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Correct, apparently 30 years in the making! I watched it with my free Shudder trial, among some other neat films like Late Night with the Devil.
Thanks for the shout. I have Shudder and didn't know this was on it. Going to check it out now.
It's a great film IMO, but a hard watch.
Great film @Mathis1 believe me, it's miles better than the Costner film. While that film isn't bad, it's all a bit self-important and overlong. I think Tombstone is up for a re-watch...
Apparently it was “ Ghost Directed “ by Russell
https://screenrant.com/tombstone-movie-kurt-russell-ghost-directed-sylvester-stallone/#:~:text=Russell passionately believed in Tombstone,: First Blood Part 2).
That wouldn't surprise me at all if true. Russell's passion for that film shines through, including his powerful performance.
Plus his spectacular facial furniture! 😅
Yes, I did hear that story about him ghost directing! George Pan Cosmatos doesn't have a great track record!
Took my service users to see this today, and oh, what a disappointment! To be honest I knew it couldn't achieve the majestic heights of 'Paddington 2' and with Paul King not in the director's chair, I didn't get my hopes up. But even with me lowering my expectations, it's a really poor, lazy effort! No charm, or humour, laboured storytelling, poor characters ( I like Emily Mortimer, but she was a poor substitute for the unique Sally Hawkins!) Olivia Colman tries her best but is just not given anything decent to do! If you're a fan of the first two, I would avoid this, as it sullies their reputation!
(As a footnote, one my group said it was one of the most boring films he'd ever seen! 🫣)
1. Unbreakable (2000)
For me, Shyamalan’s greatest achievement is this grounded superhero film at the turn of the millennium. It has a gorgeous score from James Newton Howard, pitch-perfect performances from Bruce Willis and Samuel L. Jackson, and a refreshing lack of action and spectacle in favor of drama and discovery. Shyamalan crafted his very own style of comic book moviemaking with Unbreakable, and he did it before comic book movies became trendy. One of my all-time favorite films.
2. The Sixth Sense (1999)
Of course, his most popular and well-reviewed film still must rank very high for me. Willis is on fire here too, but just as superb are Haley Joel Osment and Toni Collette as a struggling son and mother. It’s a well-crafted piece from top to bottom, in equal parts scary and melancholic. I certainly couldn’t fault anyone for giving it the #1 spot. The twist is legendary, and rewatches are always delightful.
3. Signs (2002)
I really love Signs. I know it’s significantly more technically flawed than the above two movies, but I can’t help but really enjoy and rewatch this film. Shyamalan puts us in a terrifying extraterrestrial apocalypse situation, and wisely chooses to focus in on one broken family rather than the world at large. Plot holes are acknowledged, but what works so well with Signs is excellent acting, great music, and a welcome helping of eccentric humor amid a truly terrifying experience. The movie is effectively scary, entertaining, and touching.
4. Knock at the Cabin (2023)
I was really surprised to like Knock at the Cabin as much as I did. Like Signs, an apocalypse looms and occurs, but we are focused on just a few characters who are the most important players in said apocalypse. There are some conveniences and unexplained details, sure, but the movie gripped me from start to finish and made me pretty emotional. The acting, especially from Jonathan Goff, Ben Aldridge, and Dave Bautista, is very impressive. It’s very dark and sad, and apparently the book version is even more brutal! Anyway, I think this was Shyamalan’s finest film in two decades, and arguably his most mature.
5. Split (2016)
The twist of this movie being a sequel to Unbreakable had me so hyped when I saw this at the theater! That cool bit aside, though, Split is still a solid film all on its own, too. James McAvoy and Anya Taylor-Joy are superb, and I’m just continually impressed at how many great performances Shyamalan gets out of his actors. This one’s got great thrills, buildup, and intensity, and was a very different but worthy followup to Unbreakable.
