Showing posts with label and why not?. Show all posts
Showing posts with label and why not?. Show all posts

Tuesday, September 13, 2022

Dada Debaser's 101 G.O.A.T British Films


The most appealing characteristic pertaining to British cinema is it runs the gamut of dealing with various subject matter and aspects of  life, and handles them in an uniquely distinctive way. This national psyche tends to come across as somewhat eccentric to non-Brits. "Having a bad day? I'll put the kettle on." Touch of the Dunkirk spirit, know what I mean?

Came up with this idea before I even created this blog and the biggest palaver was having to determine whether or not some of these films would even be classed as British; as mentioned in a recent and older post. This detail is unnecessarily restrictive when you consider just how many different cultures are thrown into the melting pot resulting in something so idiosyncratically British like fish and chips.

The best part about compiling any kind of "best of... list" on your own is having the luxury of being utterly selfish and not having to justify them to some contributor completely ignorant and oblivious to why you love these films. The worst thing about compiling any kind of "best of... list" on your own is the chance you'll run the risk of not seeing the wood from the trees and forgeting some notable titles. Having had to endure various film critics and talking head pundits gushing over movies which either failed to resonate with me, or were placed on a much higher pedestal than they deserved to be, this is significant payback time - albeit if it happens to be written on an obscure blog in the internet ether. 


101 G.O.A.T British Films

Things to Come (William Cameron Menzies, 1936) 
The Lady Vanishes (Alfred Hitchcock, 1938) 
A Matter of Life and Death (Michael Powell & Emeric Pressburger, 1946) 
Brighton Rock (John Boulting, 1948) 
Kind Hearts and Coronets (Robert Hamer, 1949) 
The Third Man (Carol Reed, 1949) 
The Lavender Hill Mob (Charles Crichton, 1951) 
The Ladykillers (Alexander Mackendrick, 1955) 
Night of the Demon (Jacques Tourner, 1957) 
The Bridge on the River Kwai (David Lean, 1957)
Hell Drivers (Cy Endfield, 1957) 
Dracula (Terence Fisher, 1958) 
Ice Cold in Alex (J. Lee Thompson, 1958) 
Beat Girl (Edmond T. Gréville, 1959)
The Hound of the Baskervilles (Terence Fisher, 1959)
Peeping Tom (Michael Powell, 1960)
Village of the Damned (Wolf Rilla, 1960)
Cash on Demand (Quentin Lawrence, 1961)
The Curse of the Werewolf (Terence Fisher, 1961)
The Innocents (Jack Clayton, 1961)
The Haunting (Robert Wise, 1963)
Jason and the Argonauts (Don Chaffey, 1963)
The Servant (Joseph Losey, 1963) 
First Men in the Moon (Nathan Juran, 1964)
Goldfinger (Guy Hamilton, 1964) 
Zulu (Cy Endfield, 1964) 
Bunny Lake is Missing (Otto Preminger, 1965)
The Collector (Willaim Wyler, 1965)
The Hill (Sidney Lumet, 1965)
The Ipcress File (Sidney J. Furie, 1965) 
The Nanny (Seth Holt, 1965) 
Repulsion (Roman Polanski, 1965)
Alfie (Lewis Gilbert, 1966)
Carry on Screaming (Gerald Thomas, 1966) 
Daleks' Invasion Earth 2150 A.D. (Gordon Flemyng, 1966) 
The Plague of the Zombies (John Gilling, 1966)
Quatermass and the Pit (Roy Ward Baker, 1967)
The Devil Rides Out (Terence Fisher, 1968)
Twisted Nerve (Roy Boulting, 1968) 
Where Eagles Dare (Brian G. Hutton, 1968)
Witchfinder General (Michael Reeves, 1968)
Carry on Camping (Gerald Thomas, 1969)
The Italian Job (Peter Collinson, 1969) 
And Soon the Darkness (Robert Fuest, 1970)
Deep End (Jerzy Skolimowski, 1970) 
Mumsy, Nanny, Sonny & Girly (Freddie Francis, 1970) 
10 Rillington Place (Richard Fleischer, 1971) 
A Clockwork Orange (Stanley Kubrick, 1971)
The Devils (Ken Russell, 1971) 
Get Carter (Mike Hodges, 1971)
Straw Dogs (Sam Peckinpah, 1971)
Straight on Till Morning (Peter Collinson, 1972)
Tales from the Crypt (Freddie Francis, 1972) 
Tower of Evil (Jim O'Connolly, 1972)
Don't Look Now (Nicolas Roeg, 1973) 
Steptoe and Son Ride Again (Peter Sykes, 1973)
Theatre of Blood (Douglas Hickox, 1973)
The Wicker Man (Robin Hardy, 1973)
Frightmare (Pete Walker, 1974)
The Internecine Project (Ken Hughes, 1974)
From Beyond the Grave (Kevin Connor, 1974)
House of Whipcord (Pete Walker, 1974) 
Vampyres (José Ramón Larraz, 1974)
The Man Who Would Be King (John Huston, 1975)
The Boys from Brazil (Franklin J. Schaffner, 1978)
The Medusa Touch (Jack Gold, 1978) 
Porridge (Dick Clement, 1979) 
Scum (Alan Clarke, 1979) 
The Elephant Man (David Lynch, 1980)
The Long Good Friday (John Mackenzie, 1980)
An American Werewolf in London (John Landis, 1981)
The Appointment (Lindsey C. Vickers, 1981)
Time Bandits (Terry Gilliam, 1981)
Nineteen Eighty-Four (Michael Radford, 1984) 
Threads (Mick Jackson, 1984) 
Brazil (Terry Gilliam, 1985) 
Mona Lisa (Neil Jordan, 1986)
When the Wind Blows (Jimmy T. Murakami, 1986) 
Hellraiser (Clive Barker, 1987)
The Firm (Alan Clarke, 1989)
Shallow Grave (Danny Boyle, 1994)
Croupier (Mike Hodges, 1998)
Sexy Beast (Jonathan Glazer, 2000) 
28 Days Later (Danny Boyle, 2002) 
The Descent (Neil Marshall, 2005) 
V for Vendetta (James McTeigue, 2005)
Children of Men (Alfonso Cuorán, 2006) 
Hot Fuzz (Edgar Wright, 2007) 
Bronson (Nicolas Winding Refn, 2009)
Triangle (Christopher Smith, 2009)
Four Lions (Chris Morris, 2010)
Attack the Block (Joe Cornish, 2011)
Berberian Sound Studio (Peter Strickland, 2012) 
The Woman in Black (James Watkins, 2012)
Sightseers (Ben Wheatley, 2012)
Alan Partridge: Alpha Papa (Declan Lowney, 2013) 
Under the Skin (Jonathan Glazer, 2013)
'71 (Yann Demange, 2014) 
Last Night in Soho (Edgar Wright, 2021)

 

Dada Debaser Notes:

  • Loathe Simon Pegg with a passion, but Hot Fuzz is the biggest standout in his filmography, as he isn't acting like a spoilt whiny man-child throughout it.
  • The use of the slide whistle as a comical sound effect is of greater entertainment value to me than any so-called bourgeois comedy loved by poncey film critics.
  • Unlike the 1990s, there were plenty of contenders from the 2010s that were considered, but not enough to take a coveted spot.
  • Take note, Mike Leigh: the Severin cellar >>>>>> the Criterion closet.

Had naively hoped to share this list with the gawd Kim Newman, but contacting him over at his website is via an agent. Forget that! Twitter is out of the question since it's a hellhole. Oh well, mustn't grumble! Good to finally have this done, regardless.