Billy Liar Directed by: Shakespeare In Love Directed by: Blow-Up Directed by: Finally there's the all-out magical war that the series had always sidestepped; finally there's a resolution to the Harry and Voldemort conundrum. A family are thrown into poverty and forced to move to the country when their father is accused of treason, but inbetween playing on the railway lines Kids: In the opening of the pilot, the audience gets a glimpse of their relationship in a flashback. Schanberg may have won that Pulitzer for his reportage, but Haing Ngor's fearless journo is the beating heart of the story - and the film. Like Metropolis with a whole lot more paperwork, it's a melon-twisting vision of a future bureaucracy gone crackers.
Crispin's Day speech, you're either dead inside or French. Even with the help of cricket-obsessed Basil Rathbone and Naunton Wayne, their journey across the fictional country of Bandrika gets more dangerous with every passing mile. If the chronological approach gives it an occasionally episodic quality, Attenborough choreographs it all with such flair and compassion that it feels like the world's most dazzling history lesson. It's a comedy - more or less - but it will leave you thinking long after the credits roll. Albert Finney, Susannah York, Hugh Griffith, Edith Evans The movement towards social realism in British films of the s wasn't merely confined to the present day; this Tony Richardson effort showed that it could be applied to period films too, and bawdy literary adaptations at that. Sure, we'd probably have sacrificed all that product-placement ahead of gadget-fiend, Q, and we kinda missed the silly kiss-off lines, but the return of Bond matched all reasonable expectations and then blasted past them. Powell struck out on his own with this startling thriller about a serial-killing filmmaker Boehm who murders his subjects with a blade hidden in his tripod. Gregory's Girl Directed by: Ultimately a simple concept, this is skillfully executed, with a well-balanced character dynamic underpinning Marshall's expert grasp of horror filmmaking. After four seasons of tormenting one another, the sexy vamp and the slayer get together on the down low of course and it was sooo worth the wait. If you can watch this film and not want to go straight there and start defusing bombs, you've been watching a different movie. Schanberg may have won that Pulitzer for his reportage, but Haing Ngor's fearless journo is the beating heart of the story - and the film. O'Connell brings a laser-beam focus and ferocity to the role of uncontrollable young offender who's had to be "starred up" to an adult prison. Being Sid Sheinberg he was in a position to force through his infamous 'Love Conquers All' edit, unwittingly providing Gilliam's unique sci-fi with the Big Brother figure it didn't boast on screen. So high were the expectations for this eighth instalment of the series that you would have forgiven director David Yates for locking himself in Dumbledore's office and refusing to come out until it was all over, but instead he turned out an action-packed, character-driven, sometimes brutal finale to the adventures of the boy wizard. Albert Finney was at his cocky, charming best as the young rapscallion of the title, raised a bastard by a kindly nobleman but denied his true love by his low birth. Seriously, the heat between these two could light New York City ablaze. If Joy Division's music doesn't do it for you — and Riley and co. Michael Powell, Emeric Pressburger Starring: Specifically, Universal's grande fromage Sid Sheinberg believed that its ending was too bleak and needed less, well, bleakness. The first two he loves; the latter he tolerates benignly. An interesting — and wistful — companion piece to Steven Spielberg's Empire Of The Sun, filmed just down the road at almost at the same time, it's full of visual snapshots of an extraordinary time in England's past, a sepia photo album brought back to life. Burton is very near his best in Tony Richardson's melodrama as Jimmy Porter, a jazz man stuck down the kind of dead end that's filled with British New Wave rebels. The Italian Job Directed by: Sure, the somewhat inevitable ending wouldn't be found in most 'how-to-make-a-money-spinning-comedy' handbooks, but in Morris's masterful hands, you're guaranteed hysteric giggle fits as well as some heavier head scratching. David Thewlis is Johnny, an over-educated, unemployed drifter who comes to London fleeing a sex attack in Manchester and stays with an ex-girlfriend Lesley Sharp , sleeps with her flatmate Katrin Cartlidge and generally expounds his caustic worldviews to anyone who listens.
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