You're right, Iro. He ain't worth it and i'm sure he'll be a good boy now. I'll continue with my list.
49.
Switchblade Romance (Alexandre Aja, 2003)
Alex Aja, the french horror maestro, clearly spent his earlier life being hypnotized by the gory and exploitative VHS nasties of the 70s and mid-80s. Well, in this disturbing piece of horror, he delivers a ferocious tour de force of genuine fear that is reminiscent of those blood splattered classics than the more contemporary over sexed teens that fill out the genre today. And he delivers with precision.
Aja's craftmanlike use of widescreen camera work and unbearable creepy sound design make this horror much more technically superior to anything else Aja pays homaage or tribute to or the so-called 'post modernist' marlarky that seems to be played for laughs rather than actual horror. It's a technical accomplishment on his part that
Switchblade Romance has some stunning cinematography to boot.
I know that a lot of people found the twist to be dodgy and create a whirpool of plot holes and such, but I honestly don't think it matters in the end. At least during the initial experience. But yeah, it doesn't matter because the cat and mouse chase sequences alone cement Aja's film as one of the more unforgiven films of the genre.
48.
Wolf Creek (Greg McLean, 2005)
I had an absurdly difficult time deciding where to place
Wolf Creek. It was either going to be ranked 49 or 48, so I had to decide which was the stronger out the two films. After much debate, I, as you can see, went with Greg McLean's atmospheric gem. This just pips
Switchblade Romance because of it's surprising and effective shift of tone.
At first, this near masterful horror masquerades as some sort of big screen version of
Home and Away. Calm and assured, the slow build of the first half still manages to charm you with a trio of likeable characters. No cliched sex mad and obnoxious teens here, you grow to respect and care about these backpackers. But with a set up that includes some absolutely STUNNING establishing shots of deserted parts of Australia, you just know that there inevitable is going to be harsher than you could possibly imagine.
Mick, possibly the creepiest and nastiest and
funniest horror icon to emerge in years, is the catalyst for the film transforming into a ferocious survival horror where the tension is beyond excruciating and the violence remorseless. This film just doesn't muck about. It's disorientating stuff when it shifts tone and it really does make you question how far the film will go.
I really want to talk a lot more about Jeff Jarrett's villainous turn as the sick yet funny Mick. He's one of the best antagonists you'll ever see. Up there with the best of them. I always feel guilty when he makes me laugh because the stuff he pulls in the film is despicable. But i'll stop with him there because that's for another thread.
This film is concious in its exploition of violence but not to the extent where it seems like some self absorbed lecture. That pretentious so-called 'auteur' Michael Haneke can spat his self-righteous views about sanitised violence all he wants, because this film made me wince when it needed to. And as a result it told me far more about why and how I watch horror films than either version of
Funny Games ever could.
47.
Scarface (Brian DePalma, 1983)
Tony Montana does and sells drugs, kills people, keeps full grown tigers as pets and curses at his wife with some of the most cruel and abhorrent misogynistic slurs your eardrums have ever heard. Yet, for all his sins, the character still remains one of the most iconic anti-heros today.
Everybody from rappers to even high ranking solicitors (like my mate's brother) idolise Pacino's portrayal of Montana. And so they should because he represents you and me. Y'see, the American Dream isn't just applied to those within the states...every nation in the entire world has taken the concept to some degree but with mixed results.
This film is about the American Dream gone utterly wrong. And it's all due to excess, one of the films most prominent themes. **** Michael Corleone, from the get-go, Pacino relishes being Montana. From every syllable to the way he says 'yayo', Pacino has the accent and character down to a T and has been Montana ever since. Excess baby, it will kill ya.
46.
The Fly (David Cronenberg, 1986)
Although I much prefer the evovled David Cronenberg who's become the maestro of crime dramas, I cannot ignore this beautifully crafted remake from his 'body horror' years.
The Fly is gruesome cinema, and despite Cronenberg's insistance that AIDS wasn't a theme during the production process, you have to imagine that he was at least conscious about it, especially considering the era in which the film was made.
Cronenberg obviously displays a lack of interest in the generic sci fi mise en scene of the film. He really doesn't give a **** about teleportation. Cronenberg is interested in the theme of fusion. That is fusion of all forms. The fusion between man and woman and, of course, the fusion between man and insect.
A recurring theme in a lot of Cronenberg's work, the theme of fusion is explored best in the form of Jeff Goldblum and Gina Davis' relationship. Their relationship being both touching and eventually tragic as he deteriorates, which is why the first act built so heavily on the undeniable chemistry between Goldblum and Davis.
As a result, the latter sequences encompasses all ranges of human/insect emotions: Sadness, disgust, fear - but never hatred. Classy and superior remake from one of the most intelligent artists.
45.
Pieces Of April (Peter Hedges, 2003)
If you dislike Katie Holmes, chances are this film won't change your mind that much. However, if you're one of the very few who can at least tolerate Mrs Thomas Cruise, then this film should move you - a lot.
For those who are not familiar with this little seen and vastly underrated title, Holmes plays April, a rebel estranged from her family and living in New York with her boyfriend. Well it's Thanksgiving Day and the family go on a road trip to see her. Her terminally ill mother hates her though, so along the way to see her daughter, she questions whether it's worth it all. All this intercutted with April and Bobby getting into lots of arkward and funny situations with the doomed thanksgiving turkey..
Theres very little in the way of plot or story with
Pieces. But that's ok though as I think it's a wonderfully rendered drama with with some really striking and thought-provoking human observations. It's almost like an extended TV sitcom episode, but FAR grittier and wittier in style. That would be thanks to Hedges simple yet bold use of digital DV camcording. It may sound like unattractive cinematography, but it does add to the raw and uncolourful life that April leads and makes it all the more effective too.
Theres such a strong, healthy balance between poignancy and humour, and this is all delivered with subtle conviction by Holmes and the always excellent Patricia Clarkson. The latter, getting the most praise from the film with her oscar nominated turn. But don't be fooled, Holmes is no slouch here aswell, and actually holds her own.
Holmes has gotten a lot of stick for being associated with Tom Cruise, her half smile and her lackluster turn in
Batman Begins, but she delivers a nuanced, funny and touching performance that never strays into cliched rebelliousness or exaggerated sentimentality. It's a warm film and extremely heartfelt in all the right moments.
It's even better than Ang Lee's very good
Ice Storm and up there with
Little Miss Sunshine as an indie drama deconstructing the nuclear family and their black sheeps. A brilliant drama.
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