Showing posts with label Essential.... Show all posts
Showing posts with label Essential.... Show all posts

Tuesday, June 7, 2011

Five Essential... Guilty Pleasure Childhood Movies of the 80s

Dominic O'Brien selects his Five Essential Guilty Pleasure Childhood Movies of the 80s…

Oh how I love 80s filmmaking. Honestly no other decade within film (at least to my knowledge) contains more cult film features that span from kids films, through to long forgotten action and horror films. One such sub-genre which seems to have grown in popularity (possibly due in part to the internet) is that of guilty pleasure films from our childhood.

Sure there are those classic 80s kid flicks which have stood the test of time; The Goonies, Ghostbusters, Indiana Jones and The Karate Kid to name a few. But what about those lesser seen almost unheard of features. The ones your parents (or maybe you) got out when the better films where already rented.

Obviously I am speaking for myself here, but when I was younger these films were considered cinematic marvels. So sit down, grab a bean bag, sip from your favorite childhood tipple and indulge in my top five Guilty Pleasure Childhood Movies of the 80s...

5 – The Garbage Pail Kids Movie (1987)

Anyone brought up in the 80s knew of the collectable cards these were based on. Sick, revolting, un-pc and utterly brilliant, this really only could have been a product of the 80s. I would love to see something like this made today, but then I don’t think it would contain the same charm (or distinct disgustingness) that made it what it was all those years ago. Considered one of the worst films ever made, but what actually makes it so bad? Well it contains one of the most god awful song and dance routines ever committed to film (it will haunt your nightmares). It becomes painfully clear how the same sets are constantly reused and it is filled with woeful dialogue. This is so amazingly awful that it truly has to be seen to be believed. With characters such as Valerie Vomit, Windy Winston and Greaser Greg how could you not want to see this?


4 - Mac and Me (1988)

Essentially an E.T. rip-off (about 5 years too late), this has now gained an almost notorious, cult film following (myself unfortunately included). It is almost as though the film was funded by McDonald’s and its hard not to notice the rather strange, mass dance-off in said eatery. There are moments (which when watched now) that do provoke uncontrollable fits of laughter such as; the rather obvious use of a stunt dummy during a characters fall off a cliff, the over reliance on product placement and the stiff puppet movements of the title character. When all is said and done its still a rip-off, but a rip-off with a little bit of heart underneath its product placement visuals.



3 - Little Monsters (1989)

During my younger years this movie was responsible for being afraid about what could be under the bed. It is in fact an over looked dark children's fantasy, although it was probably responsible for traumatising more children then actually entertaining them. Howie Mandell (the voice of Gizmo from Gremlins) proves to an eccentric and (sometimes) frightening friend to a young Fred Savage. The monster city is almost Burton-esque in its design and the films climax still manages to produce chills and nightmares in equal measure. The image of the head monster (dressed as a public school boy) still fills me with dread.




2 - Ghost Chase (1988)

This cheaply made kids film was (a then young) Roland Emmerich’s first film as director. Far removed from his more recent mega expensive, mega explosive and mega awful films that he churns out now. This feature (much like the others on this list) holds a special place in my film heart. For starters I had always been mesmerized by the VHS cover art, it was both frightening and intriguing. It used Belouis Some’s ‘Imagination’ (a piece of pure 80s power pop) within the trailer and has a great showdown with a haunted suit of armor. Plus what other film are you likely to see that has a spirit of a dead butler possess a movie prop puppet? Low budget and underrated, this is a must for all cult film fans.



1 - Howard The Duck (1986)

I can already hear the boos on this choice, but (with the more astute among you already guessing) I really...rather....like....Howard the Duck. Now that I've lost all critical respect I want to tell you the reasons why. Yes it's an awful film and one which is unable to judge what target audience its actually aiming for (is it for teenagers or pre-teens?). What it does have is what I like to call the three C's of bad filmmaking; charm, cheese and cult appeal. Three things which help make this so much more then a bog standard comic book film. Howard is a fun character and has some truly corny one-liners; “No one laughs at a master of Quack Fu!” or “No duck is an island”. While its hard not to enjoy the stop-motion, Harryhausen inspired climax (which has stood the test of time). Only issue I have is the slightly dubious human / water foul love affair. Barring that the theme song is annoyingly catchy.

Honourable mentions:

The Gate (1987)
Hawk the Slayer (1981)
Masters of the Universe (1987)
The Last Starfighter (1984)

Agree? Disagree? We'd love to hear your thoughts...

Dominic O'Brien is an aspiring writer and filmmaker; he is a cult film fanatic and continues to seek out the weirdest and strangest films committed to celluloid.

Essentials Archive

Tuesday, May 3, 2011

Five Essential... Movie to Video Game Adaptations

Gary Collinson selects his Five Essential Movie to Video Game Adaptations…

If you’re a fan of movies and/or video games then chances are you’ll already be more than aware that the movie tie-in is little more than a recipe for disaster. It seems that in developer-land, the phrase “Official Video Game of the Movie” provides an excuse for rushing out a poor-quality game, often bearing little resemblance to the film with which it shares its name, and generally looking to ride the success of the latest summer blockbuster with a sub-standard cash-in. Ever since Atari dumped millions of copies of E.T.: The Extra-Terrestrial into a Mexican landfill site, the movie tie-in has delivered some of the most painful gaming experiences known to man. Only a select few have ever managed to rise above average, and here we present our picks of the very best…

5. RoboCop, 1988

Back in the 80s British developer Ocean Software were quite the experts when it came to movie licences, producing a host of titles such as Batman, Cobra, Highlander, Lethal Weapon and Rambo, but their greatest success came with the 1988 ZX Spectrum hit RoboCop. Regarded as an improvement over the original arcade game (despite its limited colour-palette), RoboCop really captured the feel of the movie and its multi-level action format and mini-games (such as shooting through a hostage’s skirt to hit a bad guy in the balls) delivered no end of entertainment. Of course it would struggle to hold a candle to most modern games, but for it’s time this was one of the best.


4. Spider-Man 2, 2007

As with movies, another medium that’s never really found the success it deserves when making the transition to video games are comic books (highlights being the X-Men Legends / Marvel Ultimate Alliance series and Batman: Arkham Asylum), although Activision did manage to hit a home run with the console version of Spider-Man 2. Taking place in a sandbox-style New York City, the game essentially takes Spidey and dumps him into a Grand Theft Auto-style adventure, albeit on the other side of the law. Spider-Man 2 featured a good variety of missions and side-quests along with a superb web-swinging mechanic that really helped to capture Spider-Man’s abilities. Who knew that swinging around a city could be so much fun?


3. Die Hard Trilogy, 1996

Aside from putting you into the vest of John McClane, Die Hard Trilogy was a meaty package of a game, presenting not one, not two, but three different genres and incorporating third-person shooter (Die Hard), rail shooter (Die Hard 2: Die Harder) and arcade-style driving game (Die Hard with a Vengeance). Individually they were all pretty good, but collectively Die Hard Trilogy was one of the best value-for-money experiences to be had on the original PlayStation. Of course, as with the movie series you couldn’t beat the original, and it really was a blast running about the Nakatomi Plaza blowing terrorists to pieces and telling hostages to “get the hell outta here”.


