“Gratuitous excess”

Written by Marina Caitlin Watts — The Review Monster

Baz Luhrmann is the latest director to take on the challenge of bringing the American classic to the silver screen.  His interpretation of F. Scott Fitzgerald’s novel “The Great Gatsby” turns a few swanky parties in the midst of wealthy Long Island towns into a scene of chaos.

The film is a flashback for Nick Caraway (Tobey Maguire).  He sits in a sanatorium, reflecting on his summer in 1922 where he rented a cottage in West Egg.  His neighbour, the notorious Jay Gatsby (Leonardo DiCaprio), was known for throwing parties and not showing up to them. After attending one of them out of sheer curiosity, Caraway gets thrown into the world of chaotic excess and the secret keeper to a timeless love affair.  Caraway weaves together a memoir of his months there, with Gatsby’s elusive nature as his focal point.

Leonardo DiCaprio plays an awkward Jay Gatsby.  He is the ideal pretty-boy Gatsby, who attempts to keep his cool and plays down his wealth even though it’s impossible to ignore.  I couldn’t help but laugh at how socially incompetent he was out and about, yet somehow was able to brim with confidence with his “reassuring smile”. Juxtaposing him with Maguire as his only friend was a good choice on the director’s part. The casting overall wasn’t too bad.  Carey Mulligan plays the airy Daisy Buchanan, a young woman torn between Gatsby and her husband, Tom (Joel Edgerton).  The cast, however, seemed as drawn out as Caraway did in the sanatorium at some points.  The passion is subtle, which doesn’t represent the beautiful words of Fitzgerald. As every director has their own artistic licensing to put into a film, Luhrmann left out some things.  First, Jordan Baker (played by Elizabeth Debicki-Caraway’s love interest) didn’t play as big a role in the film as she did in the book.  Luhrmann also fails to show their relationship as well.  Daisy Buchanan also was blonde in the film, as she is a brunette in the novel.

Second, when we meet Jay Gatsby, the book depicts it as an anti-climactic moment, as Caraway stumbles upon him by happenstance at one of his parties.  Here, we met Jay Gatsby at one of the final crescendos of “Rhapsody in Blue”, as confetti flew through the air, fireworks boomed and he raised his glass in triumph.  Fitzgerald made it seem like anyone could be Gatsby, with how he introduces him. Lurhmann glorifies Gatsby as soon as he takes over the silver screen. He matches the rumours and build-up we see with an immense grandeur, as opposed to in the novel.  Gatsby subtly slips into the crowd to meet Caraway, highlighting the elusiveness of his character as opposed to turning him into the big deal he really isn’t. The film ended with Gatsby’s death and left out a good portion of the last chapter of Fitzgerald’s book.  Once Gatsby dies, so does the film.  We see no aftermath for Caraway as his summer ends. As Gatsby tells Caraway about his life whilst driving in his yellow convertible, he speeds and races his way from West Egg to New York. This was effective cinematographically speaking, as Gatsby’s life takes twists and turns unexpectedly, from his younger days up to what we see before us.

Filmed in RealD 3D, audience members are able to hover above the bustling New York City, and swoop down and around the luxurious Long Island estates.  Luhrmann wanted to pull his viewers even more into the scenes unfolding in front of them.  This was rather effective, since there was so much going on.  Too much, actually. The party scenes depicted in “Gatsby” did a fine job of showing all the spending the wealthy would do during the Roaring Twenties.  Here, the excessive suddenly becomes too excessive.  The parties Gatsby threw in this interpretation became almost too much.  They seem exaggerated, even for one of the wealthiest men on Long Island. The scenes unfolded, showing a world beyond my wildest dreams.  They were pretty satisfactory, and indeed a valiant effort to make up for what was missing from the book.  Butlers were fishing martini glasses out from the pool, women were dressed to the nines doing the Charleston, and confetti flew in the air like a rainstorm.  What a few opulent 1920s parties should be are turned into endless nights of chaos.  But then again, Gatsby led a life that was anything but mundane.

Overall, I commend Luhrmann for his interpretation.  It was a bold move, mixing in so many anachronistic aspects, such as his soundtrack. I wasn’t surprised, as Jay-Z was the executive producer of the film. Caraway says in the film, “you can’t change the past”.  However, Luhrmann tries to with the rap music and excessive beats.  I may be no historian, but I am pretty sure that big-band jazz was the thing in the 1920s.  Some jazzy tunes had been slipped into the film, including Cole Porter’s “Let’s Misbehave” and Gershwin’s “Rhapsody in Blue”, which fit the era perfectly.  As far as Jay-Z’s music choices go, they just don’t fit in.

The underlying theme of the 1920s excessive nature consumes the film overall.  It is pretty effective, but it becomes a distraction.  Even with an obscenely flexible budget, making the opulent jazzy parties come alive from Fitzgerald’s pages was accomplished in such a flashy way that it takes away from what Fitzgerald really wrote.  “The Great Gatsby” is the quintessential American Dream novel, and all the glamour and glitz in this modernistic interpretation take away from what is meant to be a tale of hope, passion and repeating past.

My rating? C+

1. DARK CITY (1998).

Dark City centres around a man struggling with the memories of his past, some of which include a wife he cannot remember, in a hellish world with no sun and run by unknown beings with telekinetic powers. Their mission is to seek the souls of humans. This is a film I stumbled across when going through a phase of seeking out decent dystopian cinema. Despite being put off by the idea of Richard O’Brien leading the evil contingent, I had liked Alex Proyas’ other work (The Crow, iRobot) and decided to give it a go. What a decision I had made! Proyas has made a nightmarish world like no other.

 2. BRAZIL (1985).

A bureaucrat in a retro future tries to correct an administrative error, consequently finding himself an enemy of the state. What  else can I say other than Terry Gilliam being a maniacal genius. Being the first of two Gilliam works on this list, Brazil is definitive proof that he might actually be seeing the world in a different way to the rest of us, except maybe Jean-Pierre Jeunet. Here we have 1984 meets Fear and Loathing in Las Vegas, with a rather large pinch of sheer absurdity. A masterpiece!

 3. TWELVE MONKEYS (1995).

In a future world devastated by disease, a convict is sent back in time to gather information about the man-made virus that wiped out most of the human population on the planet. Here we have proof again that Brad Pitt really is an exceptional character actor. As well as Terry Gilliam’s usual, wacky portrayal of a dystopian future, Pitt’s performance is truly disturbed and unforgettable!

 4. BATTLE ROYALE (2000).

In the future, the Japanese government has captured a class of ninth-grade students, forcing them to kill each other under the revolutionary “Battle Royale” act, a piece of legislation aimed at cleaning up the country by alleviating misbehaving, uncontrollable children. With the tagline of the film being Could You Kill Your Best Friend?, what unfolds is 2 hours of sheer mayhem, chaos, brutality, and true friendship. A must-see!

