Category Archives: 100 Favourites

My 100 favourite movies. Featuring 200 films.

The Sixth Sense (1999)

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100 Films’ 100 Favourites #85

Not every gift is a blessing.

Country: USA
Language: English
Runtime: 107 minutes
BBFC: 15
MPAA: PG-13

Original Release: 6th August 1999 (USA)
UK Release: 5th November 1999
First Seen: DVD, c.2000

Stars
Bruce Willis (Pulp Fiction, Sin City)
Haley Joel Osment (Bogus, A.I. Artificial Intelligence)
Toni Collette (Muriel’s Wedding, Little Miss Sunshine)
Olivia Williams (Rushmore, The Ghost)

Director
M. Night Shyamalan (Unbreakable, Signs)

Screenwriter
M. Night Shyamalan (Wide Awake, The Village)

The Story
Child psychiatrist Dr Malcolm Crowe tries to help a new patient, Cole Sear, who claims he can see ghosts.

Our Heroes
Dr Malcolm Crowe doubts his abilities to help people after a former patient shot him before committing suicide, an event which has also left him distanced from his wife. But he may be the only person who’ll believe young Cole Sear, a reclusive child who’s struggling with delusions of seeing dead people… unless they’re not delusions…

Our Villains
Are the dead dangerous, or do they just need help?

Best Supporting Character
Cole’s mom, Lynn, who loves him a great deal and worries about him just as much, but has no idea what’s really wrong or how to help her son.

Memorable Quote
“I see dead people… Walking around like regular people. They don’t see each other. They only see what they want to see. They don’t know they’re dead.” — Cole

Memorable Scene
Stuck in traffic, Cole reveals his ability to his mother for the first time — that there’s been an accident ahead and someone died, which he knows because they’re stood at his window. Naturally Lynn doesn’t believe her son, but then he begins to talk about his grandmother…

Technical Wizardry
The twist ending is immaculately constructed. There are clues throughout the film, but, like all the best twist-ending clues, the vast majority of viewers will completely miss them first time through, even though they seem almost blatant when revisited.

Making of
The colour red is used only to indicate times and items where the worlds of the living and the dead have connected; if something red was present in a scene where this wasn’t relevant, Shyamalan had it changed. There’s a massive list of these moments here, but if you somehow haven’t seen The Sixth Sense yet, do beware of spoilers.

Next time…
There are no actual sequels to The Sixth Sense, but it kicked off M. Night Shyamalan as a kind of one-man genre, making supernatural thrillers with a twist ending — and decreasing critical acclaim with each new movie. It seemed to end with The Happening and he transitioned to be a director-for-hire, but he’s coming back somewhat with The Visit and next year’s Split.

Awards
6 Oscar nominations (Picture, Supporting Actor (Haley Joel Osment), Supporting Actress (Toni Collette), Director, Original Screenplay, Editing)
4 BAFTA nominations (Film, Director, Original Screenplay, Editing)
2 Saturn Awards (Horror Film, Performance by a Younger Actor/Actress (Haley Joel Osment))
2 Saturn nominations (Actor (Bruce Willis), Writer)
2 Teen Choice Awards (Choice Drama, Choice Breakout Performance (Haley Joel Osment))
1 Teen Choice nomination (Choice Sleazebag (Trevor Morgan))
Nominated for the Hugo for Best Dramatic Presentation

What the Critics Said
“the film eventually abandons the heroic-therapist model and ventures toward other ground, ever so gently tightening its squeeze. It seems really to achieve something that Stanley Kubrick was possibly groping after in Eyes Wide Shut, or that Nicolas Roeg achieved in Don’t Look Now, which might be called an extreme sense of the bizarre, not as invented by special-effects wizards with unlimited space on the hard drive but in the subtler ways of film craftsmanship. […] The movie is a maximum creep-out. It’s invasive. It’s like an enema to the soul as it probes the ways of death – some especially grotesque in a family setting. You leave slightly asquirm. You know it will linger. It becomes a clammy, chilly movie building toward a revelation that you cannot predict. As I say: I cannot tell you. You’d hate me if I did. I can only say, don’t look now, but look sometime.” — Stephen Hunter, Washington Post

Score: 85%

What the Public Say
“The film is rich in symbolism, and colour plays a large part in signifying spirits invading the real world. This is what makes The Sixth Sense so captivating. Watching the film for the first time, you don’t expect the ending, and so the shock of it tends to overshadow the subtlety of the beginning. It is only once you have re-watched the film, that you begin to notice little suggestions of what is to come. A success from start to end, this is at once an exercise in potent suspense, and a carefully crafted tale of child psychology.” — Cat Barnard, Screen Muse

Verdict

M. Night Shyamalan gets such a bad rep these days, it’s easy to forget how great his breakthrough movie was. It flew completely under the radar back in 1999: the guy at Disney who bought the screenplay was fired for doing so without permission; Bruce Willis starred in it because he owed Disney two films, and was paid half his normal salary; Entertainment Weekly’s extensive summer preview detailed over 140 films, but The Sixth Sense wasn’t even mentioned. By coming out of the blue, and in an era before the internet was dominant (these days there’d be plot dissections and spoiler-filled director interviews online by the Monday after release, wouldn’t there?), the film obviously had surprise on its side, which is particularly effective when it has such a memorable twist. But even before that ending, it manages to mix plausible emotional drama with scenes of chilling everyday horror, crafting something that is undoubtedly a genre movie but also not out of place in a list of Best Picture nominees.

The Sixth Sense is on Film4 tomorrow night at 1am.

#86 will do… whatever a spider can.

Sideways (2004)

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100 Films’ 100 Favourites #84

In search of wine.
In search of women.
In search of themselves.

Country: USA & Hungary
Language: English
Runtime: 127 minutes
BBFC: 15
MPAA: R

Original Release: 22nd October 2004 (USA)
UK Release: 28th January 2005
First Seen: cinema, 2005

Stars
Paul Giamatti (Big Fat Liar, Shoot ‘Em Up)
Thomas Haden Church (George of the Jungle, Spider-Man 3)
Virginia Madsen (Candyman, The Number 23)
Sandra Oh (Under the Tuscan Sun, Hard Candy)

Director
Alexander Payne (About Schmidt, Nebraska)

Screenwriters
Alexander Payne (Jurassic Park III, The Descendants)
Jim Taylor (Election, I Now Pronounce You Chuck & Larry)

Based on
Sideways, a novel by Rex Pickett.

The Story
Middle-aged wine lover Miles takes his friend, groom-to-be Jack, up to California wine country for a more mature kind of bachelor trip, but Jack’s lascivious ways lead them to become involved with a pair of women — while keeping Jack’s impending nuptials a secret…

Our Hero
Miles Raymond is a divorcee, a teacher, and an unpublished novelist, depressed at the state of his life. His one love is wine appreciation, though when Jack goads him into getting closer to a waitress he casually knows, Maya, things begin to look up.

Our Villain
Jack, a has-been actor and Miles’ college roommate. Not really interested in wine; very interested in women — even though he’s engaged, he hooks up with Maya’s friend Stephanie, not telling her about his imminent marriage. Not strictly a villain, but his antics bring Miles little but misery.

Best Supporting Character
Maya is a waitress at Miles’ favourite restaurant, and they bond over a shared appreciation of wine. Unfortunately, her friendship with Stephanie and the secret of Jack’s engagement poses a threat to her burgeoning relationship with Miles…

Memorable Quote
“If anyone orders Merlot, I’m leaving. I am not drinking any fucking Merlot!” — Miles

Quote Most Likely To Be Used in Everyday Conversation
See above.