2. Lego Star Wars: The Complete Saga, 2007

The original Star Wars trilogy has had its fair share of video game adaptations, starting with Atari’s vector-based arcade efforts and shifting to side-scrolling platformer for JVC’s early 90s NES efforts and their subsequent ‘Super’ upgrades on the SNES. Originally I’d planned to include the Super Star Wars series on this list and then I remembered this gem of a game that hit next-gen consoles in 2007. A compilation of Lego Star Wars and Lego Star Wars II: The Original Trilogy with a shiny HD update, The Complete Saga provides hours upon hours of entertainment across all six films, and in turn it also presents the best video game interpretation of Lucas’ baby seen to date. And best of all, you can enjoy all the fun in co-op mode.


1. GoldenEye 007, 1997

An obvious choice perhaps, but then there’s little doubt that Rare’s GoldenEye 007 is the essential movie-to-video game adaptation. A landmark title in the games industry, GoldenEye threw players into the role of James Bond like never before. It revolutionised the console first-person-shooter with innovations such as precision aiming (allowing for perfect headshots), stealth tactics and sniper rifles, while delivering a fantastic multiplayer experience (The Man with the Golden Gun mode being a particular favourite). Apart from Mario 64 there weren’t too many reasons to purchase a Nintendo 64, but GoldenEye made the console a must-buy and even in these FPS-heavy times it remains an absolute corker of a game.


Honourable Mentions…

Chronicles of Riddick: Escape from Butcher Bay, 2004
Disney’s Aladdin, 1993
The Lord of the Rings: The Return of the King, 2003
The Thing, 2002
The Warriors, 2005

Agree? Disagree? We'd love to hear your comments on the list...

Gary Collinson

Essentials Archive

Tuesday, April 26, 2011

Five Essential... Misfit Movies

Simon Moore selects his Five Essential Misfit Movies...

So called because they feature (and appeal to) misfits of all ages. Why not ‘Teen Movies’? Reeks a bit of Disneyfication to me. Brings to mind the ruthless, sickeningly effective demographic hunting tactics of High School Musical or the Twilight saga. There’s no place for such non-smutty nonsense here. No cool kids allowed. This list is all about the films that chronicle and champion our geeks and freaks, full of beans and pent-up bluster. You know, the interesting kids.

You may have noticed that John Hughes is taking a back seat on this list. Why? Well, consider that Hughesy could easily populate this list all by himself; it wouldn’t allow for much in the way of variety. In fact, he already has a list to himself, compiled by my colleague Alex Williams elsewhere in the “Essentials...” archives. Look it up. In the meantime, let’s crank the angst up to eleven and let rip on those five essential misfit movies...


5. Juno (2007, dir. Jason Reitman)
Juno Poster
Juno MacGuff is up the duff. That is to say, she has a bun in the oven. In a family way, even. Not knocked up, though. That’s Katherine Heigl, in another film not appearing on this list. Juno (Ellen Page) tackles this situation with surprising courage and a healthy dollop of witty remarks. Seriously, Juno might as well be Humphrey Bogart trapped in a 16 year old girl’s body.

Quite selflessly, she decides not to abort the baby, but to donate it to a couple who really want a child but can’t get one the usual way. This couple happens to be Jennifer Garner and Jason Bateman, who round out an exceptional supporting cast including J.K. Simmons as the straight-talking dad, Allison Janey the mighty step-mum and Michael Cera carving out a niche of his own as the clueless boyfriend. Juno is seriously funny, in both senses of both those words. Watch out for pork swords, orange tic-tacs and blue spew.


4. Some Kind of Wonderful (1987, dir. Howard Deutch)
Some Kind of Wonderful poster
John Hughes writes the ultimate love letter to teenage misfits, high school love triangles and Rolling Stones slash fic. Watts (Mary Stuart Masterson), a tomboy drummer, is best friends with Keith Nelson (Eric Stoltz), an oddball artist/mechanic, who’s just got an unlikely date with the gorgeous Amanda Jones (Lea Thompson), a young lady extensively easy on the eyes. To shamelessly quote from Keith’s sister, “...any fool can get into a college. Only a precious few may say the same about Amanda Jones.”

Watts thought she was happy just being friends, but this sudden and sexy turn of events prompts an earth-shattering revelation – she’s in love with Keith, and the dopey greasemonkey doesn’t even know it. Sparks fly between Keith and Watts, caught in the lost, hesitant mood of two people who thought they knew everything about each other. As an added bonus, count on John Hughes’ impressive musical taste to provide a stunning alternative ’80s soundtrack.


3. Rebel Without A Cause (1955, dir. Nicholas Ray)
Rebel Without A Cause poster
Jim Stark (James Dean) is being torn apart. His parents (domineering and spineless by degrees) squabble and bicker and neglect him. He’s threatened and tormented at his new school, getting into knife fights and high-speed car chases and seeing the inside of a police precinct on a regular basis. Then he meets the other outcasts, Judy (Natalie Wood) and Plato (Sal Mineo), both cast adrift in the brutal high school social scene.

Dean, then 24 years old, doesn’t just let youthful looks and costume department do the work of convincing us he’s a teenager. He slouches. He mumbles. He’s deadly sincere about what he says and does. He plays Stark with laconic intensity – an angry young man lashing out at everything around him. Hanging out with Judy and Plato, he soon finds that he’s become a father figure himself. Looked up to. Admired. Emulated. Can he handle it?


2. Scott Pilgrim vs. the World (2010, dir. Edgar Wright)
Scott Pilgrim vs the World poster
Scott Pilgrim (Michael Cera) lives almost entirely in a world of his own. He plays bass guitar in a garage band with his friends. He dates a fangirl high-schooler. Life is pretty much a video game for Scott, with power-ups, experience points and boss fights. When he meets the mysterious Ramona Flowers (Mary Elizabeth Winstead), the girl of his dreams, his over-active imagination chooses to deal with her (considerable) emotional baggage by personally fighting and defeating her seven evil exes.

Adapted with great affection and 8-bit finesse from Bryan Lee O’Malley’s original comics, Scott Pilgrim vs. the World sees Edgar Wright at the height of his powers, telling a story of love, loss and that nagging feeling at the back of the mind of young men and women in their early twenties, waiting for their adult lives to press the start button.


1. The Goonies (1985, dir. Richard Donner)
The Goonies poster
The ultimate misfit movie, full fit to bursting with crooks, maps and devilish booby traps. A motley crew of kids find a treasure map that could just save their neighbourhood from being redeveloped into a golf course. They’re inventors, idealists, tall story tellers, braver and smarter and better by far than the crooks and accountants standing in their way. Goonies, after all, never say die.

Donner sees to it that the laughs come quick and clever, hitting you crabwise, charming you and beguiling you with the adventures of Mikey, Brand, Mouth, Chunk, Data, Andy and Stef. As mad as they sound and then some, they talk and swear and fight as only thirteen and fourteen year olds can, or will.

There are a great many things that deserve to be written about The Goonies – Joe Pantoliano’s rogue toupé, the inimitable Sloth, Chunk’s infamous Truffle Shuffle – but that takes up valuable time that’s better spent watching the film, falling hilariously, helplessly in love with it.


Honourable Mentions...