 5. DELICATESSEN (1991).

Surreal, post-apocalyptic dark comedy about the landlord of an apartment building who occasionally prepares a delicacy for his bizarre, eccentric tenants. With Jean-Pierre Jeunet’s idiosyncratic, character-based film style, this will definitely not disappoint. Having now seen all of Jeunet’s work, I’m used to the weirdness; if this is your first experience of his bizarre mind, you may be rather surprised, but pleasantly.

 6. THE MATRIX (1999).

A computer hacker learns from mysterious folk about the true nature of the reality in which he lives and his role in the war against its controllers. Quite simply, I consider The Matrix to be one of the best films ever made. The storyline has you philosophically thinking; the graphics and fight sequences are state of the art, and the casting of both good and evil is superlative. I would struggle to find anyone who disagrees.

 7. EQUILIBRIUM (2002).

In a fascist future where all forms of feeling, emotion and abstraction are illegal, a man (Christian Bale) in charge of enforcing the law rises to overthrow the regime. I had a friend who had recommended this to me for years, and yet I had dropped it to the bottom of my to-watch list; what an idiot I was. This is exactly what a dystopian film should be: a man stands up to a system, a system that has banished freethinking.

 8. ESCAPE FROM NEW YORK (1981).

In 1997, when the US President crashes into Manhattan, which is now a giant maximum-security prison, a convicted criminal (Snake Plissken) is sent in to rescue him. Here we have the cult-classic partnership of John Carpenter and Kurt Russell doing its worst — kicking ass and taking names!

 9. CHILDREN OF MEN (2006).

In 2027, in a frenzied world where women have somehow become infertile, a former activist agrees to aid in the transportation of a miraculously pregnant woman to a sanctuary out at sea. I’m not the biggest Clive Owen fan and had had relatively little experience of Alfonso Cuaron films, except for Y Tu Mama Tambien, but people had been suggesting this film to me for a while. It definitely didn’t disappoint — and I think it’s that the storyline is so strong (imagining a world wherein infertility is prevalent, but then one pregnant girl is discovered).

 10. ALPHAVILLE (1965).

A secret agent is sent to the distant space city of Alphaville; here he must find a missing person and liberate the city from its tyrannical ruler. First of all, people should make a conscious effort to see any film by Jean-Luc Godard anyway — that’s a given. Secondly, how I could say no to watching a film about a city in which the word ‘why’ has been banished; logic and reason dictate all decisions in Alphaville and, therefore, ‘why’ is no longer in use — ‘because’ is though. Godard might actually be a genius. Furthermore, I’m in love With Anna Karina!

1. SEVEN SAMURAI (1954).

A poor, helpless village under attack by bandits asks for the services of seven unemployed yet brutal samurai to help them defend themselves. Being rather unfamiliar with Akira Kurosawa, I wasn’t sure what to expect. Oh how I was foolish. Arguably the most famous Asian film of all time, this is an absolute masterpiece! What you are subjected to is 3 hours of cinema of an epic nature — battles like no other.

 2. RIO BRAVO (1959).

A town sheriff in the Wild West seeks the help of a drunk, a cripple and a young gunfighter. The three have to hold in jail the brother of the local badass. Despite not being my usual sort of film (with not being a huge fan of Westerns), this was different… and I think the reason was Dean Martin. He may not be the best actor in the world and certainly won’t win the Oscar; however, if you need somebody to play a low-life drunk, he is your man.

 3. REAR WINDOW (1954).

A wheelchair-bound photographer spies on his neighbours from his apartment window, on the way becoming convinced that one of them has committed murder. To this day, I have still never had a bad experience with Alfred Hitchcock. He may still be the true master of suspense, even now. Add Jimmy Stewart and Grace Kelly to a fairly simple concept for a story and you have a film that truly stands the test of time. A must-see!

 4. THE NIGHT OF THE HUNTER (1955).

A religious, fanatical ex-con (Robert Mitchum) marries a rather gullible widow, and the young children of whom are reluctant to tell him where their real father hid $10,000 that he had stolen in a robbery. Mitchum is supreme yet truly frightening in this Hitchcockian, suspenseful thriller. He may have been the original nasty bastard of cinema — the man you don’t want to come across.

 5. 12 ANGRY MEN (1957).

A dissenting juror (Henry Fonda) in a murder trial gradually manages to convince his fellow jurors that the case is not as crystal clear as originally thought. From highly acclaimed director Sidney Lumet comes proof that films do not always require a big budget. (Sometimes all you need is a simple yet decent storyline and terrific actors.)

 6. ON THE WATERFRONT (1954).

A former prizefighter turned dock worker struggles to stand up to his corrupt union bosses. As the ultimate man’s man, as well as being the brute actor that ultimately became the reason why De Niro, Pacino, Keitel, etc. became actors themselves, Marlon Brando could single-handedly carry a picture like no other. You can guarantee two things are going to happen: (1) He will have numerous fights in the film, and (2) He will most certainly end up being the good guy – he built his career on that premise.

 7. THE AFRICAN QUEEN (1951).

In Africa during the Second World War, a seemingly drunken steamboat owner/captain is persuaded by an overly proper missionary to use his boat to attack an enemy warship. Quite simply, I can’t ever find a fault in Bogart’s performances… he is the epitome of somebody being cool, calm and collected without having ever tried — he owns the screen. And as for Hepburn, well she was one of the first women in films to actually stand up for herself — ladylike but shrewd.

 8. THE KILLING (1956).

The premise is simple: a bunch of crooks plan and execute a daring racetrack robbery. If people are expecting something similar to, or as absurd as, Kubrick’s better-known filmography (A Clockwork Orange, Eyes Wide Shut, 2001: A Space Odyssey), this isn’t that film; however, if you are a lover of the film-noir genre and are partial to a decent heist movie, this is that film.

 9. TOUCH OF EVIL (1958).

Touch of Evil centres around a stark, perverse story of kidnapping, murder, and police corruption in a US-Mexico border town. Straight of the bat, this, for me, made Citizen Kane feel like East is East — there was no comparison. Being a lover of detective films and a good “whodunnit”, this ticked all the boxes.

 10. VERTIGO (1958).

A retired San Francisco detective (James Stewart) suffering from acrophobia (a fear of heights) investigates the strange goings-on of an old friend’s much-younger wife, all the while becoming dangerously obsessed with her. What more can be said about Alfred Hitchcock and Vertigo? He’s undoubtedly the master of the suspense-thriller genre, and Vertigo has just been labelled the greatest film of all time, not to mention Jimmy Stewart once again putting in a Jimmy Stewart performance — he’s not the best-looking of guys, and yet he smoulders in the eyes of these beautiful dames he bags in films.

