50 Best British Movies on Amazon Prime

The Western had its heyday in the 60s, but the decades have proven that there’s still stories from the deserts that we haven’t heard yet, and gems that twist the genre on its head. The Proposition is a unique Western, being from the East, in Australia where the Brits have started to form colonies. As the British Empire builds society, and the police start to enforce the King’s justice, writer Nick Cave and director John Hillcoat crafts a bloody tale, where promises between men are betrayed for the State, where vengeance can only be met through brutality, and where the line between civility and savagery is drawn and moved by the will of an angry majority. The Proposition is quite violent, but it’s performed well, scored by a moody, moving soundtrack, and it surprisingly contemplates Australia’s bloody past.

Thirteen Lives is a taut, no-nonsense film that smartly forgoes dramatizing an already well-known case and, instead, hones in on the excruciating but impressive ordeal that is rescue diving. The divers are played by Viggo Mortensen and Colin Farrell, both of whom are convincing in their expertise and heroism. But this isn’t to say this story is theirs. Howard does well to center the narrative on the locals and even makes use of their language, Thai, for most of the film’s run. It’s as sensitively told as it is genuinely gripping.

Labyrinth is a fantasy film starring a young Jennifer Connelly as Sarah Williams, a teenager who wishes her infant brother away to the goblins. Immediately regretting her decision, she pleads to the Goblin King, played by David Bowie, for his safe return. He agrees, but only on the condition that she escapes his massive, trap-filled labyrinth. Connelly is charming as a young woman learning an important lesson in family and appreciation, while Bowie is dazzling as a maniacal ruler, but the film’s true magic comes from the puppets that populate the labyrinth. They’re the handiwork of director Jim Henson, the man famously behind the Muppets and Dark Crystal universe. Labyrinth stands the test of time thanks to the intricate designs of the goblin world and the lively movements of the puppets. In an era where CGI reigns supreme, and AI threatens to smooth out hard work, Labyrinth is proof that there’s beauty to be found in the fine, hand-crafted details.

Comparison to the latest adaptation aside, there’s plenty to enjoy from the 1978 version of Death on the Nile. For one, the cast is stacked– Maggie Smith, Angela Lansbury, Bette Davis, Mia Farrow, and Jane Birkin join Peter Ustinov in his first stint as the detective Hercule Poirot. And for another, as Poirot goes through his murder investigation, the humorous script allows the cast to shine. The combination, along with the Academy Award winning costumes, spectacular locations and great cinematography, made this adaptation an enjoyable one. Death on the Nile might not live up to Murder on the Orient Express, but nonetheless it was a fun time seeing these stars suspect each other in this riverside cruise.

It’s possible that this kid’s cartoon mostly stayed under the radar because of its commercial performance and less than fluid animation, but The Last Unicorn is nonetheless a good film to watch. The film follows the titular unicorn on an adventure to find the rest of her kind and rescue them from the evil Red Bull. The premise seems to be a regular ol’ children’s tale, but the film delves into deeper themes of altruism, love, and community as the unicorn meets quirky, offbeat characters voiced spectacularly by Mia Farrow, Alan Arkin, Jeff Bridges, Angela Lansbury, and Christopher Lee, among others. The Last Unicorn is a magical tale, one that might not have the best animation, but has a compelling art style and story to enjoy.

Coherence is a film that captivates you to the point of questioning the reality that surrounds you. It’s a Quantum physics based sci-fi thriller that keeps your eyes sealed to the screen – not with unrealistically beautiful actors or special effects, but with an original screenplay and unexpected twists. Very refreshing.

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.

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.

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.

While terrible in nature, there’s always a curiosity towards serial killers, even if only in hope to identify and protect one’s self from a potential one. The Young Poisoner’s Handbook depicts one such killer named the Teacup Murderer, but while the usual serial killing tropes are present (e.g. the fascination towards death, the disregard for others, and the possible psychosis), the film is equal parts creepy and funny. It doesn’t really delight in the gore, with poison as his weapon, but it mostly takes pleasure in how captivated he is with his experiments– the meticulous method he recorded, the thought he placed into his endeavors, and the way he was able to escape detection, even from those who knew him. One should obviously not follow The Young Poisoner’s Handbook, but one can’t deny how Hugh O’Conor makes said poisoner a fascinating watch.