Whip It (2009) – Ellen Page develops a passion for the wild, dangerous world of Texas roller derby. Also, the wild, dangerous world of boys.

Brick (2005) – The hard-boiled detective story comes to the modern high school as loner Joseph Gordon-Levitt investigates the murder of his ex-girlfriend.

Nick and Norah’s Infinite Playlist (2008) – Michael Cera and Kat Dennings scour New York for their favourite band’s secret show, trying to discover whether they share something more than musical tastes.

Agree? Disagree? We'd love to hear your comments on the list...

Simon Moore is a budding screenwriter, passionate about films both current and classic. He has a strong comedy leaning with an inexplicable affection for 80s montages and movies that you can’t quite work out on the first viewing.

Essentials Archive

Thursday, March 17, 2011

Five Essential... Films of Lucio Fulci

Dominic O'Brien selects his Five Essential Films of Lucio Fulci…

Highly regarded the world over by obsessive cult film fans as an often tyrannical filmmaker, as well as the godfather of Italian gore films, Lucio Fulci’s films still hit a nerve with viewers old and new. His nightmarish visuals and dreamlike narrative style still feels fresh and inventive. Granted over the years his work deteriorated – as did his health - which brought an even harsher critical backlash from reviewers and fans alike. Even after his passing back in 1996 he has left a generation of horror fans with some of the most haunting and nightmarish of genre films. Now his work is more revered then ever, so with that in mind I present the top 5 films from Italian maestro Lucio Fulci…

House by the Cemetery5. House by the Cemetery (1981)

Like many of his films released within the United Kingdom, this haunted house picture ran into problems during the video nasty era. Even with its excessive use of knife violence and prolonged physical pain inflicted on the lead protagonists, this is still a chillingly effective horror ride. Considered to be the final part of his ‘unofficial’ Gates of Hell trilogy, it still lacks a certain epic scale to really make it stand out from the previous instalments. It is still a cut above the rest of Italian genre cinema - even if the name ‘Bob‘ is used with chuckle-inducing regularity. But whatever you do, don’t go in the basement.





Zombi 24. Zombi 2 aka Zombie Flesh Eaters aka Zombie (1979)

Capitalising on the previous years' Dawn of the Dead by George A. Romero, this Italian based semi-sequel has since gone on to be a cult film favourite the world over. Yet again another one of Fulci’s films to run into problems with the British censors, this gory slice of horror Eurotrash is stomach churning and entertaining in equal measure. With its attention grabbing tagline ‘We are going to eat you!‘ and Fulci’s almost, masochistic lingering on violence, only goes to cement it further as a genre classic. Containing a legendary assembling of some of horror cinema's most instantly memorable scenes. Everything from the infamous eye-on-splinter impalement, through to the zombie vs. shark and lingering close ups of gun shots to the head, this is without a doubt one of the best of Fulci’s more gory cannon.


Don't Torture a Duckling3. Don’t Torture a Duckling (1972)

The more die hard fans of Fulci will know him to be an extremely diverse director, having been able to turn his hand to almost any genre. Having only discovered Don’t Torture a Duckling quite recently, this is thematically -and narratively - one of Fulci’s more accessible films. Essentially a giallo, this feature is most notable for containing Fulci’s first use of bloody make-up effects, which would of course continue to become a staple within his future projects. The film features cult Italian film star Florinda Bolkan as a reclusive witch who may or may not be killing off a group of young boys. Fulci carves out a suspenseful and often gruesome giallo, but it is one which will enthral from beginning to end.




City of the Living Dead2. City of the Living Dead aka The Gates of Hell (1980)

With an almost dream-like narrative, coupled with the visceral, nightmarish visuals, City of the Living Dead is a gorehounds paradise. It is as close to a living, breathing film nightmare as one is able to experience, with each dream-like sequence cascading into each other. Every grotesque vision forces the viewer further into this frightening rabbit hole, all of which is helped along the way by Gino De Rossi’s stomach churning effects work. It is certainly a surreal exercise in terror and contains some pretty standout moments of gore, but the best is yet to come.






The Beyond Lucio Fulci1. The Beyond (1981)

Quite possibly Lucio Fulci’s gore-soaked masterpiece of supernatural uber-violence. But where to start with this previously-banned video nasty? How about death by sulphuric acid, being eaten by carnivorous tarantulas, a zombified young girl ready to murder, as well as various exploding heads and melting body parts. It will certainly make anyone think twice about buying a new property, particularly if it is based on top of one of the seven gateways to hell. Fulci’s ability to create tense and atmospheric sequences - with the help of cult film composer Fabio Frizzi and cinematographer Sergio Salvati - truly has the ability to take your breath away. Of the three films within the Gates of Hell trilogy, it quickly becomes clear as to why this stands - head and shoulders - above the rest. It shows a master craftsman applying his skills and creating a Grand Guignol experience that will linger long after the credits roll.


Honourable mentions:

The Black Cat (1981)
Lizard in a Woman’s Skin (1971)
Manhattan Baby (1982)


Agree? Disagree? We'd love to hear your thoughts...

Dominic O'Brien is an aspiring writer and filmmaker; he is a cult film fanatic and continues to seek out the weirdest and strangest films committed to celluloid.

Essentials Archive

Wednesday, March 2, 2011

Five Essential... Films of Dario Argento

Dominic O'Brien selects his Five Essential Films of Dario Argento…

Although he has fallen from grace somewhat recently, during the 70s and 80s Dario Argento was the master of suspense and mystery. During this time he managed to craft some of the finest pieces of Italian giallo and genre films. Still, to this day his films are as genuinely eye popping and disturbingly beautiful as they where when first released. These films are respected by both critics and fans alike, and his influence on future filmmakers is evident even now. As the years passed his genre films quickly became more rock n’ roll, particularly with his frequent collaborator - composer Claudio Simonetti - though he never managed to maintain the highs he had all those years previously. With that in mind, I present the essential Dario Argento...

Inferno Dario Argento5. Inferno (1980)

An often over looked film, Argento once again strays into the supernatural with his follow up to Suspiria. Although critically attacked and receiving a poor box office when first released, this has gained a steady cult following over the years. Most notable as a video nasty (but later dropped) due to a cat eating a mouse on camera, along with the subsequent drowning of a cat – which was later to be revealed as fake – helped to cement its cult status within the UK until recently. Much like Suspiria this is a mesmerising nightmare, the iconic sequence where the lead's sister finds an underwater passage, is both tense and creepy. Its dreamlike intention and nightmarish quality literally floats into your subconscious. While not up to the same fairytale/nightmare as Suspiria, this is still a supremely under-rated supernatural horror, the dark blues leaving you cold and chilled.

The Brd with the Crystal Plumage Dario Argento4. The Bird with the Crystal Plumage (1970)

Dario Argento’s first feature as director is still as fresh today as it was some 40 years before. Essentially a remake of the Hollywood feature Screaming Mimi and although a little rough around the edges, this is still awe inspiring. Like Deep Red, this film contains what were to be several of Argento’s signature traits within his giallo, such as the black-gloved killer or the character being able to remember previously referenced clues which tie into the identity of the killer. This was the film that would send Argento into the big leagues of Italian giallo and genre cinema. Still provocative and imaginative in its use of kills and scoring, this was and still is one of the best Argento films.