6. Glass (2019)
I know Glass had a lukewarm reception, but I’ll gladly defend it as Shyamalan’s most underrated movie, and honestly a pretty decent trilogy capper. I could never understand the complaint about the film lacking big action or spectacle when Shyamalan’s Unbreakable trilogy was never about that. Although a little messy since it has to balance so many characters, Glass has the same reflectiveness and emotional appeal of its predecessors. Seeing David Dunn in action again was a lot of fun, and while the resolutions of the characters are maybe a bit disappointing, the overall ideas made sense to me, and I appreciate what Shyamalan went for here. It’s not quite as consistently strong as the other two in the trilogy, but it’s a good, fitting end for it.
7. The Village (2004)
The Village is a tough one. I still solidly lean towards positivity rather than negativity on it, though I do admit in some ways that the collective experience is a bit underwhelming. I don’t mind the plot twists that bothered a lot of audiences, but their executions were questionable. I think it lacks some of the punch of other Shyamalan films. But having said that, I think this movie still has a lot going for it, namely all the acting performances, a really sweet love story, exceptional cinematography from the legendary Roger Deakins, and more great music from James Newton Howard. It definitely could have used some work, but the film has merit, and no doubt would have been received better had it not been marketed as the next Sixth Sense or Signs.
8. Trap (2024)
Shyamalan’s latest movie sits comfortably right in the middle of my ranking. What I will say about Trap is that it really, and I mean REALLY, stretches believability at many points, but at the same time is a pretty entertaining flick with a really fun, hammy performance from Josh Hartnett. Beyond Cooper and his daughter Riley, I did find myself struggling to care about many other characters, and Saleka Night Shyamalan is distracting and not very good at acting here, I must be honest. Still, I think the movie was well-paced with the transition of action from the concert to outside of it, and it was always fun seeing what Cooper was going to do next. I can’t call it a fully “good” movie, but I was entertained and still think it’s worth trying for anyone skeptical.
9. The Visit (2015)
The Visit was considered something of a comeback film for Shyamalan after the brutal 4-movie run of Lady in the Water, The Happening, The Last Airbender, and After Earth. I didn’t think it was too special myself, but it was still nice to see Shyamalan make something that wasn’t terrible again. The “grandparents” were fun and interesting, but beyond that the movie didn’t offer too much for me, with just about every other aspect being just “fine” or so for my tastes. I’d consider it Shyamalan’s most average effort overall, but your mileage may vary one way or the other.
10. Wide Awake (1998)
Well, I guess Wide Awake could also fairly be considered Shyamalan’s most average film for me. This one’s a 90s dramedy that’s kind of forgettable, but not awful. It’s not really Shyamalan-esque, and feels a lot more like a heavily producer-influenced family film than an auteur director’s work. It’s okay, there are worse ways to spend an hour and a half, I just don’t really have much else to say.
11. Lady in the Water (2006)
So, Lady in the Water is actually the toughest movie on this list for me to rank. Objectively, it’s totally trash, and a cringey fall from grace after Shyamalan had his run of The Sixth Sense, Unbreakable, Signs, and The Village. However, a decent chunk of it falls into the “so bad it’s good” territory for me, like silly overacted moments or just downright baffling stuff like the cereal box readings. A lot of it is still boring and painful, too, though, so I don’t feel right ranking it higher, at least now. A good example of your mileage may vary with how much of the bad you enjoy or not.
12. Praying with Anger (1992)
Shyamalan’s debut film is pretty bland and forgettable. It’s not very well-acted or interesting. It’s just saved from being lower on the list because of the movies that did so much more wrong…
13. Old (2021)
Old was a big disappointment for me after it seemed Shyamalan was back in form again for a while with Split and Glass. I had a hard time getting into much of any of it, really; the pacing was rough, the characters mostly weren’t interesting, and the twist was pretty lame. Outside of some funny overacted moments, this was just a snooze-fest for me I’m afraid.
