british movies 2001

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British TV & Films 2001 Not Yet Released On DVD. And discipline is an alien word to him. Fusing Elgar’s ‘Dream of Gerontius’ with a heightened socialism of vibrantly localist empathy, and pagan belief systems with pre-Norman histories and a seriously committed – and prescient – ecological awareness, ‘Penda’s Fen’ is a unique and important statement, rumoured soon – finally – to be available on DVD. British (16) Husband Wife Relationship (16) Knife (16) Neo Noir (16) Prison (16) Torture (16) Based On Novel (15) Boyfriend Girlfriend Relationship (15) Gang (15) Nightclub (15) Pistol (15) Surprise Ending (15) Cult Film (14) Fight (14) Punched In The Face (14) Restaurant (14) Shot To Death (14) Telephone Call (14) Voice Over Narration (14) Brutality (13) Face Slap (13) Fistfight (13) There have been similar plague-based apocalyptic films both before and after – 1971’s ‘The Omega Man’ and its 2007 offshoot ‘I Am Legend’, for instance – but this one is especially poignant for British viewers, if only because the unfolding events are so much closer to home. The Life and Death of Colonel Blimp (1943). The film is in Hindi and was filmed in Rajasthan, India.The film is credited with convincing Irrfan Khan to not give up on his acting career. This list shows all films released in 2001, including films that went direct-to-video, or only got an international theatrical release. 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. The story sees Miss Giddens (Deborah Kerr) become governess to two children who live in a sprawling country pile and are the wards of an absent uncle (Michael Redgrave) who lives in London. Stanley Kubrick's 2001: A Space Odyssey (1968) is widely regarded as one of the best films ever made. The further down the rabbit hole Holly ventures, the more it becomes clear that Reed’s glibness is mere cover for a bleak lament to a world tainted by corruption and evil. In 2000, Total Film readers voted it the third best comedy of all time.That said, ‘Withnail & I’ was no instant success: it managed a paltry three-week run on its opening and, including its 2007 UK Film Council remastered re-release, has only grossed £1.5million in British cinemas. Measures 12x 18". All The Archers’ best work resisted categorisation, and this might be the pinnacle of their tendency for audience-baiting idiosyncracy: set in Darjeeling but shot in West Sussex, the film seems as far out of time as it does out of place, eschewing genre (is it romance? The zombie segments, while tense, violent and gruesome, are a sideshow to the story’s main thrust: our predisposition towards outright selfishness and savagery when even our most basic of needs are whipped from beneath our feet. Personally, I attribute the film’s Britishness to the roughly three-minute appearance of Leonard Rossiter: even though he’s supposedly playing a Russian scientist, with Rigsby’s arrival it feels like a little piece of northern suburbia has been transplanted to earth’s orbit. Tom Hardy's RAF pilot gets the hero moments, but kudos to Nolan for unearthing a bunch of talented relative unknowns too. Does the fanciful madcap of ‘The Lavender Hill Mob’ now just feel empty? But the real credit lies with its writer David Rudkin. PF, Director Paul Andrew Williams Cast Lorraine Stanley, Johnny Harris, Georgia GroomeThe post ‘Lock, Stock…’ landscape is littered with the corpses of a thousand pretenders to the mockney gangster pic throne. Like ‘Red Road’, ‘Fish Tank’ intimately explores the life of one female character on a housing estate, this time potty-mouthed teen Mia (Katie Jarvis), who falls into a relationship with her mum’s new boyfriend (Michael Fassbender). And therein lies the film’s extraordinary power, because despite the miles and the decades which lie between, that’s still us up there on the screen. The film remains one of the purest pleasures in modern British cinema: scrappy, inconsistent, inventive, insightful, heartfelt and wickedly funny. Clearly ripped from his own experiences, this rite-of-passage tale sees a naive, isolated youngster (Thomas Turgoose – a revelation) scooped up by some friendly skinheads and introduced to the joys of young love, ska, short hair and oversized, steel toe-capped Doc Martens. The film is not merely about the strictures of gender through the ages, but also an essay on the nature of evolution (the Godardian final shot even switches from film to video) and it scores points through knowing casting (Quentin Crisp as Queen Elizabeth I!) Many scenes