20 Best British Movies on Max

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.

A music documentary with its star as one of its main talking heads runs the risk of coming off like cheap PR, but Tina Turner’s own articulate insights never restrict this retrospective on her life. If anything, she assists directors Dan Lindsay and TJ Martin in expanding the film’s scope to cover the origins of rock music and the struggles of so many women in the public eye who only ever seem to be defined according to their abusers. Even if Tina is still ultimately a conventional doc that relies on interviews and archival footage, it has a strong emotional core that gives the film a relatively unique psychological edge.

There are a few instances that prove the merit of one’s friendship, and one of those instances is a roadtrip. Withnail and I is considered one of the greatest British comedies of all time, but there’s a certain melancholy to it, as two unemployed actors have gone on holiday due to an offer from one of their uncles, though this offer doesn’t come without strings, which the titular “I”, Marwood, whose name is never mentioned, has only found out on the trip. As the holiday goes wrong, with the two making the worst of every new situation, the two share somewhat of a dysfunctional, slightly homoerotic relationship, as Withnail deals with everything in the most drunken, unserious manner, and Marwood anxiously realizes how much he’s outgrown their friendship. The film’s humor may be a tad too dry for those outside the country, but cult favorite Withnail and I still resonates with its endlessly quotable lines, memorable scenes, and its bitter understanding of how life can diverge.

When Castro took over Cuba in the 1950s, Havana’s nightlife shifted as clubs and casinos were closed down, leading to certain traditional step-based genres like son, bolero, and danzón to decline. A few decades later, prominent American musician Ry Cooder travelled to Cuba with his friend documentarian Wim Wenders, to pay homage to traditional Cuban music in an album and its respective documentary. Wenders weaves in illuminating interviews and shots of Cuba today in between the band’s Amsterdam and Carnegie Hall performances, with a certain intuition that makes each song feel like a triumph. While the documentary does focus more on Cooder, Buena Vista Social Club is a delight to watch, even with its 90s digital grain.

At the peak of his fame in the 80s, Christopher Reeve was constantly seen as his onscreen character, Superman. Like him, Reeve could fly (planes). He was full of charm and stood for what was right. But in this revealing documentary, we learn the whole truth about Reeve; his troubled childhood, his initial struggles with commitment, his physical talents, his love for family, and—as many a superhero star will sympathize with—his deep yearning for a creative career outside of the comic book character who made him famous. Of course, a significant chunk of the documentary also deals with Reeve’s unfortunate paralysis. We witness, through home movies and narrated biographies, how he coped with the tragedy. Making the film even more special is the input of his three children, who look back at the time with generous honesty and vulnerability. This film is made for fans of the actor, but it’s also a great example of the power of advocacy (Reeve became a disability rights activist after the accident), love (his wife Dana is a superhero on her own), and legacy (his children run his foundation to this day).

If you’re a fan of musical theater of any kind, Topsy-Turvy pays tribute to that notoriously tricky art form with a stunning attention to detail and a dedication to telling its story without any unnecessary drama whatsoever. It’s hard not to get swept up in the humor, entertainment, and simple joy found in the writing process and in rehearsals of entire scenes. Come for the Oscar-winning costumes and makeup, stay for the wonderfully old-timey musical numbers, the brilliantly grounded performance from Jim Broadbent, and the sense of satisfaction of just watching everything finally come together to thunderous applause.

Though it doesn’t proceed like most animal/nature-centered documentaries that you’ve seen, the Oscar-nominated All That Breathes is instantly memorable in the way it de-centers the human perspective from its all-encompassing study of New Delhi, India. The wildlife rescue team that features prominently in this film still only becomes a vessel through which director Shaunak Sen explores the environmental and political hazards being faced by the nation today. It’s a movie that definitely challenges you to think for yourself, as any talking heads or on-screen explanations are traded for truly stunning shots of New Delhi as a biome teeming with life among the dirt. For those who want their documentaries unconventional, this is excellent stuff.

