20 Best British Movies on Max

Youth is a film about Fred Ballinger (Michael Caine) a famous composer vacationing at a resort in the Swiss Alps with his friend Mick (Harvey Keitel), an accomplished filmmaker, and his daughter Lena (Rachel Weisz). While Fred shuns his work (including an opportunity to play for the Queen of England) and muddles himself in disillusionment, Mick works fervently on his final film, intended to be his life’s crowning achievement. Their remaining time is spent intermingling amongst the guests and reminiscing upon their lives, their achievements, their failures and their undying yearnings. From writer/director Paolo Sorrentino (The Great Beauty), Youth is another charming work offering an array of eccentric characters and quirky scenarios, while also serving as a touching examination of age, wisdom and ultimately personal reckoning.

In a global movie industry of children’s entertainment that often feels like it isn’t even trying, this little Peruvian bear coming to England is a wonderful reminder that films aimed at younger audiences aren’t inherently limited. If anything, Paddington challenges itself to come up with a far more creative (and effective) way to talk about the lingering scars of colonialism manifesting as discrimination in everyday “civil” society. It sounds like heavy stuff, but Paddington approaches its fish-out-of-water story with the exact counterbalance of silliness, and a riotous cast that’s far funnier than anyone would have expected them to be.

Based on the book by John Le Carre, this slow-burning thriller tells the story of a half-Chechen, half-Russian immigrant suspected of terrorism, who is suddenly spotted in a big German city trying to get his hands on money that was left to him. Gunter (played by Philip Seymour Hoffman) is the head of an international counter-terrorism unit created after 9/11 to spot threats like these early on. Whether this man is a terrorist or not, what he is doing in Germany, how he fits in the grand scheme of things, and whether Gunter will succeed in his efforts – all of these are questions you will be begging to find answers for. Witty, supremely acted, and with a very provocative story line, A Most Wanted Man is perfect if you’re in the mood for a sharp thriller.

An absolute delight of a gem starring a young Winona Ryder as well as an amazing cast. Arguably Jim Jarmusch’s best film, it tells the story of 5 different places at night from the perspective of cab drivers and their passengers: Los Angeles, New York, Paris, Rome, and Helsinki. It’s really hard to pick a favorite among the stories, from a messy tomboy having to deal with a busy businesswoman, to a blind woman in Paris making a frustrated driver from Ivory Coast go insane. But look out for Helmut and Yo-Yo, from the New York story. I’ve rarely seen anything in film as fun as their story.

Tilda Swinton stars in this gorgeous Italian production by Luca Guadagnino, part of the director’s “Desire Trilogy”, together with Call Me By Your Name and A Bigger Splash.

Swinton learned to speak Italian and some Russian for the movie, where she plays – to absolute perfection – the wife of a Milan textile mogul who starts having an affair with a cook.

It’s an elegant family drama that’s definitely more concerned with aesthetics than substance, but the setting in snowy Northern Italy and lush 35mm film make that very easy to look past.

Although it opens on Janet Frame’s first steps as a baby, this Jane Campion-directed biopic of the celebrated New Zealand writer doesn’t take an exhaustive approach to its subject’s life. We frequently only learn of milestones — the many awards she won, the death of her mother — later on and in passing. In a beautiful gesture that feels like a tiny righting of the many wrongs done to Janet, it’s her perspective that guides the film. 

That embedded approach also makes the emotions that come with her heartbreaking yet uplifting story more profound. And there is much heartbreak here: alongside the several tragic losses Janet experienced as a child, she was misdiagnosed as schizophrenic as a young woman and spent eight harrowing years in psychiatric hospitals. Throughout all of this, she wrote fiction and poetry, work that saved her life in more ways than one: as well as being a rare constant source of joy, it won her a literary prize just days before she was scheduled for a lobotomy, prompting her doctors to reconsider. Neither Campion nor Janet allowed this experience to define her, however, and the film empathetically grants her real moments of joy and choice throughout — making for a deeply sensitive and uplifting watch.

Robert Pattinson and Willem Dafoe are the only two actors starring in this eccentric movie, and they deliver such grand performances that it feels like another actor would have been one too many.

They star as lighthouse keepers in the 19th century, left on an island to interact only with each other and their rock. It’s a fascinating premise of how these men, left on their own, deal with boredom, loneliness, and being annoyed with one another.

Incredible performances, an interesting aspect ratio, and perhaps excessive weirdness, make this movie unforgettable.

Acerbic diary excerpts provide the narration for this taut psychological thriller, but don’t be fooled: as Notes on a Scandal teases, single schoolteacher Barbara (Judi Dench) might not be filling these pages with the truth — at least, not intentionally. There are early tells that she might not be as reliable a narrator as we expect, given her reputation as a no-nonsense battleaxe: for one, her characteristic surliness dissolves alarmingly quickly upon meeting Sheba (Cate Blanchett), an idealistic young art teacher. Notes on a Scandal doesn’t overplay this hand, though: until its explosive climax, the psychological drama is mostly read between the lines, as we watch Barbara enthusiastically pursue a “friendship” with her younger colleague. 

What makes Notes doubly gripping is that Barbara isn’t the only one hiding dark secrets: as she soon discovers, the married Sheba has begun a sexual relationship with a 15-year-old student. That disturbing revelation gives Barbara an upper hand, a means of manipulating Sheba into validating her delusions about their relationship. What follows is a gripping twin character study, one that plays out in the heightened realm of a melodrama as their sordid secrets become entwined. Darkly camp and spanning just 92 perfectly paced minutes, this is an intense immersion into two very ugly psyches.

The Harry Potter movies undoubtedly changed the lives of its young stars forever — but a stuntman whose future the films had more tragic consequences for is the deserved focus of this moving documentary. David Holmes was just 17 when he was hired as Daniel Radcliffe’s stunt double, a role he held throughout the series. The two formed a close brotherly bond on set, growing up alongside one another for 10 years until a terrible accident during the final movie’s filming left him paralyzed from the chest down, a condition that has deteriorated over the years following post-surgery complications. 

This doc is an inspiring portrait of David, from his fearless childhood and dream-fulfilling work to the incredible resilience he’s shown since the accident. It’s also, though, a poignant testament to the loving, supportive community that Holmes inspired at work — friendships that only reached greater depths following the accident and the end of the movies. The doc’s focus empathetically expands from Holmes’ story to include its impact on his bond with Radcliffe (who features prominently here) and Holmes’ fellow stunt doubles — and, while the sheer force of Holmes’ personality would make for a compelling documentary on its own, it’s the tenderness and honesty that all of these participants show that makes this so poignant.

Like 12 Angry Men before it, Conspiracy follows a group of men who come to a standstill when asked to make a crucial, fateful decision. The two films are mostly stationary and dialogue-heavy, but where the former is hopeful, the latter is purely heinous. Sure, the Nazi officials argue amongst themselves about the Final Answer to the Jewish Question—in other words, the genocide of European Jews—but the debate is less about the morality of the act than the practicality of it. No one in that room is redeemable. They’re varying levels of evil, but evil nonetheless. It’s a testament to the filmmakers, then, the entire film manages to be stirring. Loring Mandel’s script is incredibly taut and intelligent but never lets you fall for the officials’ wise-sounding traps. Director Frank Pierson, for his part, expertly paces the movie, knowing when to bring out the big guns (mostly via Colin Firth’s impassioned Wilhelm Stuckart) and when to rely on subtlety. It’s a fine example of how a film can succeed with few but quality parts, but more importantly, it’s a timeless reminder of how unnervingly plain evil can look.