14. The Happening (2008)
Oh boy, now things are getting REALLY rough. I know for many, The Happening falls into the “so bad it’s good” territory, but I just remember it being painful and could not wait for it to end. I’d love to find it in me to try it again someday and be able to laugh at least, but man, this was just not an enjoyable experience at all the last time I saw it. No real thrills or scares, awful acting, and just a sad confirmation that Lady in the Water had not been an anomaly at the time of its release - Shyamalan was in creative free fall. Easily the worst in Shyamalan’s “Apocalypse Trilogy,” while Signs and Knock at the Cabin are two of his very best. And guess what the two good ones had in common that The Happening didn’t? An intimate scale and just a few well-acted characters we actually care about.
15. After Earth (2013)
If not for what’s coming next, a movie as abominable as After Earth would have been an easy choice for last place. Uninteresting plot and universe? Check. Bad acting? Check. Forgettable as sin? Super duper check. Sheesh, watching this one was a total drag. It just felt like Shyamalan had completely sold out at this point, and he utilized none of the qualities that make him interesting in a good way here.
16. The Last Airbender (2010)
Here it is, the worst of them all. A Top 10 worst ever movies pick for me. The Last Airbender is a total disgrace to the show it’s based on - one of the best shows of all time - and putting that aside, it’s still a garbage movie that does pretty much nothing right. It’s ugly to look at, has exceptionally painful acting, godawful pacing, and absolutely zero soul. This was when the world knew for sure that the Shyamalan we all used to love was dead and gone - until he would rise again in a few years…
So, there you have it! A long but fun list to make. I can’t defend some of his terrible work, but I stand by what I said earlier about the world being better off with him doing his thing making movies. For me, Old was really his only bad movie since 2013’s After Earth, and even if he goes on a rough streak again, he’s given us some real gems. I look forward to whatever he puts out next!
I've seen them all, but ranking them is a tad difficult right now. I'd have to revisit several of these films first. I'd probably say that The Sixth Sense and Split are his best and The Last Airbender his worst, although The Lady In The Water has the dubious honour of being the one I absolutely hate.
Hey, that’s part of the fun about Shyamalan movies; everyone’s thoughts are at least a little bit different! I don’t blame you for hating Lady in the Water; it’s a really bad movie by any objective measure, but I did find some moments genuinely hilarious albeit unintentionally. I hope if I try The Happening again I can get a similar experience. But, yes, I just find Shyamalan one of the most fun, interesting directors ever. I know he’s not taken seriously by many, but I do think he’s got a lot of real talent, although has some truly massive missteps of course too.
Seeing the Final Reckoning trailer put me in the mood for an M.I film. as time was limited i opted for the shortest one. I forgot what a bloody good film this is. Concentrating more on espionage and intrigue than action, it's a bit more grounded than the later films.
I haven't seen this in many years and didn't realise how well paced it is. it moves extremely fast and is really well directed by Brian De Palma. I must get this on physical media...
I have it on good old fashioned VHS @LeonardPine and I agree with your viewpoints. I still think some fans of the TV show are mad about what they did to Jim Phelps. Maybe Ethan Hunt could have been a young Jim Phelps in training? I'd place Jim Phelps as one of my favorite 3 villains in MI: with Owen Davian as probably number one and a tie between Phelps and August Walker at number two. I think that if EON ever brings back Alec Trevelyan, they should look at those two on how to be a betrayal villain for current times. As well as Harvey Dent into Two-Face in various Batman media. Even if we know Alec will turn evil.
As for my last movie watched, it was another Thanksgiving with The Godfather (1972). What can I say that hasn't been said before? Every time that I watch it, I see something new. For everyone who likes the movie, I recommend reading Mario Puzo's original novel. It has the same basic plot, with some side characters more developed. Including two subplots that involve minor characters from the movie. I also recommend the prequel The Family Corleone by Ed Falco. It is based on Mario Puzo's original storyline for The Godfather Part 4. It would have been a prequel-sequel like Part 2 and Andy Garcia said it was nearly made. Unfortunately, Mario Puzo died and Coppola didn't want to do it without him. I would love to see Vincent as the head of the Corleone family for a storyline, even as a novel. I'm honestly a big fan of Godfather Part 3, probably more than most!
Have you watched the re-edited Godfather Part 3: The Death of Michael Corleone @MaxCasino ? I much preferred it to the original. Especially the changed opening sequence.