Memorable Scene
Jack hooks up with a random waitress but has to flee when her husband comes home, leaving his wallet behind with the wedding rings inside. He gets Miles to take him back to her house, where Jack convinces his friend to sneak in to find the wallet. Inside, the waitress and her hubby are having sex, but they spot Miles grabbing the wallet — so he’s chased back to the car by a very angry naked man. (It’s not exactly the film’s cleverest bit, but it is memorable.)

Making of
Sideways was so popular, it actually had an effect on the wine market. Miles is famously critical of Merlot (see above), which actually caused its sales to drop in the US and UK. However, there was a bigger impact on Pinot Noir, which he expresses a love for. After the film’s release, sales of Pinot Noir wines increased by over 20% compared to the year before. The effect lasted, too: a 2009 study found that sales volume of Merlot had slowed and its price had dropped, while sales and prices of Pinot Noir were still up.

Next time…
Author Rex Pickett has penned two sequel novels, Vertical and Sideways 3 Chile, but Alexander Payne has said he has no interest in adapting them and, though Fox owns the rights to the characters, they have no interest in making sequels without Payne. Of gossipy interest, however, is that Pickett deliberately wrote Sandra Oh’s character out of the sequels, because the actress made script changes he disliked and he didn’t want to work with her if they did make a sequel.

Awards
1 Oscar (Adapted Screenplay)
4 Oscar nominations (Picture, Supporting Actor (Thomas Haden Church), Supporting Actress (Virginia Madsen), Director)
1 BAFTA (Adapted Screenplay)

What the Critics Said
“how different these two characters are: the crass actor and the sensitive writer, linked by being roommates at college, but by little else these days. Viewers will probably identify with one or the other, but the beauty of the script is that these are rounded, believable people with recognisable failings and strengths — one is not superior than the other. So, while Jack is a bit dim, crude, and thinks largely with his crotch, he’s also enthusiastic, loyal and embraces life. And while Miles is funny, clever, and knowledgeable, he is also timid, drink-dependent, and crippled by insecurity” — Nev Pierce, BBC Movies

Score: 96%

What the Public Say
“This performance made [Thomas Haden Church] a star, earning him roles in everything from Spider-Man 3 to Easy A. By turns charming and crass, his laconic man-child is a perfect foil to the tightly-wound Miles, and their chalk-and cheese riffing is minded to fine comedic effect at times, most notably in Miles’ horrified discovery that Jack has been chewing gum throughout his detailed tutorial into wine tasting. It’s Giamatti’s picture though. He makes Miles vulnerable, sarcastic, grouchy and tender – sometimes all at the same time. He’s capable of expressing a depth of emotion with nothing more than a flicker in his eyes or furrowing of his brow. It’s a performance he’s never bettered.” — Rob D, Random Movie Guy

Verdict

Do you ever watch a film, like it well enough, but then find that, without re-watching or consciously re-evaluating, it sneakily grows in your estimation? That was Sideways for me, after I saw it on its original release. I’ve watched it a few more times since which have cemented my opinion. It’s a pretty perfect example of the comedy-drama, being both very funny but with a core story based in characters going through emotional crises, whether they know it or not. It’s a deceptively gentle film, the kind of movie where it can seem like nothing’s happening, but the cumulative effect builds to a nice, complicated aftertaste. Like a fine wine, then.

I see #85… walking around like regular movies.

The Shawshank Redemption (1994)

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100 Films’ 100 Favourites #83

Fear can hold you prisoner.
Hope can set you free.

Country: USA
Language: English
Runtime: 142 minutes
BBFC: 15
MPAA: R

Original Release: 23rd September 1994 (USA)
UK Release: 17th February 1995
First Seen: TV, c.1999

Stars
Tim Robbins (Jacob’s Ladder, Mystic River)
Morgan Freeman (Driving Miss Daisy, Invictus)
Bob Gunton (Demolition Man, Ace Ventura: When Nature Calls)

Director
Frank Darabont (The Green Mile, The Mist)

Screenwriter
Frank Darabont (A Nightmare on Elm Street 3: Dream Warriors, The Green Mile)

Based on
Rita Hayworth and Shawshank Redemption, a short story by Stephen King.

The Story
When Andy Dufrense is incarcerated in Shawshank State Penitentiary, he soon finds himself helping the corrupt warden money-launder his bribes. With a measure of protection from the guards, Andy’s common decency leads him to try to improve life for his fellow inmates, all the while thriving on the hope he’ll one day get out.

Our Heroes
Andy Dufrense is an intelligent fella, who earns himself protection and privileges by helping with the guards’ finances, and befriends fellow inmates by overhauling the prison library. He’s serving two consecutive life sentences for murdering his wife and her lover, despite claiming he’s innocent — like everyone else in Shawshank. Conversely, his new best friend, Red — the film’s narrator — is the only guilty man in Shawshank. He’s the guy you go to if you want anything smuggled in, like, say, a rock hammer…

Our Villains
Warden Samuel Norton is outwardly a good Christian and forward-thinking prison governor, but is actually a corrupt and vicious sonuvabitch, only too happy to use Andy’s skills to fiddle the books — and punish him harshly for any signs of dissent. His right-hand-man is the captain of the guards, Hadley, who’s not above giving a wayward prisoner a life-altering beating, or worse…

Best Supporting Character
The prison’s librarian, Brooks, who’s been locked up for almost 50 years. The old chap gets paroled, but the outside world has become a very different place by 1954, and he has a heartbreaking fate.

Memorable Quote
“The funny thing is, on the outside I was an honest man, straight as an arrow. I had to come to prison to be a crook.” — Andy Dufresne

Quote Most Likely To Be Used in Everyday Conversation
“Get busy living or get busy dying.”

Memorable Scene
Left alone in the warden’s office, Andy comes across a record. He puts it on the turntable, locks the door, and switches on the PA system, broadcasting opera to the entire prison. Guards and prisoners alike stop where they stand to listen. Meanwhile, the warden bangs on the door and demands Andy turn the music off. He leans toward the record player… and turns it up. The insubordination will cost him, but, for a few minutes, the beautiful music makes the prisoners feel free.

Making of
The American Humane Association monitored filming that involved Brooks’ pet crow. During a scene where it’s fed a maggot, the AHA objected — because it was cruel to the maggot. They demanded the filmmakers use one that had died from natural causes, which was duly found.

Awards
7 Oscar nominations (Picture, Actor (Morgan Freeman), Adapted Screenplay, Cinematography, Editing, Score, Sound)
2 Saturn nominations (Action/Adventure/Thriller Film, Writing)

What the Critics Said
“The mood swings rigorously through every emotion as the cranky, wiseguy and downright crazed array of criminals bare the brunt of the turbulent life within the doomy Shawshank catacomb. […] If you’re miserable enough to look for gripes then, yes, it does drift on too long and who needs prison buggery again? Yet the ending has such poetic completeness you’re too busy contentedly chuckling to worry about sore behinds. This may have confounded American audiences — it flopped big-time on planet Yank — but a more divine movie experience you will not find this side of Oscardom. […] If you don’t love Shawshank, chances are you’re beyond redemption.” — Ian Nathan, Empire

