If you’re on the look out for some top-notch British comedy, look no further than Richard Ayoade’s filmography. He has previously starred in the strange and quirky comedy series “The Mighty Boosh” as belligerent shaman Saboo, but it is his role as technically brilliant but socially awkward Maurice Moss in “The IT Crowd” that stands out. An American version is in the works with NBC and Ayoade reprising his role as Moss.

He has also written and directed the lesser-known “Garth Marenghi’s Darkplace,” a show within a show made in 1980s-spoof style. Here, we dive into the weird mind of horror and science-fiction author Garth Marenghi and his TV show about Darkplace Hospital, situated over the gates of Hell in Romford, East London (yes, you read correctly). It adopted many low-budget features including poor acting, gaping plot holes and sub-par special effects and costumes … meaning a six-episode single series. It was axed from Channel 4 due to low ratings but gained a firm cult following via word of mouth and the Internet. Subsequently, a DVD was released and it was aired on U.S. channels SciFi and Cartoon Network.

Ayoade makes his directorial film debut this month with an adaptation of “Submarine,” originally a book written by Joe Dunthorne. This is a not a nautical adventure but a comical coming-of-age story told from the first-person perspective of Oliver Tate (Craig Roberts) leading up to his 16th birthday. It follows his attempt to lose his virginity and stop his mum Jill (Sally Hawkins, 2010′s “Made in Dagenham”) from running away with her life coach Graham (Paddy Considine, 2007′s “The Bourne Ultimatum” and “Hot Fuzz”), who runs courses on Mental and Physical Well Being.

The film is set in wild and windy Swansea, South Wales. The desolate beaches serve to add a beautiful and lonely edge to Oliver’s comic attempts at drawing his family back together and luring his girlfriend Jordana (Yasmine Paige) into his bedroom. Managing to get a girlfriend in the first place somehow spurs Oliver into thinking he can solve his parents’ marriage problems.

In his head, Oliver sees himself as an intellectual, a literary genius who thinks that his life should be documented in film. In reality, he is a socially awkward weirdo, but then, Jordana isn’t exactly a picture of averageness herself. Her own quirky character matches well with Oliver and together onscreen, their innocence is very apparent, struggling against the impending maturity that comes with turning 16.

The soundtrack is also of note. Ayoade has previously directed music videos for Arctic Monkeys. This alliance meant utilizing frontman Alex Turner, in his debut solo appearance, to write six songs for the movie. His inspirations come from Belgian musician Jacques Brel, whom you can hear playing over the trailer, adding an even quirkier atmosphere to the film.

The richness and unique differences between each cast member add something special to the film. The wild setting, and Ayoade’s direction and weird sense of humor, make for a very interesting but joyous film. Expect randomness with moments of poignancy.

Previous British commentaries:

Graham Greene

Never Let Me Go

West is West

The Tempest

“In America”
Rated PG-13
2003

There’s storytelling sorcery even to gentle stories, and 2003’s “In America” offered an enchanting fable about the details of legend that people ascribe to everyday things.

Lights look bigger when first visiting a new city. Sex somehow feels more primal in hindsight after conception. Grief for a lost loved one is easily augmented and amplified when reminded of their memory. Simple joys give way to complex moments during which to marvel at life as though it’s make-believe.

Jim Sheridan commanded this blend of the mythic and real in a semi-autobiographical film (co-written with daughters Kirsten and Naomi) that never spilled over into simple sentimentality.

Johnny (Paddy Considine) and Sarah (Samantha Morton), and their daughters Christy (Sarah Bolger) and Ariel (Emma Bolger), are all Irish illegal immigrants in New York. Seeking new starts after the death of young Frankie, their complexities become simple pleasures to Mateo (Djimon Hounsou), a hermitic artist living in their dilapidated brownstone whom the girls befriend.

There’s fragility for all in the family — Johnny’s simultaneously stifled creativity and grief, Sarah’s strain of breadwinning, Christy and Ariel worrying that Frankie’s death may limit their childhood experience. But the flawless performances match that with intense love and togetherness, best displayed in a carnival scene when Johnny risks the family’s money and the girls’ faith for an E.T. doll.

“In America” served as a peaceful reminder of the simplicity and clarity with which kids can stare down death and help adults come to a place of comfort — earning its cries as cathartic cleansing.