A cartoonist (Robert Graysmith) working for the San Francisco Chronicle becomes an amateur detective obsessed with tracking down the Zodiac killer. Following Graysmith’s book very carefully and not holding back on any of the gruesome details, David Fincher, yet again, proves why he is the current master of the suspense-thriller genre.

 2. MEMORIES OF MURDER (2003).

In 1986, in the province of Gyunggi, South Korea, a second young, beautiful woman is found dead, raped, tied, and gagged with her underwear. Detectives Park Doo-Man and Cho Yong-koo, two brutal yet stupid local detectives without any technique, investigate the murder using brutality and through torturing the suspects, without any practical results. Based on a true story, this is exactly what a serial killer/detective thriller should be — no subtext, no subgenre — just two cops kicking over rocks in order to protect a local community.

 3. SE7EN (1995).

Two detectives, a veteran and a rookie, track down a relentless serial killer who uses the seven deadly sins as his modus operandi. This is the ultimate serial killer/detective film. It has everything: David Fincher’s masterful direction, a storyline like no other, incredible yet honest performances by Freeman and Pitt, and the quintessentially unmerciful bad guy. A masterpiece!

 4. TATTOO (2002).

Two unlikely detectives from opposite sides of the track are teamed up to hunt down a serial killer whose victims are linked by the beautifully intricate tattoos on their skin. Stumbling across this fairly rare German gem after seeing it being compared to no other than David Fincher’s Se7en, I was pleasantly surprised by how far this film was willing to go.

 5. SILENCE OF THE LAMBS (1991).

A young FBI cadet must confide in a manipulative and incarcerated killer to receive his help on catching another serial killer — Buffalo Bill — who skins his victims. Having recently been included into the National Registry, this is one of the best films ever made, in my opinion. The casting is exceptionally thought out; the characters are formidable and compelling; and the general atmosphere is harrowing. A masterpiece!

 6. PSYCHO (1960).

A secretary in her 30s steals $40,000 from her employer’s client, subsequently encountering a young motel owner — Norman Bates — who is too long under the thumb of his mother. The serial-killer film that made/changed a genre? The serial killer that changed how we will look at small-country folk out in the middle of nowhere? I think it is a ‘yes’ to both. Also being based on Ed Gein, the man that inspired such characters as Buffalo Bill and Leatherface, Norman Bates changed the way I, and millions of others, will now look at motel owners into taxidermy — that’s for sure!

 7. THE CHASER (2008).

Joong-ho is a dirty detective turned pimp in financial trouble, as several of his prostitutes have recently disappeared. Whilst trying to track them down, he finds a clue that the vanished girls were all booked by the same client with whom one of his girls is meeting with right now. Along with some of Takashi Miike’s stomach churners, this goes down as one of the most explicitly violent films I have ever seen. The detective has found his killer; now all he has to do is find the killer’s next victim. This film really does never stop moving.

 8. I SAW THE DEVIL (2010).

When the pregnant fiancée of a secret agent becomes the most recent victim of a serial killer, he sets out on a relentless, unmerciful pursuit of revenge. For fans of both the serial killer genre and Ji-woon Kim’s hugely impressive filmography, comprising A Bittersweet Life and A Tale of Two Sisters, as well as the serial killer being Oldboy, I Saw The Devil is a must-see for any strong stomach.

 9. AMERICAN PSYCHO (2000).

A wealthy New York investment banking executive hides his alternate psychopathic ego from his co-workers and friends as he escalates deeper into his illogical, gratuitous fantasies. Straight off the bat, I’m not quite sure whether this is supposed to be seen as a comedy or horror film. However, I never stopped laughing throughout the whole film, but was also sickened at times, so this has to rank in my list. Bret Easton Ellis’ masterpiece is the epitome of a dark/black comedy/horror film. I don’t think you are meant to be laughing, but you are!

 10. PUBLIC ENEMY (2002).

Relentless cop Chul-joong and a merciless killer in a raincoat run into each other in a small alleyway and form a fatal bond. A free-for-all fight occurs by coincidence on a rainy street one night. A week later, the bodies of an old couple are found with multiple stab wounds. Chul-joong suddenly recalls the night he met the man in the raincoat. A game of cat and mouse ensues between the two. I discovered this moderately unknown South Korean beauty whilst on a mission to buy any film with the Tartan Asia Extreme packaging. I wasn’t disappointed. Here we have an anti-hero cop and a Patrick Bateman-like killer who doesn’t give a damn about anyone.

 1. BLACK BOOK (2006; THE NETHERLANDS).

In the Nazi-occupied Netherlands during World War II, a Jewish singer, working for the Dutch resistance as a spy, infiltrates the regional Gestapo HQ, seducing a commander of the SD along the way. Being only familiar with Paul Verhoeven’s sci-fi work of the 80s and 90s (as well as Basic Instinct), it was certainly refreshing to see him tackle a war film. He nailed it.

 2. I SAW THE DEVIL (2010; SOUTH KOREA).

When the pregnant fiancée of a secret agent becomes the most recent victim of a serial killer, he sets out on a relentless, unmerciful pursuit of revenge. For fans of both the serial killer genre and Ji-woon Kim’s hugely impressive filmography, comprising A Bittersweet Life and A Tale of Two Sisters, as well as the serial killer being Oldboy, I Saw The Devil is a must-see.

 3. THE RAID: REDEMPTION (2011; INDONESIA).

A SWAT team storms an apartment block run by a ruthless gangster and his army of thugs and murderers. Being my first outing with the Indonesian film industry, I was unprepared and rather apprehensive. I was pleasantly surprised, to say the least. Here we are bombarded with a great storyline, round after round of bullets, and martial arts of the highest quality from the one remaining officer who single-handedly plans on taking down every scumbag in the block.

 4. TROLL HUNTER (2010; NORWAY).

A group of student documentarians investigate a series of mysterious bear killings. They subsequently learn that something else is responsible for the deaths. They begin following a strange hunter, learning along the way that he is actually a troll hunter employed by the government. For lovers of the monster genre and documentary-style filmmaking, and people who are interested in discovering what different countries’ film industries are like, you should be prioritising this Norwegian gem.

 5. DOGTOOTH (2009; GREECE).

Three teenagers are confined, by their parents, to an isolated country estate in an unknown location. The parents subject the trio to homemade tapes that evidently teach them a whole new vocabulary, with the über-controlling parents also terrorising their offspring into submission. More than it being a timeless classic, it is definitely interesting (a glimpse at what people’s lives can really be like behind closed doors).

 6. AUDITION (1999; JAPAN).

Arranged by his friend, a widower agrees to hold a special audition as a means to seek out his new wife. The winner is not who she appears to be. Like Ichi the Killer, another of Takashi Miike’s cult classics, Audition is not one for the weak. Be prepared for the worst.