Score: 91%

What the Public Say
“it has these amazing feel good moments yet it doesn’t feel contrived. Most of us film lovers can see right through that. If Shawshank was guilty of that, it wouldn’t have stayed in the number one spot for all these years. […] I think there are a lot of things that make The Shawshank Redemption such a widely loved film and the movie just gets so many things “right” that they all combine to give us something spectacular: Feel good moments like the beer & opera scenes (which never fail to move me no matter how many times I watch this movie). Andy & Red’s friendship. The lesser characters such as Brooks & Heywood (and the heartbreakingly beautiful “Brooks Was Here” theme from Thomas Newman). Seeing the posters on the wall change, showing the passage of time. Alexandre Dumbass. The pet bird. Rita Hayworth. And, of course, the overall message of hope. More than anything, though, I think it’s Stephen King’s story and Darabont’s ability to give us scenes of pure beauty in a movie based someplace as awful as a prison” — table9mutant, Cinema Parrot Disco

Verdict

The Godfather sat seemingly unassailable atop IMDb’s Top 250 for nine years, until The Dark Knight kicked it off, not everyone agreed, and when the dust settled Shawshank was the new #1, a position it’s now held for eight years. Naturally that means there’s been a backlash in some circles. It’s a particularly snooty kind of reaction in general, I find, probably because Shawshank is exactly the kind of movie primed to emerge as a consensus favourite: it has drama and darkness, but also humour and optimism, and elicits emotions across the spectrum — it’s neither too grim to depress people into not enjoying it, nor too sentimental to make them do that mock “throwing up” noise some people do when things get really schmaltzy.

I wager some people confuse the notion of “consensus favourite” with “produced by committee”, which sound similar — a large group of people coming to agree on something — but are actually very different. The latter typically produces bland work that no one loves; something that wouldn’t curry favour with the former. Is The Shawshank Redemption the greatest movie ever made? Not in my opinion. I’d wager not in the opinion of most of the people who’ve given it a score on IMDb that’s contributed to it being #1. But it is a very good film indeed — and, clearly, most of us can agree on that.

#84 will be… not a fucking Merlot.

Serenity (2005)

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100 Films’ 100 Favourites #82

They aim to misbehave.

Country: USA
Language: English
Runtime: 119 minutes
BBFC: 15
MPAA: PG-13

Original Release: 29th September 2005 (Australia)
US Release: 30th September 2005
UK Release: 7th October 2005
First Seen: cinema, 7th October 2005

Stars
Nathan Fillion (Waitress, Super)
Summer Glau (The Initiation of Sarah, Knights of Badassdom)
Chiwetel Ejiofor (Dirty Pretty Things, 12 Years a Slave)

Director
Joss Whedon (Avengers Assemble, Much Ado About Nothing)

Screenwriter
Joss Whedon (Buffy the Vampire Slayer, Toy Story)

Based on
Firefly, a TV series created by Joss Whedon.

The Story
In the far future, a crew of renegades harbour a fugitive who knows a terrible secret about the totalitarian rulers. When a ruthless assassin comes for them, their only hope becomes to seek out the truth behind one of the regime’s darkest acts…

Our Heroes
The crew of the Firefly-class spaceship Serenity. Led by Captain Mal Reynolds, they’re a gang of rogues and thieves, but are also honourable sorts (well, mostly) forced into that life by a harsh universe. They’ve recently taken onboard Dr Simon Tam and his mysterious sister, River, who has certain skills…

Our Villains
The Operative, an efficient and moral assassin sent by the Alliance, the universe’s ruling body, to retrieve River — at any cost. But if he’s the rock then there’s also a hard place: Reavers, bloodthirsty perverted cannibals who stalk the uncharted regions our heroes will need to venture into.

Best Supporting Character
Shepherd Book, a preacher and former member of Serenity’s crew, now living on the appropriately-named planet of Haven. Has some very insightful words of advice for Mal.

Memorable Quote
“I don’t care what you believe in, just believe in it.” — Shepherd Book

Quote Most Likely To Be Used in Everyday Conversation
“Shiny” — as a synonym of “great”.

Quote Most Likely To Be Found on a T-Shirt
“I am a leaf on the wind, watch how I soar.” — Wash

Memorable Scene
After the history-lesson-within-a-dream-within-a-hologram-within-a-scene pre-titles, Whedon introduces us to the crew and their titular ship with a four-and-a-half-minute unbroken tracking shot. I do love a long single take, and this one excels by introducing us to all the main heroes, their personalities, their situations, their relationships — all at the same time — while also establishing the geography of the ship; and, by extension, the incredible set, which featured the entire interior of the ship built across just two sections (there’s an invisible cut in the middle of the shot to transition between sets).

Technical Wizardry
I created this category to highlight any elements of production that were especially striking — things like cinematography, editing, design, costumes… No offence to any of them (and considering the film was produced for a slight-for-a-sci-fi-blockbuster $40 million, they all do a super job), but the real star is Whedon’s screenplay. Packed to the gills with the literate, witty dialogue he’s famed for, it also manages to be emotionally affecting, make points about governments and their power, engage with themes of belief and the importance of freedom, and weave in a subtext that reflects the real-life story of Firefly’s death and rebirth — though Whedon claims that last one was an accident.

Letting the Side Down
The public. It didn’t gross enough; there weren’t any sequels. Damn you, mankind!

Making of
Talking of the impressive Serenity set (see: Memorable Scene), it was built in the same way for Firefly, but the blueprints were lost between Fox destroying the series’ sets and production on the movie beginning. When Nathan Fillion learnt this at a production meeting, he was able to supply the blueprints himself — he’d been so excited to be on the show, he’d taken photos of all the pre-production material he’d seen, including the set blueprints.

Previously on…
Serenity continues and, to an extent, concludes Joss Whedon’s criminally short-lived TV series Firefly. Mismarketed by US network Fox, the series wasn’t a success on original broadcast, leading to cancellation after just 11 episodes had aired. Thanks to word-of-mouth and availability on DVD, it has developed a massive following since.

Next time…
Despite the distinct and disappointing dearth of sequels, the Firefly/Serenity franchise has continued on, mostly in the form of various comic books, which have plugged gaps in continuity, revealed long-awaited character histories, and even continued the story after the movie.

Awards
1 Saturn Award (Supporting Actress (Summer Glau))
1 Saturn nomination (Science Fiction Film)
Won the Hugo for Best Dramatic Presentation Long Form

What the Critics Said
“With its Hawksian attention to group dynamics and its skilful definition of character through action, this supremely entertaining hybrid-movie plays like Rio Bravo in space. The textured narrative is peopled by precisely delineated characters who employ a salty retro-future-speak, in which twenty-fifth century slang is morphed with frontier Western archaisms (‘take umbrage’, ‘confound these bungers’). The settings and tone are hyper-real, yet the human behaviour is grounded and credible, the moral conflicts complex and involving. Shiny, intelligent fun.” — Nick Funnell, Time Out London

Score: 82%

What the Public Say
“We get a decent story, providing lots of action, a huge amount of wit and plenty of suspense. It’s extremely entertaining. It’s well written too, with information smartly hidden beneath breezy dialogue, and looks very cinematic. (The camerawork is often expressive and classy.) Maybe what’s most impressive is the economy. Many scenes are doing double-duty, servicing plot and character, action and exposition, drama and comedy… There’s just a sharpness to everything, which means the film rattles along and is never boring.” — Ian Farrington

Verdict

Regular readers may have picked up that I don’t re-watch films much (I can’t identify at all with people who claim to have seen the same film dozens or hundreds of times). Despite that, I saw Serenity in the cinema four times, two of them back-to-back. Such is the genius of writer-director Joss Whedon, and the quality of the Firefly universe — it’s a situation where every element just clicked to make a perfect result. (Well, every element except the original TV network, anyway.) No doubt Serenity is best viewed as a capper to the fourteen-hour TV series — that extra investment in the characters and universe makes the film’s best bits sing — but it’s accessible to newcomers also, being so cleverly structured and packed with all the information you’d need.