Deep Red Dario Argento3. Deep Red a.k.a. Profondo Rosso (1975)

This creepy and effective giallo is so beautifully shot and filled to the brim with standout moments; it quickly becomes hard to list them all. With under-rated David Hemmings playing a piano teacher who is drawn into an investigation of a sadistic killer, this would be the forbearer to Argento’s now artistic style. It contains several clever visual touches which foreshadow the deaths of particular characters or moments of threat later on. One shot that specifically stands out is the exact replication of Edward Hopper’s ‘Nighthawks’ diner painting, which is recreated perfectly. Then there are the deaths themselves, which are so gloriously stylised and inventive as to leave you feeling unnerved at their perverse beauty [watch Deep Red here].


Opera Terror Dario Argento2. Opera a.k.a. Terror at the Opera (1987)

With a fantastically haunting and operatic score by Argento regular Claudio Simonetti with Brian Eno (of Roxy Music fame) and some of Argento’s most epically stylised shots, this is probably his last grandiose film and his last which has grabbed my attention. Almost all of the deaths are shown within close-ups, accompanied by electrifying guitar scores which add to the theatricality of it all. It also contains a slew of Argento’s most iconic sequences, the needles under the eyelids of our heroine, which I dare you not to wince when watching. There is the now iconic sequence where actress Daria Niccolodi is shot in the head through a keyhole. Again a sequence which makes superior use of close-ups, the brief shot of the bullet travelling through the keyhole, followed by a fantastically composed wide shot as the bullet exits her head only to destroy a near by phone. This is a film that contains so many standout moments (overly gory but operatic in style) which Argento uses from his extensive oeuvre of magic film tricks, that it almost feels as though it is a greatest hits compilation. And when has that ever been a bad thing?

Suspira Dario Argento1. Suspiria (1977)

The first of Argento’s Three Mothers Trilogy, this is quite possibly his most well known and best remembered masterpiece. It is also the most beautiful of supernatural nightmares. Everything present within this film feels expertly crafted to the highest of horror standards. From the very first cleverly orchestrated (and still graphic) double murder through to the stylised use of Technicolor lighting which draws you further into this deranged fairytale/nightmare. There is also the now legendary score by symphonic Italian rock maestros Goblin, whose haunting soundtrack still continues to send shivers down the spines of even the most hardened horror fanatic. Everything within this is pitch-perfect and one of those rare films which feels like it is a new discovery even after previous viewings. I don’t think boarding schools have ever been so terrifying before or since.


Honourable mentions...

Phenomena
a.k.a. Creepers (1985)
Tenebrae (1982)
Four Flies on Grey Velvet (1971)

Agree? Disagree? We'd love to hear your thoughts...

Dominic O'Brien is an aspiring writer and filmmaker; he is a cult film fanatic and continues to seek out the weirdest and strangest films committed to celluloid.

Essentials Archive

Thursday, February 10, 2011

Essential Actor / Director Partnerships: Molly Ringwald and John Hughes

In a special feature running all this week, Alex Williams counts down his Essential Actor / Director Partnerships...

John Hughes Molly RingwaldMolly Ringwald and John Hughes

Sixteen Candles (1984)
The Breakfast Club (1985)
Pretty in Pink (1986)

In the mid 80's, there was no one in movies who could make a better teen film than John Hughes. In his three films with Molly Ringwald (Hughes didn't direct Pretty in Pink – Howard Deutsch did - but Hughes wrote it and had a large degree of input into the film), Hughes explored in honest and realistic terms what it meant to be a teenager and, in Molly Ringwald, he found a versatile actress perfect for the centrepiece female roles of his mid 80's films.

Sixteen Candles found Ringwald as Samantha Baker, a girl low on the social ladder at school and distressed at the small amount of attention being paid to her sixteenth birthday. Due her to sister's wedding the next day, Samantha struggles through a day of mishaps, embarrassment and eventual happiness at the film's finale, sharing a kiss with her crush Jake (Michael Schoeffling).

Acting as the central cog in the film, Ringwald imbued Samantha with a believable, engaging persona which saw the film receive high praise from most quarters and was enshrined as an essential teen / coming of age film. Throughout the film, Hughes knows exactly when to ramp up the adolescent feverishness of young romance, when to hold back in a character's time of crisis and when to let the camera share in moments of intimacy. His directing is not at all tentative and he knows how to frame scenes of conflict with a hard, unfurnished style that can act as the flipside to Ringwald's sometimes fragile air.

For Pretty in Pink, Ringwald played the opposite of her role in The Breakfast Club as poor, wrong side of the tracks girl Andie Walsh, who exists on the fringes of high school society with her best friend Duckie (Jon Cryer).


Ringwald wasn't first choice for the role and it had passed through the hands of Jodie Foster and Justine Bateman before she was cast. It is fortuitous then, that she landed the role in Pretty In Pink, as it provided the perfect end point for a trilogy of Ringwald-starring, Hughes-created teen movies that would forever establish John Hughes as one of the pre-eminent chroniclers of American youth.

Whilst Andie attempts to juggle her interest in Andrew McCarthy's Blane McDonough and deal with her crumbling father – the always brilliant Harry Dean Stanton, she also has to try and protect the feelings of her best friend and would-be boyfriend Duckie. Alongside this, she has her boss Iona (Annie Potts), who attempts to guide Andie as best she can.

Molly Ringwald Pretty in PinkRingwald portrays Andie as a girl who is trying to process her world being thrown off it's axis. With the rush of romance and the adult decisions that come with it, she must also deal with the petty politics of the factions in her school. As Blane belongs to the rich kid set, Andie has no social right to be interested in him and vice versa, and James Spader's character Steff puts it in cold, elitist terms: “It's not worth it, man. I told you it wasn't gonna work. The girl was, is and will always be nada.”

Nothing - that is the brutal, cold estimation of Andie in the eyes of Blane's friends. In this high school, as with many others (Including the Shermer High School of The Breakfast Club), the perceived but actually meaningless terms and labels used only serve to create unnecessary and cruel divisions. Andie is seen as nothing because she is working class, Blane is seen as an arrogant rich boy because of his background, designating their true personalities as secondary and insignificant.

Hughes attempts to reconcile the need for Andie to accept the harsh realities of encroaching adulthood and her desire to retain her individuality by having her combine a dress given to her by Iona with a second-hand dress her father bought for her. By stitching together the two into a new dress, Andie makes a statement about how two halves of different origin can co-exist and create a better whole.

The Breakfast Club1985 saw the release of The Breakfast Club, with Hughes directing and Ringwald as Claire Standish, a rich girl with serious disdain for her fellow detainees. Following the course of a day, where five disparate students find themselves in Saturday detention, the film functions as an ensemble with the characters slowly revealing their true selves as the day wears on and emotions run high. Ringwald's most entertaining and intense scenes came opposite Judd Nelson's John Bender, a playful, mischievous drop out with a heart of gold.