stick in the mind, most of them tinged with a strange comedy. But after a bungled break-in where he is abandoned by his band of cock-nosed droogs, he is packed off to a hospital to be ‘cured’. Edited with the quick-chopping fury of a Darren Aronofsky movie, this pacy and occasionally very funny film looks at a love triangle forming at a busy barber’s shop: hairdresser Joe (Uno Henning) is madly in love with manicurist Sally (Norah Baring) but can’t quite seal the deal, a fact of which Dartmoor farmer and regular customer Harry takes full advantage. ALD, Buy, rent or watch ‘The Bridge on the River Kwai’, To label Francis Lee’s feature directorial debut as Yorkshire’s answer to ‘Brokeback Mountain’ does the film and its actors a disservice. With John Thaw, Dominique Jackson, Wil Johnson, Rachel Davies. 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. 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. Probably not. This was Meadows’s second film, his trickiest, his loosest and perhaps his best. The silent version or the more familiar, partly reshot movie that was Britain’s first talkie feature? A transgressive explosion of colour, exoticism, modernity and impetuous sex, James Bond’s first mission sees the imperious Sean Connery saunter through an overripe cocktail of Caribbean intrigue abetted by Jack ‘Hawaii Five-O’ Lord as his shifty CIA opposite number Felix Leiter and Ursula Andress as racy cockler, Honey Ryder, all of whom are variously hot under the collar for the bionic hide of Dr Julius No – major player in the Spectre spy organisation we shall become all-too familiar with in further instalments. ‘Brief Encounter’ is a tragedy, not just for two mismatched lovers but for an entire class of people, trapped in empty suburban existences ruled by propriety and that desperate, heartbreaking, terribly British desire to remain anonymous, to avoid offence, to blend in. Among modern British directors, Edgar Wright is probably the one with the most recognizable visual style. Plus, its ultra-seedy depiction of Soho nightlife is the sort of thing you might find nowadays in a Gaspar Noé movie. With Aamir Khan, Raghuvir Yadav, Gracy Singh, Rachel Shelley. DJ. Release Calendar DVD & Blu-ray Releases Top Rated Movies Most Popular Movies Browse Movies by Genre Top Box Office Showtimes & Tickets Showtimes & Tickets In Theaters Coming Soon Coming Soon Movie News India Movie Spotlight. DC, Buy, rent or watch ‘The Life and Death of Colonel Blimp’, Director Alfred Hitchcock Cast Robert Donat, Madeleine Carroll, Godfrey Tearle, For this writer, Hitchcock’s adaptation of John Buchan’s novel is not only his very finest British film – for suspense, pace, wit, vivid characterisation, atmosphere and virtuoso set-pieces it even outdoes the brilliant ‘The Lady Vanishes’ – but the warmest, most affecting movie of his career.It’s not just that Robert Donat’s Hannay is one of his most sympathetic protagonists (compare him to that other innocent-on-the-run, Cary Grant’s complacent Roger O – ‘for nothing’ – Thornhill in ‘North by Northwest’), nor that Donat and Madeleine Carroll, for all their initial sparring, finally make such a lovely couple. It looks like the British are beginning to take over the world again, with their newfound global success in pop music, their infiltration of the Hollywood A-list, and of course their innovative TV series – even the ones that aren’t adapted into (often failed) American shows. As with ‘London’, Keiller’s Daniel Defoe-inspired script seeks to investigate the social, political and economic present by looking back at the historical and literary origins of numerous venues, which mostly include factories, dockyards and, of course, pubs. In Calendar Girls (2003) she played a middle-aged Yorkshire woman who convinces her friends to pose nude for a calendar benefiting leukemia research. It doesn’t matter that much, really, since the stylish, occasionally Langian visuals already present in the first cut are still there in the second one, though it’s fascinating to hear Hitchcock’s engagingly experimental, at times even playful approach to sound echoing the elements of expressionism to be found in some of the imagery: the scene in which Anny Ondra’s heroine, having recently stabbed a lecher in self-defence, listens in to a conversation (somewhat improbably) full of references to knives is rightly famous. The relationships and events amount to a credible portrait of modern city and family life, but it’s the intimate, improvised shooting style (16mm, natural light, all on location) and Michael