It was named “Film of the Year” by the BBC’s Film programme; it topped an SFX poll for the best science-fiction film of all time; and its DVD is a permanent resident on the International Space Station to entertain the crews. Cào nǐ, Fox.

#83 will… get busy living or get busy dying.

Se7en (1995)

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100 Films’ 100 Favourites #81

Seven deadly sins. Seven ways to die.

Also Known As: Seven

Country: USA
Language: English
Runtime: 127 minutes
BBFC: 18
MPAA: R

Original Release: 22nd September 1995 (USA)
UK Release: 5th January 1996
First Seen: TV, 12th June 2001 (probably)

Stars
Morgan Freeman (The Shawshank Redemption, Million Dollar Baby)
Brad Pitt (Legends of the Fall, The Curious Case of Benjamin Button)
Kevin Spacey (The Usual Suspects, American Beauty)
Gwyneth Paltrow (Sliding Doors, Shakespeare in Love)

Director
David Fincher (Fight Club, Zodiac)

Screenwriter
Andrew Kevin Walker (8MM, Sleepy Hollow)

The Story
In an unnamed city, two homicide detectives investigate a series of grim murders inspired by the seven deadly sins.

Our Heroes
William Somerset is a detective who works calmly and methodically, and cares more than most. Serving out the last few days before his retirement, he lands a helluva final case. His new partner is David Mills, a hotheaded but idealistic new transfer who’s keen to prove himself. Despite their chalk-and-cheese temperaments, or perhaps because of them, the pair may be ideally suited to catch the elusive killer.

Our Villain
John Doe, a proper psychopath, and on a mission too. I say the detectives are ideally suited to catch him, but, well (major, major spoilers…) they technically don’t and he essentially wins.

Best Supporting Character
R. Lee Ermey’s police captain, purely for the moment when he answers a phone. I love that bit of humour far more than it probably warrants.

Memorable Quote
“What was in the box? What’s in the box? What’s in the fucking box?!” — Mills

Memorable Scene
The climax — just Somerset, Mills, and John Doe, alone in the middle of nowhere… and then a deliveryman shows up. “John Doe has the upper hand!”

Technical Wizardry
The film’s visual style really helps to sell the tone — dark, foreboding, grim. This is in part because it’s always raining, a decision made to increase the sense of dread, and because of Darius Khondji’s cinematography, which employed bleach bypass (see also: Minority Report), a process that serves to deepen shadows. Additionally, for the film’s Platinum Series DVD release it was rescanned from the original negative, meaning the whole film had to have its colour grading re-done. Some of the changes were quite extensive (as detailed in the DVD/Blu-ray’s special features, if you’re interested).

Truly Special Effect
A serial killer thriller might not sound like a special effect showcase, but John Doe’s extreme methods lead to some pretty unusual and gruesome corpses — rendered with suitably sickening prosthetics, of course. ‘Sloth’ is particularly harrowing, though ‘lust’ is so bad it’s left almost entirely to our imagination — though, again, someone had to design and build the… instrument.

Making of
John Doe’s shelves of handwritten notebooks were real and created especially for the film. They took two months to create at a cost of $15,000.

Next time…
Screenwriter Andrew Kevin Walker originally thought of 8MM as a sequel, and David Fincher was interested, but it didn’t happen and we wound up with the only-half-decent Nicolas Cage-starring Joel Schumacher-directed version instead.

Awards
1 Oscar nomination (Editing)
1 BAFTA nomination (Original Screenplay)
2 Saturn Awards (Writing, Make-Up)
5 Saturn nominations (Action/Adventure Film, Actor (Morgan Freeman), Supporting Actress (Gwyneth Paltrow), Director, Music)
Places with more taste (i.e. where it won Best Film): Empire Awards, Fantasporto International Fantasy Film Awards, MTV Movie Awards; plus Best Foreign Language Film at Blue Ribbon Awards, Hochi Film Awards, Sant Jordi Awards (Audience Award)

What the Critics Said
“designer unpleasantness is a hallmark of our era, and this movie may be more concerned with wallowing in it than with illuminating what it means politically. Yet the filmmakers stick to their vision with such dedication and persistence that something indelible comes across — something ethically and artistically superior to The Silence of the Lambs that refuses to exploit suffering for fun or entertainment and leaves you wondering about the world we’re living in.” — Jonathan Rosenbaum, Chicago Reader

Score: 80%

What the Public Say
“The rain never ends. There is seldom any sunlight, or any warmth. The city feels like a city of the damned, as if its denizens are souls trapped in some circle of hell from which there is no escape. A feeling of dread pervades everything; there is never any inclination that anything remotely like justice or hope or salvation is even possible here. […] it’s all style and atmosphere but… to criticise the film for that, almost feels like missing the point — it’s so integral to the piece, the atmosphere is actually one of the film’s characters” — the ghost of 82

Elsewhere on 100 Films…
I reviewed Se7en quite thoroughly (and, if I do say so myself, quite well) as part of a retrospective on Fincher’s films back in 2011, concluding that “some would claim that Se7en is no more than a standard murder thriller with a stock mismatched pair of detectives. In some respects they’re right, but in enough respects they’re wrong. There’s a killer high concept behind the crimes, but it’s really the execution of the film that makes it so much more. It’s in the performances, the way those stock characters are written, their subplots, the story’s pace, the cinematography, the music, individual sequences like Somerset in the library or the climax that rise not only to the top of the genre but to the top of the very medium of film itself.”

Verdict

When asked, I normally say Se7en is my favourite movie. That’s partly pre-picked just to prevent any such conversations turning into a dreary slog where I um and ah through hundreds of options, but naturally there’s some truth in it. On the surface it’s merely a police procedural, but it’s the way it handles that material that elevates it. It’s a dark film about terrible deeds, which both suits its subject matter (murder isn’t really just a fun little mystery to solve, is it?) and presents a worldview that makes us consider who’s really right and who’s really mad — John Doe is clearly an evil psychopath, but does he have a point? It’s also made with supreme artistry by director David Fincher and his team — I’ve already mentioned DP Darius Khondji, but it’s also superbly edited by Richard Francis-Bruce. And I’d argue it has one of the greatest climaxes ever filmed. There are more easily enjoyable movies in my 100 Favourites, but there are none that are any better made, nor any that better expose the dark heart of humanity.

#82 will be… a big damn movie.

Schindler’s List (1993)

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100 Films’ 100 Favourites #80

“Whoever saves one life,
saves the world entire.”

Country: USA
Language: English, Hebrew, German & Polish
Runtime: 195 minutes
BBFC: 15
MPAA: R

Original Release: 15th December 1993 (USA)
UK Release: 18th February 1994
First Seen: VHS, c.2001

Stars
Liam Neeson (Darkman, Star Wars: Episode I – The Phantom Menace)
Ben Kingsley (Gandhi, Iron Man 3)
Ralph Fiennes (The English Patient, The Grand Budapest Hotel)

Director
Steven Spielberg (Amistad, Lincoln)

Screenwriter
Steven Zaillian (Awakenings, Moneyball)

Based on
Schindler’s Ark, a Booker Prize-winning novel (released in America as Schindler’s List) by Thomas Keneally.

The Story
In occupied Poland in the early days of World War 2, German businessman Oskar Schindler opens a factory supplying the German military, staffed by Jewish workers. As the Nazis begin to close the ghettos and ship Jews to concentration camps, Schindler uses his connections and profits to surreptitiously save as many as he can.