Featuring cannily edited filmography excerpts and interviews with friends and ex-lovers of Rock Hudson — the Golden Age matinee idol who became the first major celebrity to die of AIDS — this documentary lifts the lid on the closeted gay star’s double life. Though its first third draws chiefly on biographers to paint a serviceable picture of the homophobic context Hudson rose to fame in, it’s in later interviews with members of his inner circle that the film comes to life. These contributors give us a more closely informed picture of Hudson, who seemed to accept Hollywood’s compromise: he could live out his professional dreams so long as he didn’t rock the boat.

Some aspects of the film’s approach do raise an eyebrow, such as a risqué conversation that seems to have been surreptitiously recorded. These inclusions lend the film a tabloid scoop’s salaciousness in places, but, thanks to its final third, it’s largely a touching testament to Hudson. As it movingly argues, however reluctant he was to disclose his diagnosis (and, in doing so, his sexuality), he played a pivotal role in changing the tide of public attitudes towards AIDS, and thus to fundraising efforts — making him an unwitting LGBTQ+ hero.

If you’re familiar with the upscale Chinese restaurant chain owner, or that Chinese boy in old 60s British films, or with his paintings, Aka Mr. Chow might surprise you because they’re one and the same. Born with two names, Zhou Yinghua and Michael Chow, Mr. Chow is just so cool that telling his life story is already interesting. From the tough immigrant experience, living alone as a boy, to his current worldwide success in film, food, and painting, it’s interesting to know that it’s possible. But the documentary dives into it, using the film medium to mirror his own creative style and artistic sensibilities. The film is able to link each of his opinions, not just with his life, but also with the historic changes in his home country. It’s an intriguing approach, if a bit superficial in certain areas, but it’s very entertaining.

A thrilling and fun film about a British working class bunch who find themselves in confrontation with the rich and powerful. This happens when their once-in -a-lifetime job lands them not on ly the expected money and jewelry, but documents with big secrets. The phrase “the good version of Jason Statham” applies not only to the actor but to the whole film – as it is enjoyable like all similar heist movies but adds that sadly forgotten thing called character. If you liked The Italian Job, The Town, or even films like Argo; you will love The Bank Job.

A documentary told entirely through animated avatars can be a hard sell, but instead of playing into the expected jokes, director Joe Hunting takes this digital environment extremely seriously, and that makes all the difference. He doesn’t downplay how absurd it is to see what are essentially 3D characters going on dates and having bellydance classes together, and yet Hunting still takes time to emphasize how freeing this virtual existence is for all involved. It’s disappointing that the film never addresses the many real concerns people have about purely online relationships (deception, exploitation, and abuse, among others), but as a positive and perhaps overly romanticized view of this new, 21st-century social space, the documentary remains fresh and vital.

For better or for worse, every romantic relationship anyone will ever have will end. This isn’t a bitter statement single or heartbroken people declare, it’s just that we have to keep in mind that time with our loved ones is limited. Romcom drama We Live in Time is titled as such for a reason– mentioning this could be a bit of a spoiler here– but fittingly, the film plays with time, taking a non-linear narrative that jumps back and forth within the timeline Tobias and Almut share together, comparing and contrasting between these moments as if in memory. Certain moments might feel a bit derivative, but We Live in Time ultimately works with the excellent chemistry shared by Florence Pugh and Andrew Garfield.

A film that will make you wish you had read or known more about the comic books and will probably make you buy the video game. With an enormous amount of quick-style comedy, video game action, and the acting of Michael Cera and you have a film better than that unknown song that you heard on the radio and wished to find again. It throws you into the story of a young everyman’s experiences with dating and the potential problems that might be in the way – only, for some reason, everyone knows karate.

