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Rather than call it Kitchen Sink Realism - which is easy, simple and clear - I think that because everyone here has a kitchen sink perhaps it should be called Neo Brit Coal Bunker Realism. 
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Or coal 'scuttle'.
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I admit my neo-romanticism thread is confusing. First review coming later today.
Your topic has elicited a lot more interest than this humble topic has (simply because this is a "Jim Phelps" thread), though the typical FSMer debating over the definition of something has always annoyed the hell out of me, so at least this topic managed to escape that.
I was re-reading this thread and was taken aback at how much I put into each review. I am clearly enthusiastic about this genre in a way I have never been about any other, even Woody Allen films or film noir, which are among my most passionate interests! There are still some Kitchen Sink films I've yet to watch, but this summer I fully intend to venture back into black & white Great Britain once again.
To be fair to those perusing, participating in, and puzzling over my "neo-romantic" thread, I'm kind of making it up as I go along using Powell & Pressburger as a jumping off point and examining other Brit films I think contain these elements of poetry, vision, transcendence, and so forth. So, it's not an established category like kitchen-sink, or say, Hammer horror or costume dramas are.
Query: How does the Beatles' film A Hard Day's Night fit, or not fit, into kitchen sink realism? The screenwriter, Alun Owen, has some credentials in this area, it has some B/W grit and social satire, although the movie is quite fanciful too.
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Sky are just doing a series on classic films, and one of the talking heads suggests that Caine's Harry Palmer has more than a touch of angry young man railing against the establishment in Ipcress File.
I see what he means - there is a distinct element of working class grime and Palmer's cynical, bolshy, defiant, gloriously-sarcastic attitude in it.
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