It marks the debut screen appearance of Paddy Considine, and though it’s easy (and probably appropriate) to refer to him as our De Niro, it took Bob five years to get to Johnny Boy, while Paddy knocked it flat first time in the ring. It’s a film about the unknowability of others, the complexity of lives, the power of time on our character and the influence of history on our behaviour. A heady, almost surreal climax in Canterbury, where the three pals part ways and find comfort in friends, music and memory, is tremendously moving, not least because we also discover the reason why they were all there in the first place. AK, Director Andrea Arnold Cast Katie Jarvis, Kierston Wareing, Michael FassbenderThe director of the most recent film on our list, former kids’ TV presenter Andrea Arnold, 49, came to attention in 2005 when she declared live on television that it was ‘the dog’s bollocks’ to be awarded an Oscar for her short film, ‘Wasp’. Their presence was, of course, felt in a similar 1999 BFI list: ‘The Red Shoes’ placed in the top ten, with three other films (‘A Matter of Life and Death’, ‘Colonel Blimp’ and ‘Black Narcissus’) and Powell’s ‘Peeping Tom’ lurking further down the list. © 2020 COPYRIGHT © 2020 THE VORE. Entitled 'Land', 'Sea' and 'Air', they offered three pulse-ratcheting perspectives on the British desperate retreat from France in 1940. Many scenes stick in the mind, most of them tinged with a strange comedy. WH, Director Jack Clayton Cast Deborah Kerr, Michael Redgrave, This superior ghost story is an adaptation of Henry James’s novella ‘The Turn of the Screw’ that still manages to feel more subtle and inventive than the vast majority of spooky pretenders that came in its wake. DA, Director Karel Reisz Cast Albert Finney, Rachel Roberts, Shirley Anne Field, Forging the template for films about swarthy, unreconstructed men whose only solace can be found in the bottom of a pint glass, Karel Reisz’s raucous and relevant 1960 character study showed the lengths that the young, disenfranchised working-class stiff would go to shirk the responsibilities of adulthood. From Rhea Chakraborty to Salman Khan and Sanjay Dutt, Bollywood... Sushant Singh Rajput dated Kriti Sanon, confirms common friend, Secret Society Of Second Born Royals Review, Terms of Use and Grievance Redressal Policy. But what’s beyond criticism is the commitment to emotional veracity which fuelled films like ‘The Loneliness of the Long Distance Runner’. Inventive and exhilarating though the story is, its beauty lies in its flawlessly judged and occasionally eccentric construction: Robert Krasker’s high-contrast cinematography; Anton Karas’s eerily chipper zither score; and the depiction of a world so divided by politics, religion, gender and language, that you begin to understand why compassion would lose its appeal to these characters. We reckon that Harry Styles guy has a future. TH, Director Ken Loach Cast David Bradley, Lynne Perrie, Freddie Fletcher, As the tide of the 1960s began to recede, taking with it all that class-obsessed ee-by-’eck pub-jazz new wave chest-beating that had threatened to drag British cinema into some kind of socialist-modernist-industrial nightmare, the real realists were revealed, sitting quietly and waiting for someone to notice. DC, Director Sidney Lumet Cast Sean Connery, Trevor Howard, Vivien MerchantAmerican filmmaker Sidney Lumet brought a keen outsider’s eye to this deliriously depressing slab of British noir. According to interviews given on the most recent DVD release, the production of the Pythons’ first properly scripted feature was not only dogged by differences between its co-directors Terry Gilliam (who was more interested in camera positions and framing) and Terry Jones (who felt they should focus more on performances) but also by Graham Chapman’s alcoholism – he played most of his parts under the influence. The doubly good news is that, after a hiatus of a decade, 65-year-old Davies is back behind the camera making feature films and is currently editing an adaptation of Terence Rattigan’s ‘The Deep Blue Sea’, his first film since 2000’s ‘House of Mirth’. DC, Director Michelangelo Antonioni Cast David Hemmings, Vanessa Redgrave, Paul Bowles, ‘Blow-Up’ sees swinging London transformed into a sprawling, alienating crime scene where brusque Notting Hill, ahem, ‘fashion’ photographer Thomas (David Hemmings) believes that while idly snapping away in a South London park, he’s captured a homicide in mid flow. That said, it’s first and foremost a suspenseful thriller as a little old lady, Miss Froy, disappears on a train and everyone bar a young man and woman (Michael Redgrave and Margaret Lockwood) proceed to deny she exists. But that choice, augmented by the extraordinary and moving study in lonely isolation offered by Homolka as Verloc, helps provide the film with a stature and depth that not only impressed Hitchcock champions and Cahiers du Cinéma critics Eric Rohmer and Claude Chabrol in the 1950s, but ensures its place today as the third most favourite Hitchcock film in our poll. DC, Director Alan Clarke Cast Spencer Banks, John Atkinson, Ian HoggThis remarkable feature-length television film – commissioned for the legendary 1970s ‘Play for Today’ single drama series – is often described as a step ‘off piste’ for its director Alan Clarke. This fiercely literate and independent Liverpudlian spent the first 16 years of his career, with three shorts, and then two feature films, ‘Distant Voices, Still Lives’ and ‘The Long Day Closes’ (1992), finding different, personal and poetic ways of making sense of his recollections of his childhood in a post-war, working-class Liverpool home. His post-homicide delivery of Shakespeare will surprise anyone who bought his popular image as a one-dimensional hack, adding yet another layer to a film that satirises both its stars and audience without ever sacrificing its disconcerting edge. Tom Hardy's RAF pilot gets the hero moments, but kudos to Nolan for unearthing a bunch of talented relative unknowns too. DJ, Director Carol Reed Cast Ralph Richardson, Michèle Morgan, Bobby Henrey, Given his reputation as a novelist, it’s easy to forget how major a force Graham Greene became in post-war British cinema, and how many key aspects of national life became cemented in the public consciousness as a result of his extraordinary run of work between ‘Confidential Agent’ in 1945 and ‘Our Man in Havana’ in 1959. Cinematic psychogeography, you might call it, but that’s a bit, well, pompous for a film that is endlessly self-mocking, witty and perceptive. This is down to the multitude of tricks that Kubrick hoists in (slo-mo, fast-forward, cartoon inserts, back projection) to encapsulate the total autonomy these characters have and why they see their behaviour as thrilling.