Are there any good films with London in the title?
Why are films with London in the title so… bad?
What is it with London? It’s a fascinating city with so many incredible locations and so many great London films. Withnail and I, everything by Richard Curtis, all the Ealing Comedies and pretty much all Kubrick’s oeuvre. Films that mention a bit of London in the title turn into much-loved classics: Notting Hill, Rye Lane, Paddington (OK that last one’s a push). But it seems if you mention the actual word London in the title of a film, everything goes wrong. Put London in the title of a film, and it’s almost certainly going to be a cinematic turkey.
It’s not the same with other cities:
Let’s take The Big Apple. It’s not only a fantastic backdrop for a movie, but films with New York in the title can actually be pretty good. There’s New York, New York, Escape from New York, New York Stories, Home Alone 2, Lost in New York, A Rainy Day in New York. OK they’re not all classics, but still.
What about France’s City of love? Hardly any French films mention Paris in the title, but Hollywood has less qualms. There’s An American In Paris, Midnight In Paris, Jefferson In Paris, A Cat In Paris. It seems like all they need to do is stick In Paris at the end of any old word and you get a half decent film treatment. Even Rugrats in Paris is worth a watch. Stick ‘in London’ at the end of a title and you don’t get the same boost - A Hitman In London anyone?
And don’t get me started on Tokyo - Ozu’s Tokyo Story is often touted as the greatest film ever made. Need I say more?
Put the word London on the poster and it’s a different story. London Fields should have been great - it’s adapted from a dark satirical novel by Martin Amis and populated by an all star cast. What happened? London Fields was a critical and financial disaster that’s now just remembered for the ensuing litigation. Agent Cody Banks: Destination London gets 14% on Rotten Tomatoes, just lower than One Upon A Time in London at 17%. When they tried to relaunch the Carry On series of films in the early 2000s, they proudly announced that the new movie would be called ‘Carry On London’. With a grim inevitability, it never saw the light of day. It turns out there’s even a film called London (24% on Rotten Tomatoes). It’s not only bad but it’s not even set in London - it’s about a woman called London who goes missing in New York. New York!!! Imagine someone making a film called New York and setting it in London!
Why are films with London in the title so bad? Is it because our city’s so rich with multiple identities that anything that relies on the word London is going to diminish it? Is it just the downbeat vowel sounds? Who knows?
Here at 1000 Londoners we don’t just spend a vast amount of time making London films about the people of London, we also watch an awful lot of London films, so from the depths of our memories we’ve managed to piece together a list of films that are at least half decent with London in the title. It took some work. We wanted to make it a top ten, but once we took out the docs (The London Nobody Knows), essay films such as (Patrick Keiller’s London), and lost classics (London After Midnight) we couldn’t get further than a half dozen. Number 7 would have probably been London Has Fallen so go figure.
So from 6 to 1, here’s a highly subjective list of our favourite films that honour our city in the title. And what does it say about our city that all of them are scary, dark or just plain odd?
6. The Man from London (2007)
Béla Tarr’s The Man from London is a hypnotic, slow-burning noir drenched in shadow and silence. Adapted from Georges Simenon’s novel, it follows a railway worker who stumbles upon a suitcase of stolen money, plunging him into a world of crime and moral decay. Tarr’s signature long takes and Mihály Vig’s haunting score create an atmosphere of existential dread. Though deliberately paced, its stark cinematography and brooding tension reward patient viewers. More about mood than plot, it lingers like a half-remembered dream, challenging audiences to immerse themselves in its bleak, mesmerizing world. It’s a terrific movie, but not really much to do with London. But we’re looking at films with London in the title not London films, so it makes the cut.
5. London to Brighton (2006)
No, believe it or not, London to Brighton is not about a charity walk or a classic car drive. Gritty, raw, and unflinchingly tense, this a brutal slice of British social realism. Paul Andrew Williams’ debut follows a desperate woman and a young girl fleeing London after a violent crime, with gangsters in pursuit. Clocking in at just 85 minutes, the film is relentless, carried by emotionally charged performances from Lorraine Stanley and Georgia Groome. The story unfolds with urgency, offering a harrowing look at abuse, survival, and redemption. With its handheld cinematography and stark realism, it’s a gripping indie thriller that doesn’t shy away from the darkest corners of society.
4. Tower of London (1939 & 1962)
This great title spawned two films and two approaches to Richard III’s blood-soaked rise to power, both loosely inspired by Shakespeare. The 1939 version stars Basil Rathbone as the scheming king, with Boris Karloff adding horror flair. It’s a stylish historical drama, blending Shakespearean ambition with gothic dread.
The 1962 film ups the horror factor, with Vincent Price reveling in the role of Richard. This is a great B movie - cheaper and more lurid with a deliciously wicked performance by price. Roger Corman shot the film over 15 days in London, ably assisted by his dialogue director - the one and only Francis Ford Coppola (The Godfather, Apocalypse Now etc)
OK, neither film reaches masterpiece status, both offer eerie, entertaining takes on one of England’s most infamous rulers, especially for fans of classic horror and Shakespearean intrigue.
3. Lost in London (2017)
This film is special. It’s written, directed and starring Woody Harrelson, which implies that it’s going to be at least interesting. He’s ably supported by a cast of eclectic talents: Daniel Radcliffe, Bono, Owen Wilson and Willie Nelson. Lost In London is a cinematic experiment like no other. It’s a one-take, real-time film that follows Woody Harrelson as he stumbles through a disastrous night in London. There have been one-take films before but this is a technical achievement like no other. Lost in London was shot live and broadcast to cinemas. It is a bold, unique entry into film history that blurs reality and fiction with an offbeat, chaotic energy. Nice one Woody.
2 The Lodger: A Story of the London Fog (1927)
A bit of a cheat - London appears after the colon, in a time that colons didn’t mean never-ending franchises. And nobody ever uses the full name. But Hitchcock’s early career was full of London-based movies, and this one just happens to be the only Hitchcock film with London in the title, so we’re going to run with it. Not only that, ‘The Lodger blah blah London Fog’ is Hitchcock’s first thriller, setting out the stall for his future masterpieces. Loosely inspired by Jack the Ripper, this silent movie follows a mysterious tenant suspected of serial murders. Expressionistic lighting, looming shadows, and suspenseful framing create a chilling atmosphere. It’s a fascinating glimpse into the early work of a genius, and essential viewing for fans of Alfred Hitchcock - Leytonstone’s favourite son.
1 An American Werewolf In London (1981)
The outright winner. Hands down. This is a film that captures the seedy side of the city. Unlike many London films that pretend to understand the city, this one looks at the city through the eyes of a (werewolf) tourist. It’s a great watch. A near-perfect blend of horror and comedy, An American Werewolf in London remains one of the greatest werewolf films ever made. Director John Landis (The Blues Brothers) balances gruesome terror with dark humor as it follows an American backpacker who’s bitten by a werewolf on the English moors. The film boasts groundbreaking transformation effects by Rick Baker, setting a gold standard in practical horror makeup. London’s eerie atmosphere, from Piccadilly Circus to the Underground, adds to the film’s unsettling charm. And the scene in the Slaughtered Lamb, with a very odd cameo from Rik Mayall, is a classic. With its mix of tragedy, wit, and visceral horror, it’s a cult classic that still holds up decades later. The sequel (An American Werewolf in Paris) was rubbish, so take that!
We’ve produced London films and films about Londoners on the 1000 Londoners project, but to date not a single one has had the word London in the title. Seeing what happens to films that do, I think we’ll aim to keep it that way! If you’re into the scary side of the city, check out or Necropolis collection.
