Pick of the week
Jaws 1-4<\/p>\n
The 50th anniversary of Jaws<\/a> \u2013 the Year Zero of the modern-day blockbuster \u2013 has already been well covered. However, half a century of Jaws also means half a century of Jaws sequels, which is a different kind of fun. This week, Netflix has gathered together all four films for viewers to enjoy at their leisure. The question is: which should you watch? The peerless original? Jaws 2, which is basically a remake of the first one? Jaws 3<\/a>, which was shot for 3D seemingly just for the scene where a shark gets exploded? Or Jaws: The Revenge, in which a shark with a vendetta chases Michael Caine around the Bahamas? Strictly speaking, only one of these films is good. But, in their own way, they are all great. OppenheimerA total marvel \u2026 Cillian Murphy in Oppenheimer. Photograph: Melinda Sue Gordon\/AP<\/p>\n After its extraordinary theatrical run and silverware haul, it\u2019s safe to assume that everyone who wants to watch Oppenheimer<\/a> has already watched it. But even after all the ballyhoo about seeing it on the big screen, Christopher Nolan\u2019s film loses very little impact on TV. It\u2019s still a total marvel, turning a bog-standard biopic into a puzzlebox of clashing timelines. It\u2019s still masterly to look at, transforming the planes of Cillian Murphy\u2019s face into grand topography. Best of all, we get to see what Robert Downey Jr looks like when he really puts his all into acting. A must watch. A Man Called OttoNailing it \u2026 Tom Hanks and Mariana Trevi\u00f1o in A Man Called Otto. Photograph: Niko Tavernise<\/p>\n His days as the do-no-wrong king of Hollywood behind him, Tom Hanks has long since settled into a much more rewarding second act. He writes books. He\u2019s become a Wes Anderson day-player. And, more importantly, he gets to star in films like A Man Called Otto<\/a>. Hanks plays a bitter old crank who plans to kill himself, only to be shaken out of his stupor when he begins to integrate with his neighbours. It\u2019s a hard role to pull off \u2013 lean too hard one way and you become repellant, lean too hard the other and you become unpleasantly sentimental \u2013 but Hanks gets it exactly right. Passport to PimlicoThe greatest Ealing comedy ever made \u2026 Stanley Holloway and Barbara Murray in Passport to Pimlico. Photograph: Studiocanal Films Ltd\/Alamy<\/p>\n Very possibly the greatest Ealing comedy<\/a> ever made, Passport to Pimlico has one of the most wonderful premises of the 20th century; thanks to a confusing legal loophole, an area of Pimlico is declared part of Burgundy. As such, a forgotten bit of Westminster ends up breaking away from the rest of the country and becoming its own self-governing micronation, with all the greed and pettiness that comes with it. It might have been made in 1949, but the themes in Passport to Pimlico feel incredibly current, especially in post-Brexit Britain. skip past newsletter promotion<\/a><\/p>\n Get the best TV reviews, news and features in your inbox every Monday<\/p>\n Privacy Notice: <\/strong>Newsletters may contain info about charities, online ads, and content funded by outside parties. For more information see our Privacy Policy<\/a>. We use Google reCaptcha to protect our website and the Google Privacy Policy<\/a> and Terms of Service<\/a> apply.<\/p>\n after newsletter promotion<\/p>\n DogSo much better than it needed to be \u2026 Channing Tatum in Dog. Photograph: Hilary Bronwyn Gayle\/United Artists\/Allstar<\/p>\n Channing Tatum could have made any film he wanted for his directorial debut, and it\u2019s telling that he ended up making Dog<\/a>. On the surface, Dog is a Turner and Hooch rip-off about an army ranger who has to escort his dead friend\u2019s dog across the country to be put down. However, the amount of layers Tatum manages to fold in is incredible. There\u2019s comedy, and a surprisingly clear-eyed take on mental health in the military. And you\u2019ll probably cry at the end. So much better than it needed to be. Hell Is a CityA stunning noir \u2026 Hell Is a City. Photograph: Ronald Grant<\/p>\n
Tuesday 15 July, Netflix<\/p>\n
Saturday 12 July, Netflix<\/p>\n
Saturday 12 July, 9pm, Channel 4<\/p>\n
Sunday 13 July, 1.50pm, BBC Two<\/p>\n
Monday 14 July, 7pm, Film4<\/p>\n