Charlotte Regan's debut film Scrapper is exactly as it's named: a thinly plotted story with a gorgeous aesthetic and a fierce drive that demands your attention.
Finally Dawnworks best as a pithy blurb summing up all that’s noteworthy about it, handily omitting the fact that everything that’s interesting about the finished product is stranded in an intolerably long and dull film.
The Wonderful Story of Henry Sugar feels like we’re being invited into a very personal Wes Anderson space, where he makes a deep-cut his own, while still venerating an author he clearly loves.
Imagine you are a historian, dedicated to understanding, uncovering, and preserving present and past events. Now imagine a bulldozer driven by Ridley Scott comes through called Napoleon.
Co-directors Daniel Kaluuya and Kibwe Tavares' debut film The Kitchen shows they have what it takes to pioneer a new wave of uncompromisingly political genre films in a sanitized British film landscape, but this film is only the first step towards
All of Us Strangers is a film about literal ghosts, figurative phantoms, and maybe most importantly, how London’s New Build apartments may be the most haunted buildings in the country.
The American Film Institute only had one British film debut, but Sony Pictures Classic's movie version of the 2009 play Freud’s Last Session was well worth it.
The U.K. has selected the Cannes Film Festival Grand Prix winner, The Zone of Interest, as its submission for the International category at the 2024 Academy Awards.