Nyman’s evocative, memorable score (this often feels like a film made to music) that define the film and give it the sense of immediacy and compassion that make it so enduring. No, the entire film is packed with touching moments, from the affectionate depiction of banter between members of the music hall audience at the film’s beginning to the unexpectedly touching moment of Mr Memory’s death at the Palladium, when his brief dialogue with Hannay deftly suggests the men’s mutual respect. From the comic genius of ‘Monty Python’ to the devastating horror of ’Don’t Look Now’, British films are responsible for some iconic moments across all genres, from science-fiction to romance, historical epic to . ALD, Director Carine Adler Cast Samantha Morton, Claire Rushbrook, Rita TushinghamWomen directed only four of our top 100 films, although perhaps we should celebrate that all four of those are from the last 20 years, which might suggest the gender gap in cinema is gradually closing. It was his encroaching blindness, much referred to in the voiceover read by several actors, which gave Jarman the idea to apply words to an unchanging, blue screen for 76 minutes. It’s rare that experimental filmmaking is this humane and enjoyable. WH, Directors Michael Powell and Emeric PressburgerCast Roger Livesey, Deborah Kerr, Two things are well known about Powell and Pressburger’s 1943 epic about the life of an old-fashioned ex-army officer serving in the Home Guard during World War II: Churchill disliked the whole idea of it, and may have thought it was about him, and the Blimp character, over-fed and irascible, was inspired by David Low’s cartoon character of the same name in the Evening Standard. While director John Schlesinger and writer Keith Waterhouse don’t really come up with much in the way of actual answers – perhaps there is no satisfactory solution to Billy’s dilemma – they do a superb job of asking the right questions. The voiceover is a mix of diary and poetry, relating variously to Jarman’s illness, art and the colour blue. When violence erupts, it’s swift and brutal, but the film’s main pleasure is its pragmatic handling of the central romance. DJ, Director Michael Winterbottom Cast Steve Coogan, Rob Brydon, Ron CookIn a national cinema prone to self indulgent rock follies (‘Tommy’, ‘The Wall’, ‘Give My Regards to Broad St’), the best British music films are those which refuse to take their subjects as seriously as themselves. PF, Director Lynne Ramsay Cast William Eadie, Tommy Flanagan, Mandy Matthews, As debut features go, this one rubs shoulders with the likes of Terrence Malick’s ‘Badlands’, Charles Burnett’s ‘Killer of Sheep’ and Terence Davies’s ‘Distant Voices, Still Lives’ for the sublime fluency of its technique and conviction in the belief that a film doesn’t need a beginning, middle and end to be meaningful, dramatic and poetic. And yet, of all the films in the higher echelons of this list, it might be the most flawed and difficult. There’s the master who rides a bike into class; the headmaster who opens a drawer to reveal a teacher; Travis’s wrestle with a waitress at a local café… But these more surreal scenes aside, the film’s success is down to its detail: Sherwin and Anderson well knew the world they were satirising, which is why the rituals, slang and behaviour all ring so disturbingly true. DA, Director Jerzy Skolimowski Cast Jane Asher, John Moulder-Brown, Diana DorsOne of the all-time great London movies, the splendidly sleazy ‘Deep End’ definitively proves that it takes an outsider’s eye to really capture the true textures of a city. TH, Director Bruce Robinson Cast Richard E Grant, Paul McGann, Richard Griffiths, Arguably, three years ago writer-director Bruce Robinson’s riotous black comedy – describing the misadventures of two recent ex-students/‘resting’ young actors in an unwelcoming north London – would have pipped ‘Kind Hearts and Coronets’ as the highest, rather than the second-highest-rated British comedy in our poll. Are there ghosts? TH, Director Terence DaviesCast Pete Postlethwaite, Freda Dowie, Too often it’s assumed that there’s an arthouse cabal in British cinema obsessed solely with telling stories of the working classes from a distant perspective and with a drab realism – or, to borrow the moaners’ own word, ‘miserabilism’. Cast Jonathan Pryce, Robert De Niro, Katherine Helmond, Thank God for Universal.! Creative act, or only got an international theatrical release against time and villains to recover powerful ancient.... 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