100 Unmissable Film4 Movies
41. 24 Hour Party People (2002)
24 Hour Party People chronicles the rise and fall of Manchester’s music scene from the late 1970s to the early 1990s. The film is centered around Tony Wilson, a journalist and television presenter who becomes a key figure in the music industry. Wilson co-founds the influential Factory Records label, which signs iconic bands like Joy Division, New Order and the Happy Mondays, and also helps to establish the legendary Hacienda nightclub.
The film’s highlight is Steve Coogan in the central role, who injects much of his trademarked humour into the eccentric character. In the best way possible, 24 Hour Party People plays like Alan Partridge got access to your dad’s record collection. Seeing him interact with exaggerated versions of real celebrities, like Shaun Ryder, make for some hilariously rewatchable scenes.
Unlike other musical biopics, this film stands out due to its energy and style. It’s a wild mix of humor, unbelievable stories and music that perfectly captures the spirit of the time. 24 Hour Party People frequently breaks the fourth wall, with Wilson narrating and guiding the audience through the madness, giving it a playful and self-aware edge. GT
42. The Motorcycle Diaries (2004)
Brazilian director Walter Salles (known for Central Station, 1998) teamed with the Mexican-born international star Gael Garcia Bernal for this multilingual adaptation of Che Guevara’s memoir written in the revolutionary’s early twenties, the pair bringing to life the pre-political days of one of the 20th century’s most enigmatic figures.
Co-starring Rodrigo de la Serna, himself a second cousin to Guevara, and written by Puerto Rican playwright José Rivera, The Motorcycle Diaries is respectful of its subject and presents his story with a dreamy quality that merges fact with fable. It is a visually remarkable, contextually important piece of cinema.
The Motorcycle Diaries was a Cannes Palme d’Or nominee, and won the film festival’s Prize of the Ecumenical Jury, the Technical Grand Prize (for cinematographer Eric Gautier), and the François Chalais Award. The film was also a nominee for Foreign Film at France’s 2005 César Awards and the British Independent Film Awards, while it was nominated for 2 Oscars, songwriter Jorge Drexler winning for Original Song. The film was also a 7-time BAFTA nominee, Gustavo Santaolalla winning for Film Music and the film being the British Film Academy’s choice for Best Film Not in the English Language. JW
43. The Last King of Scotland (2006)
Prolific Scottish filmmaker Kevin Macdonald, an Oscar nominee in the Documentary Feature category for One Day In September (2000), earned his 2nd Best British Film nod at the British Academy Film Awards for his work on his 2006 war drama about Ugandan dictator Idi Amin’s relationship to his personal physician, white British man Nicholas Garrigan. Starring Forest Whitaker in a BAFTA and Oscar-winning portrayal, and James McAvoy in his first BAFTA-nominated role, The Last King of Scotland boasts exceptional filmmaking across the board.
Told at a furious pace, and always tense due to the quality of the dialogue and the threatening aura of Whitaker’s portrayal, The Last King of Scotland is a memorable film about an infamous historical figure spotlighted for the personal horror he was.
Starring a who’s who of famous names, the film picked up nominations for just about everything it was eligible for: 6 European Film Awards nominations, 6 British Independent Film Awards nominations (2 wins – cinematography (Anthony Dod Mantle) and directing), 5 BAFTA nominations (3 wins – British Film, Actor, Adapted Screenplay), 3 BAFTA Scotland nominations, and one Academy Award. JW
44. This Is England (2006)
Shaun (Thomas Turgoose) is a young lad from the East Midlands, a part of the country not often showcased on the silver screen, and he’s struggling to find his place in life. He hates school, hates people, hates everything. Enter Woody (Joseph Gilgun), Lol (Vicky McClure) and their gang of skinheads, who accept Shaun into their group. Combo (Stephen Graham) is a far-right skinhead returning from a stint in prison, and his racist views cause the group to splinter. Shaun is lured in by Combo, leaving the others to do what’s best for the youngster while Combo begins to radicalise him.