Our Hero
Oskar Schindler is a self-interested businessman, womaniser, and member of the Nazi Party. Initially employing Jews merely for financial reasons (they’re cheaper than Polish workers), his innate humanity begins to come to the fore.

Our Villain
Nazis! But in particular Amon Goeth, the sadistic commander of the Paszów labour camp, who’s fond of executing Jews at random, amongst other horrors. Nonetheless, Schindler has to deal with him to ensure the (relative) safety of his workforce.

Best Supporting Character
Schindler’s contact on the local Jewish Council, Itzhak Stern, who becomes essential to making his business a success, and facilitating his operation to save the workers.

Memorable Quote
“I could have got more out. I could have got more. I don’t know. If I’d just… I could have got more.” — Oskar Schindler

Memorable Scene
During the destruction of the ghetto, Schindler sees a little girl in a red coat (the one splash of colour in the body of the film), wandering alone through the devastation. Later, as the Nazis burn piles of the dead, corpses are ferried to the pyres on small wagons. On one, Schindler sees a small body in a red coat… (There’s a good piece on the psychology of why these scenes are so effective here.)

Technical Wizardry
Spielberg chose to shoot in black-and-white to match actual documentary footage of the era, which was how he ‘saw’ the events. It was also shot without storyboards, Steadicams, cranes, or zoom lenses, and about 40% was filmed using handheld cameras, to emphasise a documentary feel. For a similar level of realism, Spielberg originally intended to make the film entirely in German and Polish with English subtitles, but changed his mind because he thought he wouldn’t be able to accurately direct performances in foreign languages.

Making of
Acting as producer, Spielberg initially tried to attract another director because he felt he wasn’t capable of doing the story justice. Martin Scorsese turned it down because he felt it should be done by a Jewish director, and Roman Polanski rejected it because it was too personal (he lived in the Krakow ghetto, only escaping on the day of its liquidation, and his mother died at Auschwitz). Finally, there was Billy Wilder — depending which version you believe, he either wanted to direct but Spielberg was already prepping the shoot, or he actually convinced Spielberg to direct it. Ultimately, Spielberg waited ten years between acquiring the rights and making the film, when he finally felt capable of tackling it.

Awards
7 Oscars (Picture, Director, Adapted Screenplay, Cinematography, Editing, Score, Art Direction-Set Decoration)
5 Oscar nominations (Actor (Liam Neeson), Supporting Actor (Ralph Fiennes), Costume Design, Sound, Makeup)
7 BAFTAs (Film, Supporting Actor (Ralph Fiennes), Director, Adapted Screenplay, Cinematography, Editing, Score)
6 BAFTA nominations (Actor (Liam Neeson), Supporting Actor (Ben Kingsley), Costume Design, Make Up Artist, Production Design, Sound)

What the Critics Said
“If E.T. The Extraterrestrial is Steven Spielberg’s fantasy masterpiece, and Jurassic Park is his commercial masterpiece, then Schindler’s List is certainly his artistic masterpiece. It’s an extraordinary work of vision and passion that raises even the gifted Spielberg to a new level of artistry. And like all great works, it elevates everyone who views it.” — Dennis King, Tulsa World

Score: 96%

What the Public Say
“It’s very, very hard-going and not an easy film to watch, but its importance is unparalleled. You sit there for three hours feeling uncomfortable – because these monstrosities really happened, because we live in a world where people are capable of these acts of inhumanity – and you still can’t even begin to imagine what it must have really been like, to live through that, to see your family and friends shot dead in the street or transported away en masse to the gas chambers. And yet, despite all that, you end the film feeling inspired. Someone made a difference.” — Millicent Murdoch, Millie’s Movie Reviews

Verdict

Schindler’s List wasn’t Spielberg’s first ‘serious’ film, but I think it shows a marked increase in quality over his good-but-flawed previous efforts, The Color Purple and Empire of the Sun. Liam Neeson gives a commanding performance as the imperfect hero, while Ralph Fiennes finds what little humanity there is in Goeth (and there isn’t much) to pull him short of being an Evil Nazi caricature. The stark black-and-white cinematography acknowledges the incomprehensibly horrific events, while Spielberg’s divisive penchant for sentimentality seems well-matched to the tale, offering a measure of hope from humanity’s darkest days.

What’s in #81? What’s in #81?

Saving Private Ryan (1998)

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100 Films’ 100 Favourites #79

The mission is a man.

Country: USA
Language: English, French, German & Czech
Runtime: 170 minutes
BBFC: 15
MPAA: R

Original Release: 24th July 1998 (USA)
UK Release: 11th September 1998
First Seen: TV, c.2001

Stars
Tom Hanks (Big, Cast Away)
Edward Burns (She’s the One, 15 Minutes)
Matt Damon (Good Will Hunting, Jason Bourne)
Tom Sizemore (Natural Born Killers, Black Hawk Down)
(The lead cast includes since-famous people like Vin Diesel, Barry Pepper, and Giovanni Ribisi, and the supporting cast even more recognisable faces, but, still, Edward Burns is second billed.)

Director
Steven Spielberg (Empire of the Sun, War Horse)

Screenwriter
Robert Rodat (Fly Away Home, The Patriot)

The Story
In the immediate aftermath of D-Day, a group of soldiers are tasked to locate and rescue just one man: Private Ryan, whose three brothers have been killed in action, earning him a free pass home. As the squad trek across France, mindful of the waste of resources, they encounter first-hand the early days of the Allied invasion of Europe.

Our Heroes
Just a regular bunch of soldiers, co-opted into a PR mission that isn’t that easy. They’re commanded by Captain Miller, their respected leader with a secretive past… a past which is actually thoroughly mundane, and just highlights the bizarre, heightened world of the war.

Our Villains
Nazis!

Best Supporting Character
Matt Damon was cast as the eponymous soldier because Spielberg wanted an unknown with an all-American look. Unfortunately for that plan, before Private Ryan came out Damon won an Oscar for Good Will Hunting and became famous overnight. It certainly changes the effect to have the team rescuing Movie Star Matt Damon rather than Some Unknown Actor, but, on the bright side, he’s good.

Memorable Quote
Reiben: “Hey, so, Captain, what about you? I mean, you don’t gripe at all?”
Miller: “I don’t gripe to you, Reiben. I’m a captain. There’s a chain of command. Gripes go up, not down. Always up. You gripe to me, I gripe to my superior officer, so on, so on, and so on. I don’t gripe to you. I don’t gripe in front of you. You should know that as a Ranger.”
Reiben: “I’m sorry, sir, but uh… let’s say you weren’t a captain, or maybe I was a major. What would you say then?”
Miller: “Well, in that case, I’d say, ‘This is an excellent mission, sir, with an extremely valuable objective, sir, worthy of my best efforts, sir. Moreover, I feel heartfelt sorrow for the mother of Private James Ryan and am willing to lay down my life and the lives of my men — especially you, Reiben — to ease her suffering.’”

Memorable Scene
The opening half-hour, which recreates the Normandy landings in shocking, brutal detail, and is supposedly very true to the actual experience. Surely the definitive modern combat sequence from any war movie.

Technical Wizardry
The heavily desaturated cinematography by Janusz Kaminski instantly lends the film a grim veracity, very appropriate to its tone. Such extreme colour palettes are commonplace nowadays, mainly thanks to digital grading, but when Private Ryan came to US TV providers had to deal with numerous complaints from viewers who thought there was a problem with their signal — which the broadcasters fixed by just upping the saturation of the film, of course.