Again, Hughes uses the juxtaposition of rich and poor, refined and rough hewn, to highlight the common and unmistakable commonalities between his characters. Emilio Estevez's Andy and Ringwald's Claire seem to be the most socially popular of the group and sit next to each other. But as the film wears on, they lose their facades of seeming perfection and crumple, admitting the same inhuman pressures experienced by 'nerd' Brian (Anthony Michael Hall) and Ally Sheedy's 'freak' Allison. John Bender is the most brutally frank about his home life, which revolves around physical abuse and neglect. Bender, once the layers of aggressiveness and self-protecting wisecracks have been peeled back, reveals a scared young man.

As with many of Hughes' earlier films, adults primarily play the role of oppressor and are largely responsible for their children's despair. Even Principal 'Dick' Vernon (Paul Gleason) cannot resist bullying and threatening Bender, mocking him for his lack of toughness in the face of real aggression in a scene, which by looking at John Bender's face, has been played out all too often already in the young man's life.

As with Pretty in Pink, the downtrodden kids provide their own solutions and make peace with one another, and finally draft a letter to their principal, letting him know that his definitions of them are reductive, misinformed and cruel, mirroring the David Bowie lyrics from Changes that open the film:

“And these children that you spit on As they try to change their worlds Are immune to your consultations They're quite aware of what they're going through”


The Breakfast Club
Related:

Essential Actor / Director Partnerships: Klaus Kinski and Werner Herzog
Essential Actor / Director Partnerships: Kurt Russell and John Carpenter
Essential Actor / Director Partnerships: Owen Wilson and Wes Anderson
Essential Actor / Director Partnerships: Steve Martin and Carl Reiner

Alex Williams

Essentials Archive

Wednesday, February 9, 2011

Essential Actor / Director Partnerships: Steve Martin and Carl Reiner

In a special feature running all this week, Alex Williams counts down his Essential Actor / Director Partnerships...

The Jerk Steve MartinSteve Martin and Carl Reiner

The Jerk (1979)
Dead Men Don't Wear Plaid (1982)
The Man with Two Brains (1983)
All of Me (1984)

As comedy partnerships go, they don't come much better than this. In their work together, Reiner and Martin co-wrote and made some of the best comedy of all time. At the time of The Jerk, Martin was the most popular comedian in America. He was regularly selling out stadiums with his stand up shows, had won the Grammy for best comedy album in '77 and '78 and had sold over a million copies of his single King Tut. Meanwhile Reiner had established himself in the early sixties by creating and writing for The Dick Van Dyke Show, a sitcom set in the world of television, and it was here that he first began to direct.

With 1979's The Jerk, Reiner directed Martin in the role of Navin R. Johnson, a wide-eyed goofball who leaves his adoptive African-American family (Navin being blithely unaware that he is adopted) to seek his riches in the wider world. What follows is the rise and fall of Navin through a series of increasingly bizarre and sometimes deadly situations that test his happy-go-lucky resolve to the limit. Widely regarded as one of the best comedies of all time, Reiner accentuates the madness at times to leave the viewer as dizzy as Navin but also knows instinctively when to just let the camera rest on Martin and let him dazzle.

Martin and Reiner followed up The Jerk with their co-written playful homage to the film noir genre Dead Men Don't Wear Plaid, with Martin in the lead role as rough and tumble, bumbling private eye Rigby Reardon. The film ingeniously spliced together clips from nineteen classic film noirs from the 1940s and 50s with new footage that was shot meticulously to match. This allowed Martin to have 'scenes' with Humphrey Bogart, James Cagney, Bette Davis and many, many more.

Reardon and his would-be dame Juliet (Rachel Ward) are propelled through a plot that quickly reaches a ridiculous level of complexity and ends with Reardon taking on the ubiquitous Nazis in a tropical island lair. Martin pitches Reardon as oscillating between the playfulness of Navin R. Johnson and the hardboiled private dick that is expected. Martin did not watch any film noirs in preparation for the role and that helps him to break through in the film. He brought his trademark elements of intelligent, skilled buffoonery but combined it with the personality of a knowing, slightly overwrought man of the times. The combination of the two allows Reardon to exist in the world of Veronica Lake and Ava Gardner and, at the same time, a Carl Reiner / Steve Martin film.

The Man with Two Brains Steve MartinIt was only a year later that the two returned with The Man with Two Brains. Martin starred as the world-renowned brain surgeon and bizarrely named Dr. Michael Hfuhruhurr. Kathleen Turner gave a sultry, psychotic turn as his new wife Dolores. Centring on a plot of Hfuhruhurr's burgeoning psychic relationship with a brain in a jar by the equally spell-check un-friendly Anne Uumellmahaye (an uncredited Sissy Spacek), The Man with Two Brains mines a vein of absurdist, anarchic comedy. Martin's manic doctor alternates between genius, maniac, frustrated husband and madcap would-be murderer at the flick of a switch and is ably complemented by Reiner's frenetic direction.


Martin and Reiner's work together came to an end with All of Me in 1984. Though neither party had a hand in the script, the film was well received and praise mounted for the chemistry of Martin and co-star Lily Tomlin. Tomlin's role is that dying millionairess Edwina Cutwater, who attempts to have her soul transferred to her willing assistant's body. Martin is her lawyer Roger Cobb and inevitably her soul ends up in Cobb's body, with him controlling the left side of his body and Edwina the right.

Martin was lauded for his physical depiction of the unusual predicament, with the scenes between him and Tomlin singled out for their humorous and touching nature. The film eventually climaxes with Edwina's soul once again exorcised and finally sent to her scheming assistant's body.

Martin points to this film as the beginning of his 'mature’ period, where he was able to play more normal characters without the eccentricities of his earlier work with Reiner. All of Me represents a perfect stopping point for a joint body of work that plots a perfect arc from the explosive, audacious fun of their first feature, through to a more muted and traditional end that nonetheless proved maturity does not have to come at the expense of laughs.

Related...

Essential Actor / Director Partnerships: Klaus Kinski and Werner Herzog
Essential Actor / Director Partnerships: Kurt Russell and John Carpenter
Essential Actor / Director Partnerships: Owen Wilson and Wes Anderson
Essential Actor / Director Partnerships: Molly Ringwald and John Hughes

Alex Williams

Essentials Archive

Tuesday, February 8, 2011

Essential Actor / Director Partnerships: Owen Wilson and Wes Anderson

In a special feature running all this week, Alex Williams counts down his Essential Actor / Director Partnerships...

Wes Anderson Owen WilsonOwen Wilson and Wes Anderson

Bottle Rocket (1996)
Rushmore (1998) [co-wrote but not featured]
The Royal Tenenbaums (2001)
The Life Aquatic with Steve Zissou (2004)
The Darjeeling Limited (2007)

As well as working for a director on screen, some actors contribute in other ways. Owen Wilson first met Wes Anderson when they were both studying at the University of Texas. They quickly began working together and the result was 1996's Bottle Rocket, which was an expansion on a short film they had made a couple of years earlier.

Revolving around a cast of misfits, Dignan (Owen Wilson), Anthony (Luke Wilson) and Bob (Bob Musgrave) plan the robbery of a cold storage building's safe. With Dignan plotting their robbery as a glorious, overblown heist of the century, the film builds towards its inevitable outcome with a soft affection for its bewildered protagonists. Dignan is the infectiously enthusiastic wannabe and, with Wilson, director Anderson found an actor capable of transmitting foolhardy bravado with a touching insecurity in equal measures. This was transmitted perfectly in the penultimate scene to their first feature. Facing almost certain capture by the police, Dignan responds;

“They'll never catch me, man... Because I'm fuckin' innocent.”