Shane Meadows’ brutal look at a turbulent time in Britain’s history, in a neglected part of the country, rightfully received critical acclaim. It won Best British Film at the 2007 British Academy Film Awards and Best Film at the 2006 British Independent Film Awards. Its popularity led to a TV series and many of the young cast went on to become stars.
The beauty in this film lies in the delicate balance of upsetting themes with humour and warmth. It is a film that relies on story over special effects, on character over complicated plots. It is a piece of cinema so obviously set in a certain time period with themes that remain timeless. And the cast is exceptional. ML
45. Happy-Go-Lucky (2008)
In Happy-Go-Lucky, we follow the forever upbeat Poppy (Sally Hawkins) and how her personality affects everyone around her from family and friends to strangers and anyone trying to teach her something.
Sally Hawkins had worked with Mike Leigh as a younger woman (in All or Nothing and Vera Drake) but here everything revolves around her character Poppy; particularly Poppy’s sunny take on the world and her good-natured instinct not to judge people no matter how she is treated. It’s a generally light-hearted comedy but with some shocking darkness shot through it in the form of Eddie Marsan’s breakthrough role as Scott, an unstable driving instructor.
Happy-Go-Lucky was nominated for an Oscar for Best Original Screenplay and Sally Hawkins won a Golden Globe for Best Comedy Actress. SSP
46. In Bruges (2008)
After a hit job goes awry, gangster Ray (Colin Farrell) and his partner in crime Ken (Brendan Gleeson) are sent to the idyllic Belgian town of Bruges to lay low. Although Bruges’ many charms work on enchanting its tourists and the gentle-hearted Ken, Ray is unfortunately bored to tears by the whole place – a resentment that only gets worse when the consequences of his botched job come a knocking. Throughout his many Flemish misadventures – which include the likes of a beautiful Ketamine dealer (Clémence Poésy), racial conflict incited by a dwarf (Jordan Prentice), bullying of the overweight, misidentified Canadians, and general riotous gun violence – Ray can only muster the most pathetic apathy towards his magical surroundings. Not even the works of Bosch or the actual blood of Christ will turn his head. In a cruel twist of irony, his boss Harry (Ralph Fiennes) intended this to be Ray’s final resting place, completely misjudging that Ray would not agree that Bruges is a “Fairy tale town”.
Being the subsequent film after his Oscar-winning short Six Shooter (Best Short Film, Live Action), In Bruges marks Martin McDonagh’s triumphant establishment of a writer/director powerhouse – being Oscar-nominated for Original Screenplay and winning the BAFTA for the equivalent category. This raucously funny action-comedy illuminated the trio of McDonagh, Farrell and Gleeson as some of the very best of British/Irish talent whose next moves should be closely watched. This auspicious reputation doesn’t disappoint, for although McDonagh’s filmography is modestly sized, its quality is outstanding. Both Three Billboards Outside Ebbing, Missouri and The Banshees of Inisherin were Academy Award nominees for Best Picture, with all three of his following movies since In Bruges winning numerous BAFTAs including Best Film, Outstanding British Film and Original Screenplay. In Bruges marks the trend that the best of British filmmaking is the best of cinema in general.
