Adding to a year old post...
There are several issues with what I've seen with 'black and white' presentations of films these days.
1) The use of color film and rendering the result as monochrome.
2) The lack of the daily experience of what 'black and white' is.
3) Seeing values over color.
I'm thinking mostly of the non-pro attempts, but even for me such films as "The Good German"(2006) didn't quite give me the 'feeling of B&W'. In some regard, I was reminded of the look of Ilford's XP2 using a C-41 color development process...
For item 1), many people seem to think that just desaturation and perhaps some contrast enhancement turns a color image into 'black and white'. Unfortunately this is not true. Each B&W film had/has a specific spectral response, and so, the more appropriate method of conversion would be to perform a weighted mix of R, G, B (since most imaging systems only have those three 'colors' available). I'm sure most digital processing of pro 35mm work would perform this process, but for the low budget filmmaker using a digital camera, this is probably not the 'first' thought. The several popular NLE software packages have an effect called 'channel mixer', and allows for weighted mixing of the RGB to produce the monochrome output.
For item 2)... well... unfortunately the ability for most people, myself included, the opportunity to see real B&W presentations of motion pictures is rather limited... so I'd recommend visiting an art museum and see as many still B&W images as possible to acquire a knowledge of how B&W looks.
For item 3) I first used a Wratten 90 filter, as per The Zone System, to allow me to look at a scen in a monochrome color, to allow the 'values' of the scene to predominate while mapping 'color' to the orange/yellow of the filter. This would eliminate what color produces as 'contrast' but when converted to B&W, yield an unconstrasting value of monochrome. After a while one begins to 'see' the values in a scene, and the filter can be dispensed with.