 7. DOWNFALL (2004; GERMANY).

Traudl Junge, the final secretary for Adolf Hitler, explains the Nazi dictator’s last days in his Berlin bunker at the end of the Second World War. If nothing else, you should be watching Downfall for Bruno Ganz’s truly terrifying performance of Hitler. Nothing short of extraordinary.

 8. PAN’S LABYRINTH (2006; SPAIN).

In the fascist Spain of 1944, the imaginative, whimsical stepdaughter of a sadistic army officer escapes into a mysterious, fantastical world. Straight off the bat, a masterpiece! With only a handful of films under his belt at the time, Del Toro proves, with Pan’s Labyrinth, why he is going to be a force to be reckoned with for many years to come.

 9. CARLOS THE JACKAL (2010; FRANCE).

This rare French TV film tells the story of Venezuelan revolutionary Ilich Ramírez Sánchez, A.K.A. Carlos the Jackal, who launched a global terrorist organisation, raiding the 1975 OPEC meeting along the way. If you find the time, make sure you watch the full-length 6-hour version. With a riveting portrayal by Edgar Ramirez, Carlos is as good a biopic as you are likely to see.

 10. THE SECRET IN THEIR EYES (2009; ARGENTINA).

A retired legal counselor writes a novel hoping to find closure for one of his past unresolved homicide cases and for his unreciprocated love with his superior, both of which still haunt him decades later. I took a punt on this film after its surprising win at the 2010 Oscars and it was well worth it. Ricardo Darin (Nine Queens) demonstrates why he is the biggest actor in Argentina with a truly cool and collected performance in an electrifying thriller.

Jeunet is a self-taught French film director whose propensity towards a world of whimsy and fantasy makes him one of the most playfully original directors working today. Starting a career as a director of TV commercials and music videos, Jeunet soon delved into cinema after striking up a widely successful partnership with a comic book artist/animator, Marc Caro. Jeunet and Caro soon made a name for themselves with their rather bizarre, dark comedies comprising post-apocalyptic worlds, eccentric characters and a regimented approach to filmmaking wherein form takes precedence over subject matter. 

Notable works:

 1. Delicatessen (1991).

Surreal, post-apocalyptic dark comedy about the landlord of an apartment building who occasionally prepares a delicacy for his bizarre, eccentric tenants. With his idiosyncratic, character-based film style, this will not disappoint.

 2. The City of Lost Children (1995).

A twisted scientist in a surrealist, dystopian society abducts children to steal their dreams. He hopes that these children will slow his ageing process. The mise en scene is nothing short of spectacular.

 3. Amelie (2001).

Amelie is a beautiful yet naive girl living in Paris. On a whim, she decides to start helping the people around her and along the way, she ultimately discovers love. With the fetching and charismatic Audrey Tautou, the beautiful Paris backdrop and the array of colourful characters, this is a must-see for serious filmgoers.

 4. Micmacs (2009).

A man and his newly formed group of strange friends hatch an originally intricate plan to take down two large weapons manufacturers. Despite not being as widely received as previous works, the originality alone is enough to keep you entertained.

 5. A Very Long Engagement (2004).

We are introduced to a young woman’s unrelenting search for her fiancé. He has disappeared from the trenches of the Somme during the First World War. Being the most down-to-earth of Jeunet’s films, he certainly proved that he can tackle many different genres.

 1. THE LEAGUE OF GENTLEMEN (1999-2002).

Based in a fictional village called Royston Vasey, we follow a rather surreal, interweaving story that chronicles the mundane lives of such diverse, bizarre characters as: a transsexual taxi driver, a high-maintenance restart officer, a couple that never stop arguing, a frightening carnival owner who kidnaps women into marriage, and a xenophobic couple who run a local shop for local people. You will struggle to find a comedy as dark as The League of Gentlemen, so if you have a weak stomach or simply prefer harmless one-liners, this may not be for you.

 2. SPACED (1999-2001).

Friends Daisy and Tim, 30-something Londoners with uncertain futures and lacklustre lives, after a chance encounter, must pretend to be a couple to live in the only flat they can afford. They find themselves living with some unlikely characters along the way. For fans of sci-fi and horror as well as the team that brought you Shaun of the Dead and Hot Fuzz, this is a must-see!

 3. THE IT CROWD (2006-present).

The show focuses on three staff members of Reynholm Industries’ IT department: the lazy, woman-seeking Roy Trenneman (O’Dowd), a nerdy genius named Maurice Moss (Ayoade), and Jen Barber (Parkinson), the Relationship Manager/department head, of whom a knowledge of IT has clearly escaped. The IT Crowd is nothing short of ideal for fans of character-based comedies, and if you’re lucky/unlucky enough to have ever worked in IT, this is surely pertinent.

 4. RED DWARF (1988-present).

A sci-fi comedy featuring the adventures of the last human being alive, a hologram of his former bunkmate, a creature that has evolved from the ship’s cat, and a mechanoid (to name but a few). The crew are stranded 3 million years into deep space on the mining ship Red Dwarf. The eccentricity and vast plethora of wacky storylines and screwball characters are more than enough to keep you intrigued.

 5. THE MIGHTY BOOSH (2003-present).

Howard Moon and Vince Noir have utterly surreal adventures while working at a zoo managed by the disturbed Bob Fossil (in series 1) and pursuing a career as musicians while living with a mystic and an ape (in series 2 and 3). One word: bizarre. However, the writing/acting of the two protagonists is intellectually flawless and delivered effortlessly.

 6. CURB YOUR ENTHUSIASM (2000-present).

Larry David is living the life: he has a devoted wife, great friends, a successful career, a large home… what could possibly go wrong? This semi-autobiographical observational comedy presents a self-deprecating, cringeworthy look at his life. This isn’t a show with one-liners. Nevertheless, what we are subjected to is sheer enjoyment – Larry David successfully pissing everyone off through manipulation or tomfoolery.

 7. I’M ALAN PARTRIDGE (1997-2002).

Alan Partridge is a failed television host whose previous shenanigans had featured in the chat-show parody Knowing Me, Knowing You with Alan Partridge. He is now presenting a daily show on local radio in Norwich. Comedy gold! You can guarantee that at one point in the show, you will be biting your fist due to Alan inexplicably ruining someone’s day with his unrelentingly honest comments.

 8. THE BIG BANG THEORY (2007-present).

A 20-something female who moves into a flat next door to two intellectually brilliant but socially awkward physicists shows them how little they know about life outside of the lab. What shouldn’t really be a successful television comedy, with scientific know-how that is way beyond the grasp of your Average Joe, is ultimately superlative. The balance between the characters’ charm and the unmerciful geekiness is perfect.

 9. RISING DAMP (1974-1978).

Set in a rather run-down bedsit owned by a mean yet cowardly landlord, Rigsby, the show focuses on the exploits of his long-suffering tenants. An all-time classic, Rising Damp was renowned for its quick-witted British humour from the legend that was Leonard Rossiter.