Truly Special Effect
The involvement of ILM was downplayed so that the film didn’t come across as “an effects movie”, but they still had a key role — for instance, providing most of the bullet hits throughout the D-Day sequence. Not remarkable effects work in itself, maybe, but it’s appropriately invisible.

Making of
The D-Day sequence alone cost $11 million. It was filmed over four weeks (almost half the entire shoot), gradually moving up the beach to film the whole thing in chronological order. Spielberg personally operated the camera for many shots, none of which were storyboarded. The shoot involved up to 1,000 extras, 20 to 30 of whom were amputees fitted with prosthetic limbs to simulate them being blown off. Reportedly, many veterans have congratulated Spielberg on the sequence’s accuracy, including actor James Doohan, aka Star Trek’s Scotty, who participated in the Normandy landings.

Next time…
HBO’s Band of Brothers is basically Saving Private Ryan: The Series, taking the film’s visual style to tell the true story of a company of soldiers from their training, through the invasions of France and Germany, and right up to the end of the war. Often topping lists as the greatest TV series ever made, it certainly belongs in consideration.

Awards
5 Oscars (Director, Cinematography, Editing, Sound, Sound Effects Editing)
6 Oscar nominations (Picture, Actor (Tom Hanks), Original Screenplay, Score, Art Direction-Set Decoration, Makeup)
2 BAFTAs (Sound, Special Effects)
8 BAFTA nominations (Film, Actor (Tom Hanks), Director, Music, Cinematography, Editing, Production Design, Make Up/Hair)
1 Saturn Award (Action/Adventure/Thriller Film)
1 Saturn nomination (Special Effects)
3 MTV Movie Awards nominations (including Action Sequence for the Normandy landings. It lost to Armageddon.)

What the Critics Said
“hands-down the best film of 1998. Spielberg has clearly stated in recent interviews that he made the film as a monument to the brave men who fought and died in that terrible war (and on D-Day, in particular), but he’s also done something morally heroic in the process. Private Ryan clearly illustrates, once and for all, that war — the real, appalling thing, not the flag-waving glorification that you usually see at the movies — is hell on earth. Spielberg accomplishes these goals with a technical virtuosity that no other director, arguably in the history of the cinema, can even approach. […] He’s a director whose work has grown right before our eyes from that of a precocious whiz-kid to the complex, humanistic statements of a true artist. Whether or not you always appreciate how he utilizes his skills, the man is an undeniable genius.” — Paul Tatara, CNN

Score: 92%

What the Public Say
“the opening 25 minutes of Saving Private Ryan – where [Spielberg] thrusts us into the 1944 D-Day landings of Omaha Beach – is arguably his most impressive and certainly his most visceral work. It’s absolutely exhausting in its construction and sense of realism and the realisation soon sets in, that this cinematic auteur is not about to pull any punches in portraying a time in history that’s very close to his heart. The opening is so commanding that some have criticised the film for not living up this grand and devastating scale but Spielberg has many more up his sleeve. He’s just not able to deliver them too close together – otherwise, the film would be absolutely shattering and very difficult to get through. To bridge the gap between breathtaking battles scenes the film falls into a rather conventional storyline about men on a mission but its only purpose is to keep the film flowing and allows Spielberg the ability to make the brutality of war more personal.” — Mark Walker, Marked Movies

Verdict

Is Saving Private Ryan the greatest war movie ever made? Maybe. The relatively simple story allows it to explore the mindset of the soldiers making the first forays into Europe after D-Day, both their camaraderie as a group of men and the actions they took to function through the experience. It’s certainly the most influential World War 2 movie of modern times — nearly 20 years later, its desaturated colour palette remains de rigueur for films set in the war. So too its realistic depiction of combat, which is more plausible than some of the Boy’s Own adventures that came before, though not so ridiculously gruelling as some that have come in its wake. Personally, the only superior WW2 ‘film’ I can think of is Band of Brothers, and considering that has ten hours to explore its characters and situations, it’s not really a fair comparison.

#80 will be… a very different Spielberg/WW2 story.

Saved! (2004)

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100 Films’ 100 Favourites #78

Heaven Help Us.

Country: USA & Canada
Language: English
Runtime: 92 minutes
BBFC: 12A
MPAA: PG-13

Original Release: 11th June 2004 (USA)
UK Release: 29th October 2004
First Seen: DVD, 2005

Stars
Jena Malone (Donnie Darko, The Hunger Games: Catching Fire)
Mandy Moore (A Walk to Remember, Tangled)
Macaulay Culkin (Home Alone, My Girl)
Patrick Fugit (Almost Famous, Wristcutters: A Love Story)
Eva Amurri (The Banger Sisters, The Life Before Her Eyes)

Director
Brian Dannelly (Struck by Lightning, Scream: The TV Series)

Screenwriters
Brian Dannelly (He Bop)
Michael Urban (Who’s Afraid of Vagina Wolf?)

The Story
When teen Mary learns her boyfriend is gay, a vision of Jesus leads her to attempt to cure him through sex. Unfortunately for her, the only result is she gets pregnant, which she decides to keep secret from friends and teachers at her ultra-Christian high school. As Mary questions her beliefs, she falls in with the school’s misfits, while her former friends endeavour to aggressively restore her faith.

Our Hero
Mary has “been born again her whole life”, but has her eyes opened a bit when her attempts to cure her homosexual boyfriend don’t go as Jesus promised.

Our Villain
Hilary Faye, the ‘perfect’ Christian who mainly uses her devotion to God to be the school’s queen bitch.

Best Supporting Characters
Hilary’s wheelchair-bound brother, Roland, and the school’s only “Jewish”, Cassandra, who come together with shared cynicism, but at heart better embody Christian values than some of their more militant schoolmates.

Memorable Quote
“Why would God make us so different if he wanted us to be the same?” — Mary

Memorable Scene
At the first assembly of the school year, cool headmaster Pastor Skip flips onto stage (“Give it up to the Lord, Jesus is in the house! Let’s get our Christ on, let’s kick it Jesus style! … Who’s down with G-O-D? Alright! Jesus rules! Jesus rules!”), before prayer time gives an insight into what everyone’s thinking (“thank you for sparing me from the eternal hell fires of damnation, I’m sorry I let that Promise Maker guy touch me in the rectory”), and then Cassandra starts ‘speaking in tongues’ (“mah puhsah issa hot puhsow”), though Hilary Faye sees through it (“she’s saying she’s got a hot p—!”)

Awards
2 Teen Choice Awards nominations (Movie Hissy Fit (Mandy Moore), Movie Sleazebag (Mandy Moore))

What the Critics Said
“Dannelly and Urban, first-time filmmakers, don’t have the ruthlessness of dedicated satirists like the writer-director team of Jim Taylor and Alexander Payne, whose movies Citizen Ruth and Election are modern classics. But satire can sting without being ruthless. Saved! is a minor work, yet it has a teasing lilt to it, and to make it at all took courage and originality. […] Saved! is not an attack on Christianity; if anything, the movie wants to reassert the Christian spirit. But it goes after pious hypocrites, the kind of people who never stop speaking of love yet find an unaccountably large number of folks to hate.” — David Denby, The New Yorker

Score: 61%

What the Public Say
“many moments [are] screamingly funny but also sad in Brian Dannelly’s incisive, but not entirely irreverent, send-up of Christian fundamentalism. The title’s exclamation point isn’t for show, but questions Christianity’s constant urgency: Is salvation really unattainable for these kids if they’re not seeking it this second, every second, 24/7? […] Dannelly and Michael Urban’s script could’ve settled for empty-calorie satirical slapdowns, but instead posed thoughtful, challenging questions about the relative worthlessness of forced value systems.” — Nick Rogers, The Film Yap

Verdict

Mixing “mean girl” high school comedy with religious satire, which initially seems more cutting than it perhaps is, Saved! triumphs by having something to say but saying it very amusingly. Some criticise it for pulling its punches, not going all out in its damnation of religious types, but — conversely — that quality of mercy arguably makes it a better, more intelligent movie. It’s not saying having religious faith or sharing those values makes you inherently bad, but applying those beliefs hypocritically kinda does. Whatever your position on that matter, the screenplay’s gentle irreverence and the cast’s quality comic performances make it an often hilarious delight.