The first 30 minutes were passable, but far from the greatness I had been led to expect. The setup felt disjointed, and the kids-who looked far too clean and polished-seemed completely out of place for a supposed mining colony. The whole thing lacked the lived-in, gritty realism that defines the best of the Alien universe. But that was just the beginning of the problems.
From there, the movie takes a sharp nosedive. The second act is a disaster, marred by one of the most embarrassing CGI recreations I've ever seen in a major film. It's almost laughable how bad it looks. And it's not just the visuals that fail-the story itself devolves into a blatant, uninspired rip-off of Aliens. It lifts entire sequences and beats directly from the classics without offering anything new. Sure, the zero-gravity sequence had its moments and felt a little fresh, but one good scene can't redeem an otherwise derivative mess.
The worst part is the unnecessary, predictable fourth-act twist they just had to throw in-again. By this point, the movie's desperate pandering to fans becomes painfully clear. It's obvious that the filmmakers were terrified of straying too far from familiar territory, all because some sections of the fanbase couldn't handle a single movie without a Xenomorph in sight.
And that brings me to Prometheus, which, despite its flaws, at least had the guts to engage with the bigger questions and themes that the original Alien touched on-things like creation, identity, and the horrors of assault and violation. Prometheus was ambitious, it pushed boundaries, and most importantly, it tried to move the franchise forward. But the so-called "fans" rejected it, preferring mindless action and monster fights over thought-provoking sci-fi horror.
The biggest issue with Romulus, beyond the awful CGI and shameless Aliens fan service, is that it's completely hollow. It has nothing to say. The movie doesn't even attempt to engage with the deeper themes that have been core to this series for decades. It's all surface-level thrills and nostalgia, with no substance beneath. There's no exploration of the existential horror that the first two films delved into so effectively-no commentary on creation, reproduction, power dynamics, or trauma. Instead, it just rehashes old ideas without understanding what made them powerful in the first place.
That said, there was one moment toward the end that caught my attention. The creature design that appears late in the film was genuinely unsettling-a strange, twisted design that felt fresh and disturbing. For a brief moment, I felt a glimpse of what the film could have been. It was in those few minutes that Fede Alvarez's unique vision shone through. The atmosphere turned creepy, and even the jump scare got me, something I didn't expect at that point. It was a reminder that Alvarez is a director with a distinct style-when he's allowed to use it.
But that glimpse of potential wasn't enough to save the film. It was too little, too late. And the final insult? What they did to Ian Holm. Bringing him back through some cheap CGI reconstruction was disrespectful to his legacy, regardless of whether his family signed off on it for a paycheck. It felt like a hollow cash grab and a disgrace to a beloved actor's memory. It's a shame that this is what the Alien series has come to-fan service, bad effects, and a total disregard for the deeper themes that once made this franchise stand out.
A Different Man (2024)
A Different Man is a captivating film that masterfully combines drama and dark comedy, presenting a thought-provoking message about self-image and acceptance. It's a unique experience that manages to balance humor with moments of discomfort, and it's clear that the filmmakers are unafraid to tackle complex, often challenging themes.
Sebastian's portrayal of Edward is remarkable. He brings a deep vulnerability to the character that makes Edward's journey compelling, and he captures the intricacies of a man grappling with identity and inner conflict. Adam Pearson, who plays Oswald, is equally impressive. Pearson's performance stands out not only for his bold approach to the role but for how he embodies Oswald's raw emotions, giving the film an added layer of depth.
As the plot unfolds, A Different Man takes viewers on a bizarre journey, weaving dark twists and unpredictable turns. The story keeps you on your toes, and the ending is particularly surprising; it veers into an unexpected direction that left me both stunned and fascinated. These twists add a certain tension and intensity to the story, making it feel refreshingly unpredictable.