Wilson went on to co-write Rushmore with Anderson, again to much critical acclaim. During this time, Wilson was being cast in mainstream fare of questionable quality such as Anaconda and The Haunting.

Owen WilsonWith 2001's The Royal Tenenbaums, actor and director again collaborated on the screenplay. Wilson took the role of Eli Cash – a drug addicted writer and family friend of the Tenebaums with a raging, yet easily bruised, ego. Framed by the voice of Alec Baldwin as the narrator, The Royal Tenenbaums featured Owen Wilson alongside his brother Luke and a stellar cast including Gene Hackman, Bill Murray, Angelica Huston, Danny Glover and Gwyneth Paltrow.

In the film, Wilson's Cash functions as the flipside to his brother Luke's character, Richie. The two men are in the midst of life crises. Eli expresses his fears by taking drugs, behaving recklessly and emotionally manipulating people. Richie exists in a vacuum of limited expression, hiding behind his sunglasses and long hair. Of the two, Eli seems the more likely to end up hurt or worse, but it is Richie who attempts to take his own life.


With Eli, Owen Wilson captures a person who, whilst being a drug addict and depressive, still values life. His odd behaviours and outlandish persona all form part of an insanely insecure individual. Anderson treats Eli with shots that make him seem isolated and lonely, often filmed in wide shots, it only adds to the character's seeming loneliness.

Riffing on the idiosyncrasies of its oddball characters, the film managed to maintain a melancholy air of loss and regret whilst providing laughs and creating an eccentric, endearing world with Anderson and Wilson nominated for the 2002 best screenplay Oscar which eventually went to Julian Fellowes for Gosford Park.

The Life Aquatic with Steve Zissou was released in 2004 with Bill Murray as the eponymous deep sea adventurer of the title. Wilson featured as Ned, Zissou's would-be son and pilot, with Angelica Huston, Cate Blanchett, Willem Dafoe and Jeff Goldblum also featuring. Wilson played Ned as a softer, more likeable character than Eli Cash with an earnestness that was a perfect foil to Murray's brasher father figure.

2007 saw the release of The Darjeeling Limited, which followed brothers Francis (Wilson), Peter (Adrien Brody) and Jack (Jason Schwartzman) as they traverse India on the titular train to see their mother, played by Angelica Huston, who lives in an abbey. Wilson, as Francis, had the role of the overbearing older brother, much to his brother's chagrin.

Related...

Essential Actor / Director Partnerships: Klaus Kinski and Werner Herzog
Essential Actor / Director Partnerships: Kurt Russell and John Carpenter
Essential Actor / Director Partnerships: Steve Martin and Carl Reiner
Essential Actor / Director Partnerships: Molly Ringwald and John Hughes

Alex Williams

Essentials Archive

Essential Actor / Director Partnerships: Kurt Russell and John Carpenter

In a special feature running all this week, Alex Williams counts down his Essential Actor / Director Partnerships...

John Carpenter Kurt RussellKurt Russell and John Carpenter

Elvis (1979)
Escape from New York (1981)
The Thing (1982)
Big Trouble in Little China (1986)
Escape from L.A. (1996)

Unlike the previous entry, there are no crazy stories of John Carpenter ever threatening to shoot Kurt Russell in the head. What there is, however, is a body of films featuring not only acknowledged masterpieces but also some of the most entertaining action/horror fare put on film.

After wowing audiences with his portrayal of The King in 1979's TV movie Elvis, Escape from New York firmly set Russell as Carpenter's de facto leading man. With a taciturn and dangerous air, Russell's Snake Plissken established the actor as a talent capable of carrying a tense action picture with minimal dialogue and a smart, roguish persona.

However, 1982 would mark the point at which their partnership paid its greatest dividend. Carpenter cast Russell as helicopter pilot R.J 'Mac' MacReady and set him amidst a top notch cast (Keith David, Wilford Brimley and Donald Moffat among others) stranded in the blinding whiteness of the arctic tundra.

Fuelled with rampant paranoia, The Thing not only features action and horror set pieces that today stand the test of time but also explores the fruitful dynamic when the isolated men begin to lose trust in one another and start doubting each other's very humanity.

The Thing Kurt RussellThe film centres around the staff and crew at a research station in the Antarctic and their and eventual contact with a shape-shifting alien life-form out to replicate and, in the process, kill them all. Russell's initially laconic Mac rises to the challenges of leadership and survival in a performance of grim determination and an ambiguous end point.

Carpenter directs with a beautifully framed, static style when showing the endless white all around the camp, which serves to illustrate the double sided nature of the protagonist's predicament; if anyone does come to save them then the world will be doomed, if no one comes to save them then they are dead anyway. Carpenter recognises that this is essentially the end of the world for those in the camp and films it as such.

When the horror of their situation dawns on Mac and his cohorts, Carpenter ramps up the tension by placing every character under suspicion in escalating scenes of conflict and violence between the various men as they begin to realise their situation and it's potential consequences.

Culminating in an orgy of destruction and fire, in which the remaining men decided to destroy the camp to deprive the creature of any hiding place, the film ends with only Mac and Childs (Keith David) left alive. The two talk in ambiguous terms, feeling each other out for signs of humanity. Both are exhausted and destined to freeze once the fires all around die down, and with the last lines of the film, we are left to imagine what is what and who is who;

Childs: What do we do now?
MacReady: Why don't we just wait here for a little while... see what happens...



Four years after The Thing, Carpenter returned with Russell for Big Trouble in Little China, an action/fantasy romp with Kim Cattrall, James Hong and Dennis Dun. The film was received poorly upon release but has grown to have a strong cult following and garner respect for its verve, sense of adventure and the memorable performance of James Hong as ancient sorcerer Lo Pan.

Escape from L.A. hit theatres in '96 to tepid reviews and a 50% loss at the box office. Russell was this time joined by Steve Buscemi, Pam Grier and Stacy Keach along with a memorable cameo from Evil Dead star Bruce Campbell. Another film that has gathered in cult status, Escape from L.A. is decent sequel that re-spins a few too many ideas from the superior first installment, but is nonetheless an enjoyable further adventure for Plissken fans, which also saw Russell serving as a co-writer.

Related...

Essential Actor / Director Partnerships: Klaus Kinski and Werner Herzog
Essential Actor / Director Partnerships: Owen Wilson and Wes Anderson
Essential Actor / Director Partnerships: Steve Martin and Carl Reiner
Essential Actor / Director Partnerships: Molly Ringwald and John Hughes

Alex Williams

Essentials Archive

Sunday, February 6, 2011

Essential Actor / Director Partnerships: Klaus Kinski and Werner Herzog

In a special feature running all this week, Alex Williams counts down his Essential Actor / Director Partnerships...

Through history, there have been partnerships that, because of some mystical, unknown chemistry, have created something so great that is it destined to ring through the ages. Lennon & McCartney, the Curies, Tango & Cash. No list of such partnerships could ever claim to be exhaustive and, with that in mind, I have eschewed some of the more familiar partnerships, (Scorcese and De Niro, Ford and Wayne etc.) as these are so universally loved that they need no airing here.