Not only is In Bruges one of the best comedies of the 21st century, but it blows away its competing so-called smart gangster movies such as Snatch and Lock, Stock and Two Smoking Barrels – their supposed wit cannot compare to the ruminating contemplation within In Bruges. The term Black Comedy is woefully inadequate; all of McDonagh’s works are characterised by pathos and mischief, but it is within In Bruges that the balance is near perfect. Scenes can go from side-splitting laughter to breath-stealing moments of grief within seconds, credited to the fact that the film faces its themes head on: mental health, suicidal ideation, remorse, and the question of whether or not there is such a thing as redemption. With his unflinching gaze, McDonagh’s awareness of the mental health crisis within men is not an affectation or a cynical attempt at wokeness, it is an unbridled rage of the injustice of this crisis and how harmful stoicism is allowed to continue. Through this film’s bravery a tangible platform is created, creating a space in which the concepts of reflection, philosophy and theology are freely accessible to those who struggle with vulnerability. As Bruges is Ray’s personal purgatory he must escape from, McDonagh’s work highlights the need for escape from the self-made prisons of the ordinary man. KD
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47. Hunger (2008)
After making a name for himself across short films and advertisements, as well as traditional art exhibits and museum pieces, Steve McQueen arrived on the silver screen with a film that would instantly define his reputation as one of the most artistic and purposeful filmmakers to debut in the 21st century.
Telling of the 1981 Irish hunger strike, which was an organised strike by political prisoners made in an attempt to regain political status, McQueen’s film is squarely focused on Michael Fassbender’s Irish Republican Bobby Sands as he is detained in a Northern Irish prison and physically deteriorates due to a self-imposed starvation. In portraying the real-life IRA member, Fassbender physically transforms to fulfil the role, McQueen’s work behind the camera fulfilling the duty of helping us all to see the extent of his starvation and therefore his beliefs. It is a deeply moving and typically pointed film from a filmmaker on the cusp of one of the great runs of the 2010s.
Scottish director McQueen was awarded as Best Newcomer at the BAFTAs in 2009, with the film itself being amongst the nominees for Best British Film. Hunger was an 8-time Irish Film and Television Awards nominee, 6-time winner, and was nominated for 3 European Film Awards, with McQueen winning the European Discovery Award. JW
48. Slumdog Millionaire (2008)
In 2009’s Slumdog Millionaire, based on the novel “Q & A” by Vikas Swarup, Jamal Malik (played as an adult by Dev Patel in his feature film debut), is a young waiter from the slums of Mumbai who suddenly finds himself as a contestant on the quiz show ‘Kaun Banega Crorepati’, a Hindi adaptation of ‘Who Wants to be a Millionaire?‘ Just before he’s set to answer the final question, Jamal is detained and tortured by police, who suspect him of cheating. Through flashbacks, Jamal recounts the story of his life to the police inspector (Irrfan Khan), including a traumatic childhood shared with his older brother Salim (Madhur Mittal) and his lost love Latika (Fredia Pinto), to prove how he knew the answer to every question.
A classic rags-to-riches tale, that is part crime thriller, part romantic melodrama, Slumdog Millionaire is an exhilarating ride with an infectious score composed by A.R. Rahman.
Upon its initial release, Slumdog Millionaire, directed by Danny Boyle and with a script by Simon Beaufoy, received widespread critical acclaim, winning a total of 8 Academy Awards, including Best Picture. According to the New York Film Academy, the film is also notable for being the first movie with large portions shot digitally to win the Oscar for Best Cinematography.
Although the film achieved widespread critical acclaim, it’s worth noting that many Indian critics pushed back against its aspirational worldview and its portrayal of poverty in Mumbai, as well as its reliance upon Western ideals. MR
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49. Looking for Eric (2009)
A depressed postal worker (Steve Evets) is dealing with a complicated home life, a broken marriage and loneliness. After stealing some of his son’s marijuana, he starts hallucinating, and it turns out that all he needed in life was the help of Manchester United football idol Eric Cantona. It tackles something often ostracised – men’s mental health and loneliness – by grounding it in something extremely relatable; football.
While the film didn’t win any awards, it was generally well-received. While it is obviously a Ken Loach film – family drama, a troubled man, a working class perspective – it is unusual for Loach’s late-career work in its humour and levity.