The film does an admirable job exploring themes of self-love, hate, acceptance, and exploitation. Unlike some movies that handle these ideas subtly, Another Man chooses to place them front and center. It's bold and direct, tackling these issues in a way that leaves little room for ambiguity, which may make it more accessible to a broad audience. However, as someone who appreciates layers and subtlety, I found myself wishing for a bit more ambiguity in certain scenes. The film's straightforwardness is effective, but some moments might have benefited from a touch more nuance to add to the mystery.
All in all, A Different Man is a well-crafted film that offers a fresh take on complex themes and delivers a memorable experience. It's engaging, darkly humorous, and thought-provoking.
Megalopolis (2024)
If Megalopolis had been released in the 70s or 80s, it might have been celebrated as a classic abstract film. However, in its current form, the concept and execution feel dated.
Here's what didn't work for me. Visually, the film is inconsistent and poorly executed. The color grading is subpar, and the shots lack cohesion. Some CGI scenes are impressive, while others are downright awful. Certain sequences manage to captivate, only to be followed by bland, uninspired ones that pull you out of the experience. It felt like watching several disjointed films stitched together, making the visual journey tedious.
I wish the film had leaned into a more abstract aesthetic, perhaps drawing inspiration from Art Deco or a Gothic style. Instead, we got uninspired set pieces that, despite decent performances, failed to immerse me in the story. That said, there are a few standout scenes that I genuinely enjoyed and found well-crafted.
As for the story, it's surprisingly straightforward, despite the dialogue's attempts to inject deeper meaning. The overly dramatic, campy dialogue often fell flat, and some performances came across as unintentionally silly, leaving little emotional impact.
While the metaphors are decent, they aren't compelling enough to make the film resonate in today's context. If this had been released decades ago, it might have received more acclaim, but as it stands, it feels like a relic of another era.
I haven't yet @LeonardPine but I am truly interested. It sounds like with The Godfather Part 3, it was a MASSIVE uphill battle in more than one way. Creatively, Paramount didn't give Coppola the time and money that he needed. They only gave him a year to write, direct and edit the movie. TRULY NOT enough time for an epic film, such as a Godfather movie! They really should have paid Robert Duvall, as that was a true creative point that was lost with Tom Hagen. He would have been an informant. A unique twist, for sure! As generally happy as I am with the cuts of GF3, I feel it still could have been better with a bit more time given to the creative side of things. Johnny Depp once again ruined something for me by stealing Winona Ryder for Edward Scissorhands. However, in both cases, we still got great movies. Paramount still got burned with that Christmas 1990 release date both critically and financially. A little movie called Goodfellas stole A LOT of GF3's critical thunder, giving it a harder battle on arrival. Financially, a little movie called Home Alone arguably destroyed GF3's better chance at a fair box office. So, as with the other Godfather movies, it's a miracle that it got made, let alone as good as it was.
1. Pulp Fiction (1994)
My apologies for the boring #1 pick, but it's just got to be Pulp Fiction. When I first saw it some years back, I sort of enjoyed it but found myself underwhelmed. Then I tried it again a few months ago and really, really loved it! Knowing things that were coming actually helped me like and appreciate it more than being surprised, though I'm sure that might be a controversial opinion on its own. Anyways, I was very riveted by all the characters and segments, particularly Vincent (I'm developing an OC somewhat inspired by him). I don't really think of Pulp Fiction, or any other QT film as "high art," but no one can deny the cultural impact this movie has had. Putting the sheer popularity of Pulp Fiction aside, though, I still don't think QT got better than this. His best attributes were all on display - his greatest dialogue, his most memorable and likeable characters, and intense violence that's appropriately spaced out and shocking. Oh, and the music - best choices ever, top to bottom. It's not The Godfather or Goodfellas, but it's extremely entertaining and rewatchable, and obviously one of the most famous movies ever for good reasons.
2. Jackie Brown (1997)
QT's third picture is his most restrained and mature effort, which is the biggest reason it's this high up on my list. The violence is very limited, making it more effective than the average Tarantino flick, and almost all the effort, for the better, is on the plot, characters, and suspense. I really like the sweet love story between Jackie and Max, and Ordell Robbie is an entertaining, scary villain that's very easy to root against but endlessly interesting to watch. Michael Keaton and Robert De Niro are so good as minor characters, too! Anyways, if it weren't for Pulp Fiction being Pulp Fiction, Jackie Brown would have been easy to call my favorite Tarantino film. It's his most unique in the best possible way. I just really wish he had done more subtle, low-key movies like this.