 10. THE OFFICE (2001-2003).

The story of Wernham Hogg, a paper company that is facing closure when the bosses decide to downsize its branches. A documentary film crew follow its staff and the manager, David Brent, as they continue their daily routines. Quite simply, The Office is the quintessential black comedy – there are no jokes as such; nonetheless, we have Ricky Gervais and his masterful performance as the annoying yet irrefutably funny David Brent.

1. A BOUT DE SOUFFLE (BREATHLESS) (1960).

A young, meddlesome car thief kills a policeman and attempts to persuade a woman to flee to Italy with him. With its quick, witty dialogue and beautiful Paris landscape, Jean-Luc Godard’s magnum opus is, without a doubt, one of the most influential works of the French New Wave era.

 2. DELICATESSEN (1991).

Surreal, post-apocalyptic dark comedy about the landlord of an apartment building who occasionally prepares a delicacy for his bizarre, eccentric tenants. For fans of Jean-Pierre Jeunet and his idiosyncratic, character-based film style, this will not disappoint.

 3. THE MALTESE FALCON (1941).

A private eye, Sam Spade, takes on a case which sees him get involved with three criminals, a beautiful liar, and their quest searching for a priceless jewel-encrusted statuette. If you are new to the film-noir genre, you will not go far wrong starting with this all-time classic from John Huston.

 4. THE NIGHT OF THE HUNTER (1955).

A religious, fanatical ex-con (Robert Mitchum) marries a rather gullible widow, the young children of whom are reluctant to tell him where their real father hid $10,000 that he had stolen in a robbery. Mitchum is supreme yet truly frightening in this Hitchcockian, suspenseful thriller.

 5. PLAY MISTY FOR ME (1971).

A casual fling between a male radio DJ and an obsessed female listener takes a fearsome turn when another woman enters the fray. This intense thriller is proof that Clint Eastwood was always cut out for an established, highly successful career behind the camera.

 6. RESERVOIR DOGS (1992).

Criminals of a diamond heist gone wrong attempt to work out why the robbery failed. They start to suspect that a cop is amongst them. With a cast that rivals the best ensemble in the history of cinema, not to mention Tarantino’s typically slick dialogue, it is nothing short of brilliance.

 7. TWELVE ANGRY MEN (1957).

A dissenting juror (Henry Fonda) in a murder trial gradually manages to convince his fellow jurors that the case is not as crystal clear as originally thought. From highly acclaimed director Sidney Lumet comes proof that films do not always require a big budget. (Sometimes all you need is a simple yet decent storyline and terrific actors.)

 8. SYNECDOCHE, NEW YORK (2008).

A theatre director struggles with his work and life (as well as all the women in his life). He tries to create an elaborate life-size replica of New York inside a factory as part of his new production – bold indeed. Being my favourite screenwriter, I don’t have a bad word to say about Charlie Kaufman or his ever so complex, truly awe-inspiring mind – a genius!

 9. DISTRICT 9 (2009).

An alien race made to live in slum-like conditions in South Africa suddenly discovers a kindred spirit in a government worker exposed to their extraterrestrial biotechnology. Adapted from the director’s short film Alive in Joburg, which was made on a shoestring budget, the storyline (despite its impressive SFX) is nothing short of being culturally and racially relevant to the world we live in.

 10. AMERICAN BEAUTY (1999).

A depressed father (Lester Burnham) going through a mid-life crisis in the suburbs decides to turn his miserable life around after developing a serious crush on his daughter’s beautiful friend – he sees her performing a cheerleader routine. This cool yet heartwarming tale of suburban life is a must-see for fans of Kevin Spacey and Sam Mendes.

 1. BATTLE ROYALE (2000).

In the future, the Japanese government have captured a class of ninth-grade students, forcing them to kill each other under the revolutionary “Battle Royale” act, a piece of legislation aimed at cleaning up the country by alleviating misbehaving, uncontrollable children. With the tagline of the film being Could You Kill Your Best Friend?, what unfolds is 2 hours of sheer mayhem, chaos, brutality, and true friendship.

 2. REPO MAN (1984).

A young, underachieving punk named Otto becomes a repo man after helping to steal a car, and haphazardly stumbles into a world of bizarreness as a result. After scouring the Internet for rare 80s films, I came across this little gem, a film that saw little box-office success; however, as time went on, it grew stronger and stronger, ultimately finding itself in the hearts of many “lost” souls.

 3. THE WARRIORS (1979).

In a future, rather dystopian New York City, cops and turf gangs rule the streets. When one gang leader attempts to bring all gangs together to wage war on the cops, The Warriors (of Coney Island) are framed for his murder. As a result, they have to covertly make their way back to Coney Island whilst the entire city hunts them down.

 4. THE THING (1982).

Researchers in the Antarctic are confronted by a shape-shifting creature which assumes the appearance of the person it kills. If you are an admirer of the Kurt Russell-John Carpenter partnership, this will not let you down. Carpenter’s typically disturbed animatronics are enough to keep you awake at night.

 5. OFFICE SPACE (1999).

A comedic tale of company workers who hate their jobs and decide to rebel against their greedy boss. A truly funny, compellingly light-hearted sitcom-like film with a masterful cast comprising such lovable and genuine characters. I never took to Beavis & Butthead or King of the Hill, so I was dubious as to whether I should watch yet another project by Mike Judge. By god, I’m glad I did. Despite its really eye-opening, depressing depiction of life in a bog-standard computer company, the characters alone, even without dialogue, have you in stitches!

 6. GHOST WORLD (2001).

Rebecca and Enid are social pariahs who, after graduating from high school, play a mean prank on a middle-aged nerd. It is truly difficult for any synopsis to do this film justice, as not much really happens. Nevertheless, it is a must-see! The cast (comprising Thora Birch, Scarlett Johansson and Steve Buscemi) is beautifully put together, and the storyline, with its witty, whimsical nature,  is certainly one of familiarity amongst the “forgotten about” generation.

 7. AIRPLANE (1980).

An airplane crew becomes ill. Surely the only person capable of landing the plane is an ex-pilot afraid to fly. But don’t call him Shirley. If you haven’t seen this film, do so now! You wouldn’t have the spoof genre without this remarkable piece of screenwriting and the typically brilliant comedic talents of Lloyd Bridges and Leslie Nielsen.

 8. THE BIG LEBOWSKI (1998).

Jeffrey “The Dude” Lebowski, mistaken for his millionaire namesake, seeks restitution for his ruined rug, enlisting his bowling pals to help get it (with comical consequences). If, as a film fan, you are also partial to some humorous quoting of film dialogue, The Big Lebowski will keep you going long into the night.

 9. THE LOST BOYS (1987).

After relocating to a new seaside town, two brothers are convinced that the area is populated by vampires (and not the lovey-dovey type you see on Twilight). Before there was True Blood, The Vampire Diaries, and Twilight, there was The Lost Boys!