After years of relatively tame, tearjerking LGBTQ+ dramas, finally comes a sexy, erotic thriller made for and by sapphic women that pushes past convention. Love Lies Bleeding is an unexpected sophomore film from British director Rose Glass, not just because it’s set in New Mexico, but because of the 80s B-movie vibe literally on steroids that seems drastically different from her debut film Saint Maud. But both have the altered, surreal moments that blur the line between real and imagined, this time with a desperate edge of star-crossed lovers and the rage fuelled by familial trauma, jealousy, and overdosing on steroids. Kristen Stewart and new leading lady Katy O’Brian are delightful to watch with their immediate chemistry.

A fun science fiction movie from the UK,  Frequently Asked Questions About Time Travel stars Chris O’Dowd and Anna Faris. The plot centers around two geeks and their cynical friend who go out for a couple of pints and end up having a night they won’t soon forget. To go any deeper would court spoilers, but suffice to say there is time travel, witty banter, hilarious scenes and just an all-around good time.

Many films have been made about that uniquely taut mother-daughter bond, but maybe none is as delicate as Janet Planet. The film, written and directed by playwright and first-time filmmaker Annie Baker, explores that relationship in a way that may jar viewers, initially. The pauses are heavy and long as Baker lingers on mood, expressions, and the tiniest of details, like a flicker of light or a sudden movement. There are more scenes without dialogue than with it. The plot is also nonexistent as it simply follows Lacy and Janet for the whole summer, and a little during the fall. But that’s not the point. The point is that we can feel that palpable love-hate tension between mother and daughter, and relate to it too. You only need to know where to look.

Eddington and Einstein is a TV movie co-produced by HBO and the BBC, and you can tell. It has a humble setup, costume design, and style of editing, but it’s elevated by a smart script and strong performances. You can’t go wrong with Tennant and Serkis, although it is unfortunate that they rarely share a screen here. The movie parallels their discoveries, shedding light into the drama of their personal lives as well—Einstein with his love for a woman other than his wife, Eddington with his forbidden love for his friend William. These parts tend to get soapy, but scenes where they almost seemed possessed with scientific knowledge more than make up for it. Another drawback is the terrible misuse of Rebecca Hall, relegated here as Woman Who Pushes Male Lead To Follow His Heart, but again, all is forgiven when you see Eddington and Einstein in action. You can almost hear the whir of their clockwork brains when they think of something new to ground Einstein’s theory of relativity.

If you’ve seen the bone-chilling Oscar-winning film The Zone of Interest, then The Commandant’s Shadow isn’t just supplementary but necessary viewing. It interviews and interrogates the son of SS officer Rudolf Höss, who describes his childhood in Auschwitz as “idyllic,” and parallels his life with that of an Auschwitz survivor and her family. They’re not asked “gotcha” questions, though there are some moments where Höss’s family members’ insularity shocks you. Instead, everyone is given the time and space to reflect honestly about the pain and trauma that continues to live on in their families. It’s a difficult film to sit through, but insightful and ever-so-resonant in an age where mass torture and genocide continue in many parts of the world.

A happy-go-lucky couple who are expecting their first child travel around the U.S. in order to find a perfect place to start their family. Along the way, they have misadventures and find fresh connections with an assortment of relatives and old friends who just might help them discover “home” on their own terms for the first time. Starring Jon Krasiniski and Maya Rudolph, and partially written by Dave Eggers, this film hits all the sentimental buttons without being cloying or trite.

I’m just as sick of hearing about the 2020 elections as the next person, especially since we have a new wave of candidates to review and prepare for in the coming months, but Stopping the Steal has one attention-grabbing appeal: it has Republican officials and Trump supporters explain how the former president lost the race. As a result, the documentary feels justified, if not substantive. These are his people objectively and plainly expressing their disappointment over his decisions. But don’t expect a 180-degree shift in principle. They’re still aboard the Trump train for the most part, but they want you to know they can be level-headed if they want to be. The film, helmed by Leaving Neverland director Dan Reed, eventually loses steam midway as it tells the story chronologically and straightforwardly, occasionally rerepeating its points. But it’s still a worthwhile watch if only to definitely prove how baseless the voter fraud accusations are.