3. Inglourious Basterds (2009)
Inglourious Basterds was the single biggest happy surprise of my journey with QT films. It's a thought-provoking piece, at least from my perspective, about how we see horrific acts of violence and perspective in general. For instance, there's the title itself, implying there's nothing morally commendable about the protagonists here. Aldo Raine has an exaggerated accent associated with a lack of refinement, the German soldier baseball-batted to death by the Bear Jew shows typically respected qualities like bravery and dignity, and we also see another German soldier who just became a father get killed in an unlucky circumstance. Of course, the evil of the Nazis isn't excluded either, but details like this I believe were very deliberate to make audiences question things. There is a very nihilistic tone to the whole affair. It can be cathartic to see some of the Nazi carnage, no doubt, but also uncomfortable at the same time. It's never downright sympathetic towards Nazis or Naziism, but the "heroes" are anything but conventional in their "heroism." The acting is also some of the very finest in any QT film, which is saying something. Hans Landa is the best baddie QT ever created. From the heart-pounding first 20 minutes to the explosive finale, this was a very impressive ride of a movie.
4. Kill Bill: Volume 2 (2004)
Maybe the first particularly controversial take on my ranking is placing Kill Bill's second volume above the first. I think both are entertaining, engaging action spectacles, but it's Volume 2 that wins my preference for its heavier attention to characters and dialogue. Getting to see more of David Carradine's Bill is the real best part about this one, but I also love other aspects unique to this volume such as the flashbacks to the Bride's training, her incredible escape from being buried alive, and all the emotional impact the third act provides. Volume 1 got my attention, no doubt, but I really feel like Volume 2 gives it completion beyond just the story. My attachment for the characters grows with the more I see and learn, and there's a lot of catharsis the further and further the Bride goes. I wasn't particularly satisfied with how Budd went out, and I do wish there was a little extra resolution with Elle, but on the whole this was an epic, great film.
5. Kill Bill: Volume 1 (2003)
Most people I've seen rank Kill Bill: Volume 1 a little if not a lot above Kill Bill: Volume 2, and I imagine the main reason would be for the action. There is a lot more swordplay here, and the overall emphasis definitely went on stylized violence over slower, more talky moments with characters and such. That's not to say there was no backstory or intrigue in Volume 1's characters; O-Ren Ishii, Gogo, and Hattori were all big hits for me. And to be fair also, one could argue a lot of the buildup and what you don't see yet is paid off better by waiting for Volume 2. In any case, Volume 1 still packs a huge punch - besides Django Unchained, I'd argue it's Tarantino's most violent - and gives us a main character in The Bride that we want to see succeed. It felt like the style did overshadow the substance just a little for this particular feature, but I still liked the movie plenty.
6. Once Upon a Time... in Hollywood (2019)
QT's latest film was definitely one of his most different, in ways both good and not so good IMO. What I like about it is that it's light on action and gives us plenty of time and reasons to care about the characters, the best example being Rick Dalton's arc of going from washed up and directionless to a hero even beyond his acting. The part with him breaking down in front of Trudi was one of Tarantino's best emotional scenes. The late 1960s Hollywood aesthetics are also some of the most impressive of any QT film. That being said, the film does meander quite a lot, loose in its plot and awkward in pacing, and I especially felt like the buildup of Manson and his cult could have been better. The bits we get at Spahn Ranch were good, but going from that to the climax feels like some stuff is missing still. It's satisfying to see the alternate history at the end, which also made me sad thinking about the reality. I think the movie's pretty good, but definitely needed some tightening up.
