60 Best Movies to Watch on ITV UK

With laws, education, and modern day systems, it seems like the modern man has some means for recourse, at least more than the average person centuries ago. However, despite this, injustices still remain. Leviathan depicts Kolya, a modern day Job, set out to keep his land from the clutches of a corrupt mayor. It’s bleak and depressing, somewhat neorealistic as Kolya goes through various hardships due to political greed, but there’s some wry sense of humor, one that bitterly points out how much hasn’t changed since biblical times. While it’s quite long, Leviathan is likely to move most viewers to tears, and maybe to shots of vodka, due to its depiction of the everyday man.

There are far too many things that are worse in life than being on a journey with Danish super talent Mads Mikkelsen (Hannibal, The Hunt).

And that is what this 98-minute movie is: an almost one-actor movie set in the arctic. Mikkelsen plays a man trying to survive a plane crash, which at some point becomes about deciding whether to embark on a dangerous journey or stay in the plane rubble and risk a slow death.

It’s an extremely well-acted movie with nail-biting suspense. Bonus fact: it received a 10-minute standing ovation when it premiered at the Cannes film festival this year.

Animated in every sense of the word, The Mitchells vs. the Machines is a fun and lively watch for anyone of any age. On the surface, it’s about a tech company’s AI going haywire as it turns against humans and takes over the world (an obvious and much-deserved dig at Big Tech). It also immediately stands out as an energetic and inventive film bursting with love for the animation genre.

But at its core, it’s about family and learning to love them even and especially when the going gets tough. Teenager Katie and her father Rick are at that precarious moment in their relationship where everything they do seems to annoy the other, while Katie’s mother Linda tries and fails and tries again to keep the peace. The Mitchells are filled with love, but they’re not quite sure how to express it to each other, and it’s both funny and relatable how it takes a literal apocalypse for them to realize that. This is a family story elevated by dynamic animation and a bizarro storyline. Expect it to go off the rails in the best possible way.

As a woman, it’s risky enough to trust a male gynecologist, but to have him seduce, manipulate, and experiment on you? That’s a horror all on its own, but Dead Ringers operates on several levels beyond the political. It’s also psychological and sexual, and because this is a Cronenberg film, it’s done with an unsettling amount of gore. But perhaps the most impressive part of Dead Ringers (apart from Irons convincingly playing twins with just a deft change of inflection, of course) is the eroticism it contains. This element seems to be lacking in many films nowadays, or forced in a way that feels even more uncomfortable than gratuitous sex. The fact that this Reagan-era movie was and continues to be subversive says a lot about how potent it is, and how unfortunately slow we’ve been to tolerate sensuality in film.

This buddies-on-the-road drama was the highest-grossing independent film of 2019, which tells you everything you need to know about it: it’s familiar, but it’s not overblown.

A fisherman (Shia LaBeouf) has to flee after vandalizing the property of a rival fishing group who bully him. On the way, he meets a man with Down syndrome, who, unexpectedly, is on a journey to become a pro wrestler.

Shakespeare is a classic, not just because of the tales it adapts, but because of the innovation he made in the English language. Because of this, not every film adaptation gets this aspect right, but the one that gets the closest was Kenneth Branaugh’s Henry V in 1989. With his beginnings in theater, Branaugh steadies his directorial debut with the strength of the performances, including his own in the title role, which incorporates the language in a more accessible way. Younger viewers might prefer the straightforward prose of the latest iteration of Henry V, but Shakespeare purists would surely prefer this classic adaptation, the very debut that led Kenneth Branagh to be best known for Shakespeare adaptations.

Despite the subject matter, 2014 Malian drama Timbuktu still spots some humor through simple contradiction– straightforwardly depicting the occupying force enforcing certain rules upon a city, but not themselves, and with the city biting back in their own way, pointing out the silliness themselves. It’s these raw moments that lightens the entire film, humanizing both the militant group and the city inhabitants, but it’s also the reason why the moments when that lightheartedness is broken, the punishments end up becoming harsher, strikes harder than usual. It’s that uncertainty that keeps the audience on its toes, and that keeps the film from mining melodrama from the real life occupation. Timbuktu just simply highlights the foolishness of imposing an ideology to snuff out everyday culture.

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.

Precious is the devastating story of how teen student Precious (Gabourey Sidibe), a victim of every kind of abuse possible, grabs a chance to turn her life around when she enrolls in an alternative school. She learns to read and write, eventually hopeful for a better future, but standing in her way is her violent mother Mary (Mo’Nique, in an Oscar-winning performance) and an at-risk second pregnancy. Though the film can be polarizing (is it emotionally manipulative or bleakly honest?), there’s no denying that Precious is a moving film. The tragedy of Precious’ life is heartbreaking, but how she pulls through is inspiring. It’s no wonder the film was a frontrunner in the 2010 awards season, eventually sweeping Oscar wins for Best Supporting Actress and Best Adapted Screenplay.

As southern movies go, Fried Green Tomatoes is inoffensively sweet and realistic—it’s not afraid to touch on the genuine issues that plagued America in the 1930s while also cushioning some blows, as feel-good movies are wont to do. But the film seems less interested in presenting a clear picture of the past than it is in telling a specific tale: that of outsiders forming bonds and making it together in an unforgiving society. 

The main narrator is Ninny, an 83-year-old woman seemingly forgotten by everyone except Evelyn, an unhappy housewife who is “too young to be old and too old to be young.” Ninny recalls the stories of Sipsey and Big George, Black laborers who dared to succeed in their deeply racist community; of Smokey, the town outcast, who still helped people even if he was denied it himself; of Ruth, the domestic abuse victim; and of Idgie, the tomboy who spat on the face of all decorum. Then, of course, there’s the unspoken relationship between Ruth and Idgie, which hint at something quite radical for its time. 

These are all the people conventionally denied happy endings, and in period films, you’d expect to be abandoned in tragedy. But here they sing; they win and lose in equal measure, and even though it might seem like light and familiar fare to some, it still goes down heartily and unforgettably—funnily enough, like a plate of fried green tomatoes.