#79 will be… a lot of bother to rescue Matt Damon.

Romeo + Juliet (1996)

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100 Films’ 100 Favourites #77

Hope & despair.
Tragedy & love.
Romeo & Juliet.

Full Title: William Shakespeare’s Romeo + Juliet

Country: USA
Language: English
Runtime: 120 minutes
BBFC: 12
MPAA: PG-13

Original Release: 1st November 1996 (USA)
UK Release: 28th March 1997
First Seen: VHS, c.1998

Stars
Leonardo DiCaprio (Titanic, The Wolf of Wall Street)
Claire Danes (Terminator 3: Rise of the Machines, Stardust)

Director
Baz Luhrmann (Strictly Ballroom, Moulin Rogue!)

Screenwriters
Craig Pearce (Strictly Ballroom, Moulin Rogue!)
Baz Luhrmann (Australia, The Great Gatsby)
William Shakespeare (My Own Private Idaho, 10 Things I Hate About You)

Based on
Some play, apparently.

The Story
Two households, both alike in dignity, in fair Verona, where we lay our scene. From ancient grudge break to new mutiny, where civil blood makes civil hands unclean. From forth the fatal loins of these two foes, a pair of star-crossed lovers take their life, whose misadventured piteous overthrows doth with their death bury their parents’ strife. The fearful passage of their death-marked love and the continuance of their parents’ rage, which, but their children’s end, naught could remove, is now the two hours’ traffic of our stage.

Our Heroes
Romeo Montague and Juliet Capulet, kids from feuding families who fall in love despite that conflict.

Our Villains
The rest of their families, whose animosity to one another, and thereby opposition to the coupling, results in tragedy.

Best Supporting Character
Romeo’s best friend, Mercutio, brought to flamboyant life by Harold Perrineau.

Memorable Quote
“Oh, what’s in a name? That which we call a rose by any other word would smell as sweet” — Juliet

Quote Most Likely To Be Used in Everyday Conversation
“O Romeo, Romeo, wherefore art thou Romeo?” — Juliet (rarely misquoted, regularly misunderstood)

Memorable Scene
The prologue, which sets out the film’s stylistic stall with a fast-cut and dramatically-scored montage of ultra-modern imagery to visualise the play’s prologue, as delivered by a TV news anchorwoman. It’s especially effective when paired with the first full scene, where the young men of the Capulet and Montague families clash at a gas station, which is similarly front-loaded with the film’s modern design, fast dialogue, and hyper-editing.

Memorable Music
The other films in the Red Curtain Trilogy (see Next Time) of course have a prominent role for music — one is about dancing, the other is a musical. While you’d think a Shakespeare adaptation would be all about the dialogue, the soundtrack plays a key role in Luhrmann’s vision, and certainly connected with viewers. They even once released a dedicated Music Edition on DVD. There is a score (memorable not least for its variation on O Fortuna, the much-reused O Verona), but it’s the songs by contemporary musicians — the kind of things the characters would listen to, I suppose — that have the greatest effect. Most recognisable is Des’ree’s Kissing You, which plays when the eponymous lovers first meet.

Technical Wizardry
The film is well known for its exuberant camerawork and editing. Obviously much of that is done in post-production, but it required on-set ingenuity as well. For the scene where Romeo and Juliet first kiss in a cramped elevator, the set walls were made in sections which could be raised to let the camera in. In the finished shot the camera circles the pair at speed, meaning the crew had to hurriedly raise the walls to let the camera past but speedily replace them to maintain the illusion.

Making of
Famously, the film modernises the characters’ use of swords and daggers by turning them into the brand names of guns. Shakespeare described Tybalt’s swordsmanship as “showy”, so to retain this for the film actor John Leguizamo worked with a choreographer, John O’Connell, to create a style of gunplay inspired by flamenco dancing.

Previously on…
Romeo + Juliet is the middle film in director Baz Luhrmann’s thematically-linked Red Curtain Trilogy. The first is dancing drama Strictly Ballroom.

Next time…
The Red Curtain Trilogy concluded with Moulin Rouge. There are also plenty of other modern-styled Shakespeare adaptations that you could argue owe this a debt.

Awards
1 Oscar nomination (Art Direction-Set Decoration)
4 BAFTAs (Director, Adapted Screenplay, Music, Production Design)
3 BAFTA nominations (Cinematography, Editing, Sound)
1 Saturn nomination (Costumes)
1 MTV Movie Award (Female Performance (Claire Danes))
5 MTV Movie Awards nominations (including Best Kiss — it lost to Independence Day!)

What the Critics Said
“While Shakespeare might well have applauded Aussie filmmaker Baz Luhrmann’s souped-up version of Romeo and Juliet, traditionalists [including many critics, if you check out Rotten Tomatoes] are sure to despise the psychedelic tunes and the flashy sets of this audacious adaptation. Not to mention Mercutio as drag queen. For all of its departures, Luhrmann’s largely successful reinterpretation is far from irreverent. He takes liberties with the world, but never the words of this achingly beautiful love story. […] Luhrmann, who pitted youthful brio against conventional wisdom in Strictly Ballroom, clearly enjoys thumbing his nose at authority. Perhaps he’s an eternal teenager, or merely a bit mad. In any case, his excesses only prove Shakespeare’s profundity and the timelessness of his themes.” — Rita Kempley, The Washington Post

Score: 72%

What the Public Say
“in the play, and almost every adaptation, Romeo visits Juliet’s tomb, poisons himself and dies, and then Juliet wakes up, sees Romeo dead, and stabs herself to death. In this version, however, Juliet wakes up just as Romeo downs the poison, so she watches him die in her arms. Seeing her slowly start to wake as Romeo prepares to kill himself is almost unbearable. Especially the way the dialogue is manipulated; all the lines remain the same, but are just said at slightly different times (when Juliet laments the fact that Romeo didn’t leave any poison for her, she’s talking to him directly this time). And when Romeo dies, Juliet is left without her monologue, because she’s said everything to Romeo already. So instead, she cries and then wordlessly shoots herself in the head. It’s pretty gut-wrenching.” — Elizabeth, Chris and Elizabeth Watch Movies

Verdict

Shakespeare got a do-over for the MTV generation in this textually faithful re-imagining of arguably the Bard’s most famous work. Above, I alluded to critics’ dismissal of this adaptation — here are some choice quotes: “the kind of violent swank-trash music video that may make you feel like reaching for the remote”; “a classic play thrown in the path of a subway train”; “destined for the trash heap of Shakespeare adaptations”; “a monumental disaster.” I’d argue its subsequent, and largely enduring, success has put those old fuddy-duddies on the wrong side of history. Certainly, the fact it starred heartthrob du jour Leonardo DiCaprio ensured it reached an audience that otherwise would’ve had no interest. Oh, and it won BAFTAs — the film awards of Shakespeare’s homeland — for direction and screenplay. Shows what you know, yankees. Cultural impact aside, it’s a wildly inventive, daring work, which keeps it fresh and exciting even when its mid-’90s antics should by all rights have dated it into oblivion.