 10. THE BREAKFAST CLUB (1985).

Five high-school pupils, all with different stereotypes, meet in morning detention, where they open up to each other, and discover how they have a lot more in common than they originally thought. John Hughes was the master of simple film formulae: the simplest storyline + a gifted bunch of teen actors = create a new generation of film fans.

1. GROUCHO MARX (1890-1977).

He is well known as a master of quick wit and is widely considered one of the best comedians of the modern era. His rapid-fire, often impromptu delivery of innuendo-laden patter earned him many imitators and admirers. His distinctive appearance, carried over from his early career in vaudeville, included quirks such as an exaggerated stooped posture, cigar, glasses, and a thick greasepaint moustache and eyebrows.

Notable films: Monkey Business; Horse Feathers; Duck Soup; Animal Crackers.

 2. JACK LEMMON (1925-2001).

Lemmon was known for playing likeable but down-on-their-luck characters, as well as often playing average, working-class men trying to get ahead in life. Frequently collaborating with Billy Wilder and Walter Matthau, Lemmon became a true anti-hero for aspiring actors.

Notable films: The Apartment; The Odd Couple; Some Like it Hot; Glengarry Glen Ross.

 3. PETER SELLERS (1925-1980).

He became known to a worldwide audience through his many film characterisations. Despite the bulk of his work being comedic-based, often parodying characters of authority such as policemen or military officers, he also performed in other film roles and genres.

Notable films: Dr. Strangelove; Being There; Lolita. 

 4. WOODY ALLEN (1935-present).

As a comic he developed the persona of an intellectual, insecure, neurotic guy, which he insists is quite different from his real-life personality. His characters (that he plays himself) are often a semi-famous, semi-successful film/tv writer, director, or producer… or a novelist.

Notable films: Manhattan; Annie Hall; Play it Again Sam; Sleeper.

 5. CHICO MARX (1887-1961).

His persona in The Marx Brothers was that of a dim-witted albeit crafty confidence man, seemingly of rural Italian origin, who wore shabby clothes and sported a curly-haired wig and Tyrolean hat. Moreover, his musical ability, which was demonstrated frequently on film, was undoubted.

Notable films: The Cocoanuts; A Night at the Opera; Duck Soup.

 6. LARRY DAVID (1947-present).

His writing/acting ability uses humour derived from awkward social situations, as well as it being acerbic and neurotically dark.

Notable films/television shows: Curb Your Enthusiasm; Whatever Works; Seinfeld.

 7. WALTER MATTHAU (1920-2000).

Matthau was known for his deadpan voice and slouching posture. Like his frequent collaborator and long-time friend, Jack Lemmon, he often played underachieving down-and-outs, but there was a real sincerity in his performances.

Notable films: The Odd Couple; Meet Whiplash Willie; The Sunshine Boys.

 8. JIM CARREY (1962-present).

The Canadian-born actor is famous for his rubbery body movements and flexible facial expressions. His characters are often lacking in manners or social awareness, and he often has catchphrases and an erratic manner of speaking in his roles.

Notable films: Dumb and Dumber; Ace Ventura: Pet Detective; Eternal Sunshine of the Spotless Mind; The Mask.

 9. MIKE MYERS (1963-present).

Myers is renowned as being a prolific character actor, often playing multiple roles in his films and speaking in various accents.

Notable films: Wayne’s World; So I Married an Axe Murderer; Austin Powers; Shrek.

 10. STEVE PEMBERTON (1967-present).

He is arguably one of the most talented and fruitful character actors working in British television today. His ability to switch, in character, between genders, accents, ages, and guises is effortless.

Notable television shows: The League of Gentlemen; Psychoville; Benidorm.

 1. JAMES DALTON / ROAD HOUSE (1989).

A tough bouncer (“cooler”) trained in martial arts is hired to tame a dirty roadside bar.

Played by: Patrick Swayze

Famous quote: “Take the biggest guy in the world, shatter his knee and he’ll drop like a stone.” 

 2. MARION ‘COBRA’ COBRETTI / COBRA (1986).

A merciless, tough-on-crime street cop has to protect the only surviving witness to an unrelenting, murderous cult with far-reaching plans.

Played by: Sylvester Stallone

Famous quote: “You’re the disease, and I’m the cure.” 

 3. JOHN MATRIX / COMMANDO (1985).

A retired elite Black Ops Commando launches a one-man war against a group of South American criminals who have kidnapped his daughter.

Played by: Arnold Schwarzenegger

Famous quote: “I eat Green Berets for breakfast. And right now, I’m very hungry.” 

 4. FRANK DUX / BLOODSPORT (1988).

The film is based on the life of Frank Dux, an American martial arts expert and U.S. soldier, who competes in the Kumite, an illegal and underground fighting competition in Hong Kong.

Played by: Jean-Claude Van Damme

Famous quote: “Aren’t you a little old for videogames?” 

 5. SNAKE PLISSKEN / ESCAPE FROM NEW YORK (1981).

In 1997, when the US President crashes into Manhattan, which is now a giant maximum-security prison, a convicted criminal is sent in to rescue him.

Played by: Kurt Russell

Famous quote: “You wanna see him sprayed all over that map, baby? Now where’s the President?”

 6. MARK GOR / A BETTER TOMORROW (1986).

A reforming ex-gangster attempts to reconcile with his estranged policeman brother, but the ties to his former past are difficult to break.

Played by: Yun-fat Chow

Famous quote: “If you don’t stop pointing that gun, you’ll have to use it.”

 7. MARTIN RIGGS / LETHAL WEAPON (1987).

A veteran cop, Murtaugh, is partnered with a young, suicidal cop, Riggs. They must learn to work with one another to stop a gang of drug smugglers.

Played by: Mel Gibson

Famous quote: “When I was 19, I did a guy in Laos from a thousand yards out. It was a rifle shot in high wind. Maybe eight or even ten guys in the world could have made that shot.”

  8. DUTCH / PREDATOR (1987).

A team of commandos, on a mission in a Central American jungle, find themselves being hunted by an extra-terrestrial warrior.

Played by: Arnold Schwarzenegger 

Famous quote: “You’re one… *ugly* motherfucker!”

 9. JOHN MCCLANE / DIE HARD (1988).

John McClane, a police officer of the NYPD, attempts to save wife Holly Gennaro and several others who have been taken hostage by German terrorist Hans Gruber during a Christmas party at the Nakatomi Plaza in Los Angeles.

Played by: Bruce Willis

Famous quote: “Nine million terrorists in the world and I gotta kill one with feet smaller than my sister.”

 10. JOHN RAMBO / FIRST BLOOD (1982).

A mentally unstable Vietnam veteran, when abused by a small town’s police force, begins a one-man war with it – all hell breaks loose.

