60 Best Movies to Watch on ITV UK

From the producers of The Kids Are Alright comes another excellent family drama starring Juliane Moore. She plays a hot-headed rock singer who battles her divorced husband, a narcissistic art dealer, expertly played by the unlikely Steeve Coogan, for custody of her daughter Maisie. When one of them marries the girl’s nanny, the other rushes into marriage as well. Based on Henry James’ titular novel from 1897, it tells the story of a quiet, sensitive young girl coping with being used as a pawn by egotistical parents who spite each other. It is sometimes hard to watch the girl get caught up in all this but the young actress playing Maisie, Onata Aprile, plays the part brilliantly. The screenplay adaption of the ahead-of-its-time material of the book by Nancy Doyne and Carroll Cartwright also hits every note with passion. A harrowing but powerful film.

Winning him Best Director at the Academy Awards, Kenneth Lonergan’s drama Manchester By the Sea is a delicate and profound study of loss and grief—and a true triumph. Its focus on characters, well-paced unfolding as well as world-class acting are only equal to the very best of European dramas. This type of quiet exploration of the possibility that grief cannot be overcome has rarely been successful in American cinema, if ever. The last best attempt was probably You Can Count on Me. Originally a playwright, this is Lonergan’s third film and Manchester by the Sea is where he unveils his full potential. It follows a depressed handyman, Lee Chandler (Casey Affleck), who leads a quiet but angry life. After his brother dies, he returns to his hometown only to discover that he is the only left to take care of his teenage nephew. There, he is confronted with his past and the blue-collar community from which he was raised. Co-produced by Matt Damon, it grossed around $80 million on a budget of $8.5 million. One of the most noted films of 2016.

Written and directed by the filmmaker Sylvain Chomet, this 2003 French film is, in the strictest sense, an animated comedy film. It’s the one that introduced Chomet’s name to an international audience. Triplets’ visual style, however, it is unlike anything you have ever seen. Focusing on ugliness and imperfection, the characters are deliciously exaggerated, while the animation steers clear of the naturalist hyperrealism, cutesiness, or porcelain perfection of other animated movies. That doesn’t mean it’s not incredibly detailed. Without much of a dialogue, it tells the story of a young orphan boy, who loves to watch the vivacious jazz of the The Triplets of Belleville trio, and grows up to become a Tour de France racer. He gets kidnapped by sinister characters (the French mafia?) and the beloved jazz trio of his childhood and others come to his rescue. While this film is not for the causal movie watcher, it is a fiercely original piece of hand-drawn animation and a strange, surreal experience.

Transit is based on a WWII novel — though you wouldn’t be able to tell from first glance. While the characters talk of German fascists occupying France, anachronistic details (like modern technology and clothing) suggest we haven’t gone back in time at all. Director Christian Petzold isn’t trying to confuse us: by blurring the backdrop, he’s making the terror and the desperation of the story more immediate — removing the distance that might have prevented us from really feeling what happens.

The uncanny historical echo effect works as intended, because the parallels Transit subtly draws between the past and today are horribly clear. What’s more, the movie’s intentionally ambiguous framing suffuses the plot with an otherworldly sense of mystery, a quality that gradually intensifies as Georg (Franz Rogowski) desperately searches for a one-way ticket out of hellish bureaucratic limbo before he finds himself waylaid by that most mysterious emotion of all: love. Unshakably haunting and undeniably poignant, this is a movie that will live under your skin.

Bad Lieutenant is no misnomer: Harvey Keitel’s policeman really is one of NYPD’s worst. Already corrupt, abrasive, and abusive at the film’s outset, the movie chronicles his coked-out descent into total depravity after he’s called to investigate a heinous crime amid rapidly worsening personal circumstances. The brilliance of Bad Lieutenant is therefore a counterintuitive one: as awful as the Lieutenant is, we can’t help but feel emotionally involved because, in Keitel’s bravura performance, we can see the glint of pain — and thus of a person — within.

Always one for provocation, director Abel Ferrara pushes our empathy to — and maybe even beyond — its natural limits, only to break with the film’s hitherto unrelenting grit and dangle the glinting possibility of transcendent redemption in front of us. Anyone familiar with Catholic guilt cinema (movies like Martin Scorsese’s Who’s That Knocking At My Door and Mean Streets) will instantly recognize the same undercurrent running through Bad Lieutenant — even if Ferrara takes the idea of juxtaposing the profane with the sacred to the extreme here.

Based on a true story, The Whistleblower is the biography of a once Nebraskan police officer who volunteers for the U.N. peacekeeping mission in post-war Bosnia. Once there, she uncovers a human trafficking scandal involving peacekeeping officials, and finds herself alone against a hostile system in a devastated country. Rachel Weisz plays the whistleblower in a powerful lead role, but the true star of the movie is its director, Larysa Kondracki, who thanks to near documentary-style film-making delivers a perfectly executed political thriller with utmost authenticity.

Quaint and quirky, Le Havre is a beautiful and heartwarming story about the power of compassion and the importance of community. It tells the story of a shoeshiner who tries to save an immigrant child in the French port city of Le Havre. The charming characters are easy to root for as this community of everyday people bands together to help this young boy reunite with his mother. Even as the film rejects the unempathetic responses to the refugee crisis, it utilizes gentle humor and a light cadence to invoke empathy for others that should exist.

Andrew Garfield is a single father living with his own single mother in their family home. In the aftermath of the financial crisis, they find themselves evicted from their home by a businessman – Michael Shannon in a role as intriguing as Gordon Gekko in Wall Street, if not more. Desperate for work, Garfield’s character starts working for the same businessman, ultimately evicting other people. A star-packed, gritty and sobering tale on capitalism and our the lengths to which we’re ready to go to save face – while at the same time risking our most important relationships.

A film written by screenwriter Charlie Kaufman, about screenwriter Charlie Kaufman as he struggles to adapt a book about poaching a rare plant into a successful movie. Through Kaufman’s clever writing and Spike Jones’ unique style of directing, the film unfolds using “mise en abîme” as the viewer sees the lessons the writer in film comes across to improve his script more or less subtly influence the events he encounters as the narrative advances. Nicolas Cage’s performance is also particularly good as a highly intelligent and self-obsessed screen writer with low self-esteem.

Serenity is a futuristic sci-fi film that serves as a feature-length continuation of the story-line from the TV program Firefly (2002-2003). The story revolves around the captain (Nathan Fillion) and crew of the titular space vessel that operate as space outlaws, running cargo and smuggling missions throughout the galaxy. They take on a mysterious young psychic girl and her brother, the girl carrying secrets detrimental to the intergalactic government, and soon find themselves being hunted by a nefarious assassin (Chiwetel Ejiofor). The first feature-length film from Joss Whedon (The Avengers), Serenity is a lively and enjoyable adventure, replete with large-scale action sequences, strong characterizations and just the right touch of wry humor. An enjoyable viewing experience that stands alone without demanding that you have familiarity with the original program beforehand.