Film, due to it's very nature, is a collaborative process. The arguments about 'auterism' aside, it is a long, multi-faceted process which demands the coming together of a large number of people to force it to completion. Within this, there are those director/actor teams that become so synonymous with one another that they create an institution unto themselves...

Klaus Kinski and Werner Herzog

Aguirre, Wrath of God (1972)
Nosfteratu the Vampyre and Woyzeck (both 1979)
Fitzcarraldo (1982)
Cobra Verde (1987)

In Kinski, Herzog found someone who not only matched, but also surpassed, his own fiery temperament. But, with the raging and (often) violent confrontations, came some of the best films in history.

Beginning with 1972's Aguirre, Wrath of God, the two men would work together on five films together in total. Herzog had met Kinski years previously when the young Kinski was renting a room in the Herzog family apartment. Kinski's often wild and strange behaviour left a mark on Herzog and when finally in a position to begin filming Aguirre, Herzog sent the script to Kinski, quickly receiving an enthusiastic response.

Shot on a budget of $370,000 in the Peruvian rainforest, the cast and crew had to make their way through thick, untamed rainforest and ride the Amazon River currents on wooden rafts made locally by the native inhabitants.

In the role of Don Lope de Aguirre, Kinski plays the second in command of a group of forty conquistadors sent deep into the jungle on an expeditionary mission to find a path to El Dorado. As they proceed further and further into the wild, the group falls more and more under the sway of the unstable Aguirre with death, paranoia and madness swiftly following.

Quite soon into the shoot, Kinski's aggressive and maddening behaviour began to appear and, as the gruelling shoot progressed, only became more pronounced. It is from this that one of the most notorious anecdotes in film history arises.

Late one night, whilst he was trying to sleep, Kinski became infuriated at the noise coming from a tent where cast and crew were playing cards. To remedy the situation, Kinski took a gun and fired three bullets into the tent. With the top of one extra's finger missing, Kinski began to pack up his belongings, telling Herzog that he was leaving the film. Not one to be outdone, Herzog then told Kinski that if he tried to leave he would shoot him in the head eight times and save the last bullet for himself. Persuaded, Kinski relented and the film was completed.

Released to immediate critical acclaim, the film became the jumping off point for a relationship that was as successful as it was drenched in madness.

Nosferatu the VampyreThe pair re-teamed for two films in 1977- the first had Kinski's terrifying take on Dracula in Nosferatu the Vampyre, a loose re-make/homage of F.W. Murnau's legendary 1922 take on the Dracula tale – Nosferatu: A Symphony of Horror.

The same year also the release of Woyzeck, which began shooting only four days after the end of filming on Nosferatu. Kinski features as a soldier slowly losing his mind in this adaptation of Georg Buchner's unfinished play of the same name.

1982's Fitzcarraldo had Herzog and Kinski back in the jungle, this time with Kinski as the quixotic title character who travels into the jungle to claim land for his future rubber plantation. One scene in the film called for a steam boat to be pulled several hundred metres over a large hull by pulley and hand which, true to form, Herzog did in real life. Burden of Dreams, a documentary shot at the time of filming by Les Blank, covers the arduous progress of the production.

1982's Cobra Verde would be the final film in the pair's acclaimed work together. Kinski stars as the titular title character, as he progresses from rancher to outlaw to slave trader and beyond.

Bonus:

Herzog's 1999 documentary My Best Friend chronicles his relationship with Kinski through the terrfiying lows, the dizzying highs and the creamy middles. The director reveals the lighter, gentler side of Kinski, talks of his love for the actor and his admiration for his considerable skill.


Related:

Essential Actor / Director Partnerships: Kurt Russell and John Carpenter
Essential Actor / Director Partnerships: Owen Wilson and Wes Anderson
Essential Actor / Director Partnerships: Steve Martin and Carl Reiner
Essential Actor / Director Partnerships: Molly Ringwald and John Hughes

Alex Williams

Essentials Archive

Friday, January 28, 2011

Five Essential... James Bond Films

Simon Moore selects his Five Essential James Bond Films...

Picture this. It’s Saturday night. The TV schedule has failed you, yet again, on a Bank Holiday weekend, no less. Then a title jumps out at you from the onscreen menu. Ah... there’s a Bond film on...

It doesn’t matter what title, it doesn’t matter when it was made, a Bond title just clicks with everyone. It’s the ultimate shorthand for runaway thrills, face-melting puns and a consistently entertaining hour and a half. By now, we ought to know them by heart. And yet...they never get old. We forgive Moonraker’s dodgy sci-fi ambitions; we can time Roger Moore’s eyebrow twitches to the second; and every man on earth, without exception, automatically affects that pose when they put on a tuxedo.

007 is a tradition, a stalwart, and an icon. He’s survived nearly 50 years, 6 actors and 22 films. No, Never Say Toupée Again doesn’t count. Nobody’s saying they were all good, but by great Connery’s ghost, we’re gonna count down the best of the bunch...

Licence to Kill5. Licence To Kill (1989, dir. John Glen)

Nope, Casino Royale is not on this list. Great story, but Daniel Craig’s screen presence utterly fails to capture the audience’s imagination the way Timothy Dalton does here. By far the best Bond of the ‘80s, Licence To Kill sees Bond seeking revenge on Sanchez (Robert Davi), a vicious drug lord who feeds his friends to sharks on their wedding day.

Dalton’s second outing as 007 is stark, savvy and brutal; a young Benicio Del Toro is torn to pieces in a heroin processing plant, shrieking for mercy. Licence To Kill brought the Bond series back to the forefront of innovation, after an embarrassing decade of puffing and wheezing behind the rest like a chubby autograph hunter. The show-stopping Gladys Knight song doesn’t hurt its reputation, either.


The Spy Who Loved Me4. The Spy Who Loved Me (1977, dir. Lewis Gilbert)

This is Roger Moore in his prime, partnered with sassy Soviet agent Anya (Barbara Bach), better known as Agent Triple X. He’s a flamboyant, chauvinistic improviser; she’s a cold, methodical romantic. Will they see past their differences, save the world from a fish-loving fop and get it together in a velvet-lined escape pod? That’s a lot of confusing questions. Best to let the film answer them.

The cheeky parachuting and the submarine dock set pieces speak for themselves; the true centre of this Bond is the constant one-upmanship between Bond and Triple X. At times hilarious, at others disastrously misguided, their quirky, chaotic relationship lies at the heart of what makes The Spy Who Loved Me Roger Moore’s best Bond film.


Goldfinger3. Goldfinger (1964, dir. Guy Hamilton)

“Do you expect me to talk, Goldfinger?”
“No, Mr Bond. I expect you to die.”

One of the series’ greatest strengths lies in its delightfully quotable scripts, and Goldfinger is bursting at the seams with Bond’s trademark banter, his wry punchlines, and of course that priceless set-up for Goldfinger.

Auric Goldfinger loves gold. He loves it so much he wants to irradiate Fort Knox’s reserves, so his own will skyrocket in value. Goldfinger is a masterpiece in pure entertainment, effortlessly switching between inspired comedy, exhilarating escapes and tense, breathtaking action sequences. What other film can you think of that involves deadly cross-dressing, a razor-tipped bowler hat and killing somebody with a bucket of gold paint?