Played by: Sylvester Stallone

Famous quote: “I could have killed ‘em all; I could’ve killed you. In town you’re the law; out here it’s me. Don’t push it! Don’t push it or I’ll give you a war you won’t believe. Let it go. Let it go!”

1. In 2003, who became the first fictional human being to be nominated for a real-life Academy Award (for Best Original Screenplay)?

2. How many movies has Matt Damon starred in where some part of his character’s name appears in the title of the film?

3. Can you name an actor or actress that has starred in two or more separate films that have exactly the same name, whether it be a remake or an entirely different film?

4. Which Hollywood legend’s real name is Allan Stewart Konigsberg?

5. Which famous actor was the voice of Darth Vader?

6. How many films have Denzel Washington and Tony Scott collaborated on?

7. What is the name of Patrick Bateman’s (American Psycho) younger brother?

8. What are the popular stage names of the 4 main Marx Brothers?

9. Which female actress features on Andy Dufresne’s poster in The Shawshank Redemption?

10. Which 1980s coming-of-age teen drama was adapted from Stephen King’s The Body?

1. MEMENTO (2000).

A man that suffers from short-term memory loss uses tattoos, Polaroids and notes to hunt for the man he believes murdered his wife.

Techniques used: Memento is presented as two different sequences of scenes: a series of colour sequences displayed in reverse order, and a series in B/W that are shown chronologically. The two sequences “meet” at the end of the film, whereby producing one common narrative.

 2. CUBE (1997).

Seven complete strangers of widely varying personalities are involuntarily put in an endless, surreal, Kafkaesque maze (cube) comprising deadly traps.

Techniques used: Cube was filmed entirely on a soundstage. Only one cube, measuring 14 x 14 x 14 feet, was actually built, with only one working door that could actually support the weight of the actors.

 3. WAKING LIFE (2001).

A man strolls through a dream meeting a variety of characters and discussing the purposes and meanings of the universe.

Techniques used: The movie was entirely rotoscoped, though it was shot using digital video with a team of artists drawing stylised colours and lines over each frame with computers, rather than being filmed and traced onto cels on a light box.

 4. TIMECODE (2000).

Four frames of simultaneous action that alternately follow a smitten lesbian lover as she obsesses over her partner’s casual relationships as well as the tense goings-on of a Hollywood film production company.

Techniques used: The movie is constructed from four continuous 90-minute takes that were filmed simultaneously by four cameramen; the screen is divided into quarters and the four shots are shown simultaneously.

 5. L’APPARTEMENT (1996).

With a plot more tangled than a spider’s broken web, this French drama follows the romantic obsession of Max (Vincent Cassel), a young corporate hotshot who leaves his successful new world behind to search for his elusive lost love Lisa (Monica Bellucci).

Techniques used: Known for its complex plot and stylish direction, teasing the audience with changes in settings and time that form a labyrinth of deception.

 6. BEING JOHN MALKOVICH (1999).

A puppeteer discovers a portal that leads literally into the head of the movie star, John Malkovich.

Techniques used: Cinematic cloning of John Malkovich when entering his own head as well as the bizarre and rather outrageous storytelling of Charlie Kaufman.

 7. RUN LOLA RUN (1998).

A woman has 20 minutes to find and bring 100,000 Deutschmarks to her boyfriend before he robs a supermarket.

Techniques used: Through three different versions of the same run, recurring themes of determinism, cause-effect relationships, and chaos theory are ever-present.

 8. IRREVERSIBLE (2002).

Events over the course of one traumatic night in Paris unfold as the beautiful Alex is brutally raped and beaten by a stranger in the underpass.

Techniques used: Reverse-chronological order as well as multiple takes that were edited together using digital processing, creating the illusion that scenes were filmed all in one take, with no cuts or edits.

9. MULHOLLAND DRIVE (2001).

After a car crash on Mulholland Drive renders a woman amnesic, she and a perky Hollywood-hopeful look for clues and answers across Los Angeles in a twisting, mind-bending venture beyond reality and dreams.

Techniques used: Complex narrative, dreams, consciousness, fantasy, and alternate realities all played out in David Lynch’s twisted mind.

 10. FUNNY GAMES (1997).

Two psychotic young men take a father, mother and son hostage in their holiday home, forcing them to take part in sadistic “games” with one another for their own amusement.

Techniques used: Breaking the fourth wall, blurring the lines between reality and fiction, and extreme manipulation of both the characters and the viewers.

 1. KYUNG-CHUL / I SAW THE DEVIL

Played by: Choi Min-sik (Oldboy); Character profile: Sexual deviant / Attacks are spontaneous / Uses whichever weapon is at his disposal; Quote: I don’t know what pain is. Fear? Don’t know that either.

 2. BUFFALO BILL / SILENCE OF THE LAMBS

Played by: Ted Levine (Shutter Island); Character profile: Kills females only / Attacks are meticulously planned; Quote: It rubs the lotion on its skin or else it gets the hose again.

 3. EARLY GRAYCE / KALIFORNIA

Played by: Brad Pitt (Fight Club); Character profile: Attacks are spontaneous / Kills in fits of rage; Quote: Tell me, big shot, how you gonna write a book about something [murders] you know nothing about?

 4. NORMAN BATES / PSYCHO

Played by: Anthony Perkins (Friendly Persuasion); Character profile: Lives an isolated lifestyle / Has dissociative identity disorder; Quote: She might have fooled me, but she didn’t fool my mother.

 5. HENRY / HENRY: PORTRAIT OF A SERIAL KILLER

Played by: Michael Rooker (Sea Of Love); Character profile: Attacks are spontaneous / Films some of his murders; Quote: Oh yeah, that’s right, I stabbed her.

 6. JOHN DOE / SEVEN

Played by: Kevin Spacey (American Beauty); Character profile: Attacks are meticulously planned / Types of victim differ; Quote: Wanting people to listen, you can’t just tap them on the shoulder anymore. You have to hit them with a sledgehammer, and then you’ll notice you’ve got their strict attention.

 7. PETER & PAUL / FUNNY GAMES

Played by: Frank Giering & Arno Frisch; Character profile: Manipulate people / Have victims play sadistic “games”; Quote: We’re not up to feature film length yet.

 8. HANNIBAL LECTER / SILENCE OF THE LAMBS

Played by: Anthony Hopkins (The Edge); Character profile: Eats his victims / Is extremely clever; Quote: You know what you look like to me, with your good bag and your cheap shoes? You look like a rube.

 9. PETER FOLEY / COPYCAT

Played by: William McNamara; Character profile: Picks his victims carefully / Replicates the murders of infamous serial killers; Quote: Did you know, Helen, that more books have been written about Jack the Ripper than Abraham Lincoln? It’s a sick world, isn’t it, Helen?

 10. JEE YOUNG-MIN / THE CHASER

Played by: Jung-woo Ha (The Yellow Sea); Character profile: Extremely violent / Kills females only.