Looking for Eric doesn’t tell an unusual story but tells it in an unusual way, and that’s where the magic lies. Telling a story people recognise in a truly memorable way is a real achievement. ML
50. Four Lions (2010)
Simultaneously a film produced before its time and a movie one couldn’t get away with making in this modern day and age, Four Lions is the feature directorial debut of one of Britain’s sharpest satirists, Chris Morris. With a reputation for smashing taboo with his groundbreaking television work, including ‘The Day Today’ and ‘Brass Eye’, Four Lions is an equally audacious work of legendary proportions.
Four Lions follows the lives of four wannabe Islamic Extremist Terrorists from Sheffield as they plot a terrorist attack in the UK. The group consists of Omar (Riz Ahmed), the level-headed leader of the group, his dim-witted cousin Waj (Kayvan Novak), the bombastic and fanatical English convert Barry (Nigel Lindsay), who often contests Omar’s leadership, and the shy but idiotic Faisal (Adeel Akhtar) whose ideas involving using bomb-rigged crows are even too left field for this hapless bunch of clowns. Four Lions remorselessly satirises all aspects of jihadism that renders it to a level of slapstick tomfoolery akin to The Three Stooges, including the low production value threat videos, a disastrous experience at an Al-Qaeda-affiliated training camp, and haphazard transport of explosive material in shopping bags. The group, now joined by Hassan (Arsher Ali), decide to target the London Marathon, hiding their bomb vests within mascot outfits, but due to poor organisation and general panic their road to martyrdom is not as impressive as they hoped.
It goes without saying that Four Lions is an extremely controversial film – its release was partially marred by media coverage of its boycott by families of the 7/7 attack victims (and understandably so). Additionally, no American distributor would touch the film until the inception of the totally new Drafthouse Films took it on. Despite this, Morris’ meticulous research paid off. Over three years the filmmaker interviewed UK security experts, religious leaders, British Muslims and even former Guantanamo Bay detainee Moazzam Begg, who after a special screening assured Morris that most would find it funny. Wise words indeed as Morris went on to win the BAFTA for Outstanding Debut by a British Writer, Director of Producer. The cast itself is a showcase of the very best of British Asian talent: Kayvan Novak is a stalwart figure of British comedy, winning the award for Best Comedy Performance in Film from the British Comedy Awards for his performance as Waj – he now enjoys international fame in the popular role of Nador the Relentless in ‘What We Do in the Shadows’. Riz Ahmed, whose casting was inspired by the real-life story of his detainment at Luton airport on the grounds of terrorism suspicion, is the cream of the crop in both the British music and film industries. After his Oscar Nomination in 2021 for Best Performance by an Actor in a Leading Role for Sound of Metal, Ahmed finally won his Oscar for Best Live Action Short Film for The Long Goodbye.
Despite the never-ending silliness of Four Lions, Morris’ deep research lends a stark realism and even relatability. At its most shallow, the film is almost a grim nostalgic look back at the era of the “War on Terror” by the West, played in parallel to real events that filled the news of the day. The film’s impact and legacy is succinctly summarised by Claire Chambers at The Critical Muslim: in comparison to previous movies focusing on British Muslims, Four Lions rejects the supposed dichotomy between traditional and secular Islamic living and instead shows that “even seemingly unequivocal religious and materialist philosophies and practices are highly diverse amalgamations, which are constantly shifting and interpenetrating”.
By no means are any of these would-be martyrs particularly devout in their faith: one of Barry’s plans is to blow up the mosque to get the moderates on side, and Omar mocks his more conservative brother for locking his wife in the broom cupboard when there is male company. Although disgusted by Western culture and materialism, they are also completely saturated by it – Omar tries to explain his upcoming terror attack to his son by using Simba’s story from Disney’s The Lion King, ironically using the epitome of Westernism to justify his jihad. Despite the huge comic value of Four Lions, aspersions are made on society as a whole – innocent people are hurt and killed by the West’s attempt to root out Islamic terror. The group’s stupidity is the ultimate source of humour in the movie but it also highlights the insidious nature of radicalisation, and how it turns ordinary people into killers. KD
