Lawn Dogs depicts one such connection in such a way that it’s clear how easy and disproportionate these assumptions are made for marginalized and less powerful people, over the affluent sociopaths that can and have gotten away with the accusations they lobby against others. The fairy tale ending, and of course, the disgusting behavior done by the rich guys, might turn some viewers off from the movie, but there’s also something genuine with the way screenwriter Naomi Wallace depicts a girl with a literally different heart who just wants to befriend someone real.