#78 will… kick it Jesus-style!

The Rocky Horror Picture Show (1975)

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100 Films’ 100 Favourites #76

Give yourself over to absolute pleasure.

Country: UK & USA
Language: English
Runtime: 100 minutes
BBFC: AA (1975) | 15 (1987) | 12 (1991)
MPAA: R

Original Release: 15th August 1975 (UK)
First Seen: TV, 31st December 1998

Stars
Tim Curry (Annie, Clue)
Susan Sarandon (The Front Page, Thelma & Louise)
Barry Bostwick (Weekend at Bernie’s II, Spy Hard)
Richard O’Brien (Flash Gordon, Dark City)
Meat Loaf (Roadie, Fight Club)
Charles Gray (The Devil Rides Out, Diamonds Are Forever)

Director
Jim Sharman (The Night, the Prowler, Shock Treatment)

Screenwriters
Richard O’Brien (Shock Treatment, Digital Dreams)
Jim Sharman (Shirley Thompson Versus the Aliens, Shock Treatment)

Based on
The Rocky Horror Show, a stage musical by Richard O’Brien.

Music & Lyrics
Richard O’Brien (Shock Treatment)

The Story
When straight-laced young couple Brad and Janet approach a spooky castle in need of shelter, they stumble into the strange world of Dr. Frank-N-Furter, who’s throwing a party to celebrate the ‘birth’ of his new creation: a tank-grown muscleman named Rocky. But it’s not only Rocky who’ll be getting an awakening…

Our Heroes
Good clean all-American kids Brad and Janet, newly engaged but forced to stop off at a creepy castle after their car breaks down in a storm. By the end of the night, they’ll certainly have learnt a new thing or two…

Our Villains
Dr. Frank-N-Furter — not much of a man by the light of day but by night he’s one hell of a lover. Just a sweet transvestite from Transexual, Transylvania, which would be fine if he didn’t get a bit murderous. Surrounded by a gaggle of home help and hangers-on, like hunchbacked handyman Riff Raff, mental maid Magenta, and vaudevillian groupie Columbia.

Best Supporting Character
Charles Gray is perfect as The Narrator, holed up in his wood-panelled study and telling the audience this fantastical story with admirable matter-of-factness.

Memorable Quote
“Let’s do the time warp again!” — everyone

Quote Most Likely To Be Used in Everyday Conversation
“I see you shiver with antici…

…pation.” — Dr. Frank-N-Furter

Memorable Scene
The title sequence: the opening number sung by a pair of very big, very red lips. Simple, but iconic.

Best Song
Rocky Horror is one of those musicals where almost every song is genius: the cleverly reference-filled, surprisingly melancholic, bookending refrain of Science Fiction/Double Feature; the wittily rhymed Dammit Janet; the mission statement that is Sweet Transvestite; the sweetly kinky Touch-A, Touch-A, Touch Me; the epic multi-part floor show climax… and more. That said, I always disliked the post-climax Super Heroes, and wasn’t alone: it was actually cut out of the original US release. But then I heard Richard O’Brien sing it with acoustic guitar on the DVD special features, and in that variation it’s a darkly beautiful song. But for all that, when talking about the best song in Rocky Horror you really can’t beat the utterly iconic Time Warp.

Making of
Many films have “Easter eggs” — little half-hidden treats for fans to discover — but not many have them literally. The exception, of course, is Rocky Horror. Apparently the crew had an Easter egg hunt (which, considering the movie was shot from October to December, doesn’t make much sense) but they weren’t all found, hence why some turned up in the final film. I won’t tell you where they are (I mean, five seconds on Google and you can find out), but there are supposedly three.

Next time…
Initially a flop, it was when someone got the idea to screen the movie for the midnight crowd that Rocky Horror caught on. The interactive, ritual-filled experience of these screenings is legendary, and they’ve continued ever since — to the point where some cinemas have it as part of their regular schedule, and the DVD & Blu-ray releases include alternate tracks featuring the audience participation. It also means that, officially speaking, Rocky Horror has the longest theatrical run in movie history. In 1981, Sharman and O’Brien produced a sort-of-sequel, Shock Treatment. A new adventure for Brad and Janet (both recast), it featured several Rocky Horror actors (O’Brien, Patricia Quinn, Little Nell, Charles Gray) in new roles. It didn’t go down very well, though apparently it has its fans — a cult following within a cult following, I guess. In 2010, once-popular high school musical TV series Glee aired a tribute episode, The Rocky Horror Glee Show. It is truly horrendous; a plasticky, sanitised, neutered version of something that should never be those things. So I don’t hold out much hope for the next thing the same network (Fox, of all places!) have planned for the property: after years (decades?) of rumours, they’re finally making good on the threat by remaking the film. Officially dubbed The Rocky Horror Picture Show: Let’s Do the Time Warp Again, the clips released so far look almost as bad as the Glee version. We’ll see. Finally, the original stage show has continued across numerous productions, and last year a 40th anniversary gala performance was simulcast to cinemas across Europe and later aired on TV. It’s now available on YouTube. I’ve not watched it, but I suspect it’s a better bet than that Fox version.

Awards
1 Academy of Science Fiction, Fantasy & Horror Films Golden Scroll nomination (Best Horror Film (it lost to Young Frankenstein))

What the Critics Said
“Rocky Horror is actually a very good film in its own right; made on a small budget, it’s a triumph of clever filmmaking by Sharman, who should have gone on to bigger things (and might have, had he not arrived at the end of an era). Yes, there are little technical glitches, but rarely has there been a more cleverly and creatively shot and edited film. Nearly every angle, every cut, every zoom shot, every optical transition is used to effectively maximize its respective scene. […] Remember the cult status, yes, but sometime try watching Rocky Horror just as a movie. It pays real dividends.” — Ken Hanke, Mountain Xpress

You What?
“Viewed on video simply as a movie, without the midnight sideshow, it’s cheerful and silly, and kind of sweet, and forgettable.” — Roger Ebert, Chicago Sun-Times (Rocky Horror is many things, but “forgettable”? Hm.)

Score: 80%

What the Public Say
“Rocky Horror is so distinctive, so unique, that it could’ve come off as bizarre, alien, and off-putting, but it didn’t. It has such self-aware charm, a catchy soundtrack that sticks in the head for days, and hilarious performers, that it overcomes its rather dull protagonists. Of course, Brad and Janet have their own charm as parodies of the square-jawed hero and his girl, but they will always be the least interesting characters on screen.” — That Other Critic

Verdict

Some people dismiss Rocky Horror as a film, thinking its only worth (if they acknowledge it has any) is as a live experience. I’ve never seen it ‘live’ (and don’t have an especially great desire to) but will happily fight its corner as a solo viewing experience. It’s camp and transgressive, but ‘safely’ so — that’s not a criticism, just an observation that it can work well as an eye-opener for the young or more conservative. But beyond that social impact, the outré style belies an underlying cleverness, with witty writing that features abundant references to sci-fi B-movie classics, precisely pitched performances, and, of course, the unforgettable toe-tapping tunes. Whether alone or in a packed auditorium throwing stuff and shouting back at the screen, it’s just fun. To watch it is to, indeed, give yourself over to absolute pleasure.

#77 will be… the greatest love story the world has ever known.