7. Reservoir Dogs (1992)
Reservoir Dogs is good, but I definitely don't enjoy it as highly as most others who have seen it. Harvey Keitel is one of my favorite actors, and he's my favorite part of this movie, but none of the other characters really clicked with me very much. I feel like Tarantino really stepped up his game at making interesting characters from this to Pulp Fiction. The story's fine, not much complaints really in that area. I don't know, I guess I just think it's alright on the whole, and I don't have too many particular strong feelings about it one way or another. It's tough for me to articulate my feelings about this one for some reason. I might try it again someday and hopefully it will resonate with me a little more next time.
8. Django Unchained (2012)
I think of Django Unchained as the Tarantino-y-ist Tarantino movie, at least in the departments of shock and violence. This one felt like the bloodiest and most, well, "unchained" / unrestrained of all QT's movies, and since it's about vengeance against slaveowners, I suppose that's fitting. I have a few problems, though. First of all, while there is catharsis in seeing truly despicable people get comeuppance, the despicable people in this one feel a lot more 2D than, say, the Nazis in Inglourious Basterds. Besides Stephen - played perfectly by Samuel L. Jackson - the villains are pretty basic and unremarkable IMO. We don't really get to know Broomhilda well enough; she deserved significantly more attention.
9. The Hateful Eight (2015)
Aesthetically, The Hateful Eight might be my #1 of all these picks. I love a good snowy backdrop, as well as the cozy cabin setting. It's as beautiful-looking a movie as QT ever made. The cast and acting are on point as well. Unfortunately, I've got several issues with this movie. The biggest one, which also affects Once Upon a Time... in Hollywood and Django Unchained, albeit to a lesser degree, is that it's significantly longer than it needs to be. That seems to be QT's biggest recurring issue in his later years, IMO.
10. Death Proof (2007)
Perhaps my choices in between first and last place had some surprises, but #1 and #10 are conventional choices from me. Death Proof was a big disappointment for me, sadly, for a few reasons. To start with the good, though, Kurt Russell was excellent as Stuntman Mike, and the sequence of his killings was effectively disturbing and intense. The concept itself is really cool and unique for a slasher film, but the execution is the issue. There are only a couple moments of actual "slasher" material, with tons of uninteresting scenes leading up to that and then after that as well. The characters are easily QT's least interesting and least well-written, and something else that really stings is wasting Mary Elizabeth Winstead the way they did. What really irked me, too, was Mike turning into a wimp in the climax. I just didn't care for the direction of turning the whole thing into a silly farce. I would actually love for this movie to be remade someday with a much bigger emphasis on horror and seriousness. It certainly feels like the best choice for a remake of Tarantino's movies.
So, that's my list and those are my thoughts! In summary, I personally don't consider Quentin Tarantino to be among the "elite of the elite" filmmakers like Kubrick & Scorsese, but I did enjoy his work a lot more than I expected to. I'd be curious to see rankings and thoughts of others on here about him, too.
Yep, it certainly had a difficult pre-production and lots of elements went against it. I'm not a huge fan of it. There are some great moments but the film doesn't hang together very well IMO. Robert Duvall is definitely a big missing part. But the re-edit is definitely worth a look, even just for curiosity reasons.
Or The Beast who floats like a butterfly, and stings like a bee. Not bad at all, despite some dodgy special effects. I liked the two main human characters, and the final battle is worth watching.
I also started to watch the Benny Hill DVD set I received from my brother a few Christmases ago. Still holds up pretty well, if you like low-brow entertainment (and I do, sometimes).
I went looking for my semi-regular dose of Christopher Lambert B-movie-ness, and ran into a damned good Italian cyberpunk sci-fi flick.
As for me, Mrs GoldenGun was out, so that means horror night.
THE EXORCIST (1973)
I used to be absolutely terrified watching this as a young lad. I was probably too young too. Yet, in a weird way I became a fan as well.
I haven't had the guts to watch it in 10 years or so though, but now that I have I'm glad that I absolutely adore it without being as scared as I used to.
Such an atmospheric film, with great location shots both in Georgetown as well as in Iraq. Superb acting throughout, though I'd like to give a special shoutout to Lee J. Cobb's likeable turn as Lt. Kinderman.
Score: 10+ (all time favourite)