Goldeneye2. Goldeneye (1995, dir. Martin Campbell)

Pierce Brosnan’s first and finest outing in the tux, Goldeneye is rife with strange, potent imagery. He’s practically haunted by the arrogance and excesses of his long career, especially in the form of Alec Trevelyan (Sean Bean). Once a brother in arms, now the deadly enemy who knows Bond better than himself. Everyone around him remarks that he’s outdated, outgunned, or, as M puts it, “a sexist, misogynist dinosaur.” Oof.

Amply motivated, Her Majesty’s Loyal Terrier spends the next two hours avoiding asphyxiation by sweaty thighs, demolishing St Petersburg and still finding time to straighten his tie when he’s done. Indispensible.




From Russia With Love1. From Russia With Love (1963, dir. Terence Young)

The quintessential spy thriller, Bond’s first sequel is fast, fresh and not short of a laugh or two to ease high tensions and sly twists. Sean Connery dominates the screen, whether slinking around like a panther through the catacombs of Istanbul or throwing a beefy Robert Shaw around a train cabin. Like no other actor has before or since, Connery’s performance embodies Bond’s effortless charm, his natural athleticism and his characteristic sang-froid.

Young delivers on the breathless action, but he doesn’t skimp on the stakes either. Wisely, he sticks close to Ian Fleming’s original best-selling plot, ensuring that From Russia With Love is never less than brimming with cruel betrayals, gypsy shoot-outs and the deadliest shoe in the world.


Honourable Mentions...

Dr. No (1962) - of course, for starting it all.
You Only Live Twice (1967) - perhaps the battiest Bond story ever put on film, with ninjas, man-eating piranhas, rockets that eat other rockets, and Donald Pleasance stroking a big white pussy.
On Her Majesty’s Secret Service (1969) - without this film’s climactic siege on a mountain-top fortress, Inception would never have been the same.
The World Is Not Enough (1999) - not as comedic as other outing, but it boasts solid performances from Sophie Marceau and Robert Carlyle. Just pretend Denise Richards isn’t in it. It’s not hard.

...and Dishonourable Discharges

Octopussy (1983) - as bad as it sounds. Turns the stomach at its mere mention.
Die Another Day (2002) - Madonna’s in it. Sums it all up, really.
Quantum of Shoelace (2008) - there’s a whole set of Jason Bourne films already made, Marc Forster.
Casino Royale (2006) - nah, just winding you up.

Agree? Disagree? We'd love to hear your comments on the list...

Simon Moore is a budding screenwriter, passionate about films both current and classic. He has a strong comedy leaning with an inexplicable affection for 80s montages and movies that you can’t quite work out on the first viewing.

Essentials Archive

Monday, December 27, 2010

Five Essential... Movie Supervillains

Gary Collinson selects his Essential Movie Supervillains...

If there’s one thing any good superhero needs it’s a strong nemesis; someone who can push them to the very limits as they set about realising their diabolical plans for world domination. From the A-listers of Batman’s Rogues Gallery to classic Marvel bad guys such as Doctor Doom and the Green Goblin, the superhero world is littered with great antagonists. However, when it comes to translating them to movie screens most of these fail to live up to their comic book counterparts, resulting in a stream of missed opportunities, outright misfires and close-but-no-cigars.

Of course that’s not always the case, so here we present our selection of the essential movie supervillains...

Doctor Octopus Alfred Molina5. Alfred Molina as Doctor Octopus.

Having come so close to getting it right with the Green Goblin in the first Spider-Man movie (a good performance from Willem Dafoe let down by an overly action-figure look), Sam Raimi tried his hand with another of the Marvel Universe’s most treasured villains for the webslinger to square off against in Spider-Man 2. Alfred Molina’s Dr. Otto Octavius is a sympathetic figure, benefiting from the injection of human qualities not present in his comic book form, and his tragic story is the main reason why the 2004 sequel is the highlight of Raimi’s series.





The Joker Jack Nicholson4. Jack Nicholson as The Joker.

When up-and-coming filmmaker Tim Burton was handed the reigns to Batman he turned to legendary screen psychopath and two-time Academy Award winner Jack Nicholson to ensure that Gotham’s protector would meet his match against a worthy adversary. Nicholson’s Joker is a fine representation of the comic title’s ‘classic’ Crown Prince of Crime and he really is the star of the show, overshadowing Batman at every opportunity. In return for his enormous pay check, Nicholson delivered the definitive portrayal of The Joker until Heath Ledger reinvented the character almost two decades later in Christopher Nolan’s The Dark Knight.




General Zod Terence Stamp3. Terence Stamp as General Zod.

The problem with the Superman franchise is that when you’re main character is The Man of Steel, it’s pretty hard to find a villain that can give him a good go. Step forward General Zod - a guy with the same abilities as Superman and a pair of similarly-powered lackeys to back him up - who conquers Earth with ease before demanding that the son of Jor-El kneels before Zod. Stamp’s turn as the ruthless Kryptonian General in Superman II made Zod one of Superman’s most popular foes and will be a hard act to follow should the character’s rumoured return for the Zack Snyder reboot Superman: The Man of Steel (2012) prove true.




Ian McKellen Magneto2. Ian McKellen as Magneto.

A veteran thespian such as Sir Ian McKellen may not be the most obvious choice for a movie supervillain he certainly makes the role of Magneto his own in the original X-Men trilogy. McKellen is pretty much perfect in the part and his interactions with Professor X (Patrick Stewart) deliver the kind of punch you'd come to expect from two such respected actors. Both Michael Fassbender and James McAvoy will have their work cut out to match up as younger versions of the friends-turned-arch-rivals in Matthew Vaughn's upcoming X-Men: First Class (2011), but as we shall see, it can be done...




Heath Ledger The Joker1. Heath Ledger as The Joker.

The only actor on this list to receive an Academy Award for his efforts (and indeed, the only actor in history to receive such an accolade for a comic book movie), Heath Ledger delivers a masterful turn as the antagonist of The Dark Knight. Ledger's Joker is an out-and-out psychopath, stripping away much of the humour to bring the character back to his roots as a ruthless, cold-blooded killer. Rumours persist that Ledger will make a posthumous appearance in The Dark Knight Rises (although Nolan has continuously denied this), but regardless his efforts in The Dark Knight are more than enough to make Ledger's Joker the essential movie supervillain.




Note...

The original plan for this article was to include ten selections to keep it in line with our Ten Essential Movie Superheroes, but in all honesty it was hard enough picking five worthy of inclusion.


And the epic fails…


5. Ryan Reynolds / Scott Adkins as Weapon XI (X-Men Origins: Wolverine, 2009)
4. Colin Farrell as Bullseye (Daredevil, 2003)
3. Vinnie Jones as Juggernaut (X-Men: The Last Stand, 2006)
2. A cloud as Galactus (Fantastic Four: Rise of the Silver Surfer, 2007)
1. Arnold Schwarzenegger as Mr. Freeze (Batman & Robin, 1997)

Agree? Disagree? We'd love to hear your comments on the list...

Gary Collinson

Essentials Archive