1. DAVID FINCHER (1962–present).

Known for his dark, stylish, psychological thrillers, Fincher has an incredible ability to blend harsh reality and beautiful colour on the big screen.

Notable films: Seven; Fight Club; The Game; Zodiac; The Social Network.

 2. ALFRED HITCHCOCK (1899–1980).

Billed as England’s greatest film director, Hitchcock is the undisputed master of suspense.

Notable films: Rear Window; Vertigo; Psycho; Dial M For Murder; North By Northwest.

 3. PAUL THOMAS ANDERSON (1970–present).

Ranked by The Guardian as the number one film director in the world in 2012, Anderson is highly regarded as being a true cineaste – a master of his craft.

Notable films: Boogie Nights; Magnolia; There Will Be Blood; The Master.

 4. CHAN-WOOK PARK  (1963–present).

Known as one of the most highly acclaimed directors in Asia, Park is known for his immense framing and often brutally relentless subject matter.

Notable films: Oldboy; Lady Vengeance; Joint Security Area; Thirst; I’m A Cyborg.

 5. MICHAEL HANEKE (1942–present).

Best known for his bleak, disturbing style, his films often document failures and problems in society.

Notable films: Hidden; Funny Games; The White Ribbon; The Piano Teacher.

 6. JEE-WOON KIM (1964–present).

Kim has a successful history of tackling a wide range of film genres, whereby gathering a cult following among Asian film fans worldwide.

Notable films: A Bittersweet Life; I Saw The Devil; A Tale Of Two Sisters; The Quiet Family.

 7. TAKASHI MIIKE (1960–present).

His films range from strange and violent to family-friendly and dramatic – he is truly diverse.

Notable films: Audition; Ichi The Killer; Dead Or Alive; 13 Assassins; MPD Psycho.

 8. MARTIN SCORSESE (1942–present).

Scorsese’s filmography addresses such themes as Italian-American identity, Roman Catholic concepts of redemption and guilt, modern crime, machismo, and violence. Scorsese is hailed as one of the most influential and significant filmmakers of all time.

Notable films: The Color Of Money; The King Of Comedy; Taxi Driver; Goodfellas; Casino.

 9. QUENTIN TARANTINO (1963–present).

His movies are generally characterised by stylistic influences from kung fu, grindhouse, and spaghetti western films. Tarantino is also well known to regularly reference pop culture in his films.

Notable films: Reservoir Dogs; Pulp Fiction; Inglourious Basterds; True Romance (screenplay).

 10. ROMAN POLANSKI (1933–present).

Having made films in Britain, Poland, France, and the US, he is considered one of the few “truly international filmmakers”. As well as Hitchcock, nobody captures a suspenseful atmosphere quite like Polanski.

Notable films: Rosemary’s Baby; The Tenant; The Pianist; Chinatown; Repulsion.

What ensues is a moving, intelligent, and yet truthful tale of pain and sorrow with a spectacular backdrop of wine, women and the open road. Any serious cinephile has to see Sideways.

True Romance is a 1993 American romantic/crime drama directed by Tony Scott and written by Quentin Tarantino. Despite not being the highest rollers at the time, the film now features an ensemble cast plucked straight out of somebody’s dream. As well as Christian Slater and Patricia Arquette spearheading the picture, we are introduced to a Brad Pitt, Gary Oldman, Samuel L. Jackson, Val Kilmer, Dennis Hopper, and Christopher Walken (to name but a few) in one shape or form. Nowadays, a studio would most certainly have to flash the cash to acquire a cast like this.

It tells the story of a comic book store clerk/film buff (Slater) who meets a gorgeous Patricia Arquette, by chance, at a Sonny Chiba triple feature showing. Following a flirtatious encounter and romantic night of passion, we are subjected, in a great way, to a cavalcade of gangsters, guns, violence, drugs and pimps. To quickly summarise: she is actually a prostitute hired for his pleasure; she falls for him but has a relentless pimp; a suitcase of cocaine is stolen; a Sicilian mob are the furious owners of this suitcase; an edge-of-your-seat game of cat and mouse takes place; Clarence (Slater) and Alabama (Arquette) try to make a quick buck in order to live and die in each other’s arms.

If you haven’t watched True Romance yet, please do!

At this point, don’t be fooled. A ruse has occurred: The Game has commenced. What follows is the most elegantly shot 2 hours of mystery and Hitchcockian suspense that you are likely to see. A bombardment of questions instantly storms the viewer: Is it a game? Is it real? Is his brother in on it? Are the company after Nicholas Van Orton’s fortune?

If you are a firm admirer of the David Fincher brand (Seven, Zodiac, Fight Club), The Game is no different: what we are seeing is a true cineaste at work. His colouration of a scene and ability to set a mood based solely on this colouration is nothing short of masterful.

I would recommend this film to any fan of the genre.

The film opens with a seemingly guilty Aaron Stampler (Norton) running away from what we have observed to be a brutal murder of a Catholic archbishop. Once caught and in custody, Martin Vail (Gere), a high-profile and hotshot defence lawyer, takes the case pro bono, in a selfish attempt to raise his public profile. As the story progresses, we start to learn a few things: the prosecution in the Stampler case is Martin Vail’s former lover, Janet Venable (Laura Linney); the Catholic archbishop had previously declined real estate investment on church land, resulting in the District Attorney (John Mahoney) losing millions of dollars and the archbishop receiving numerous death threats; and Aaron Stampler has apparent Multiple Personality Disorder, which resulted from sexual abuse in childhood, which, if Martin Vail can prove is the case for the judge and jury, will vindicate Stampler of the murder charge.

At this point, the story is beautifully set. Edward Norton delivers his seminal performance with real authority. Laura Linney is her usual superlative self, whilst invigorating the screen with unequivocal sexuality. John Mahoney (who we are used to seeing provide a timeless laughter track in Frasier) is unusually superb as the unrelenting yet straight-faced District Attorney. Richard Gere, with his annoyingly handsome looks, plays the celebrity-status-seeking lawyer with real conviction.

For fans of Edward Norton or just fans of the crime-thriller genre in general, you could do a lot worse than venturing out and buying Primal Fear. An extraordinary watch.

What this film has is the simplest premise imaginable: Alec Baldwin (a high-end executive from head office) arrives at an underachieving real estate sales office with an ultimatum for its staff: start performing or “hit the bricks.” Being the only seemingly successful salesman in the office, Al Pacino hasn’t attended Baldwin’s drill-sergeant routine; however, it becomes immediately clear that the remaining employees’ livelihoods are at stake – Jack Lemmon is a has-been in the sales world, and Ed Harris and Alan Arkin are barely pulling their weight. If nothing else, it is imperative that you witness Alec Baldwin’s truly memorable motivational speech. This is a different Alec Baldwin that people are tuning in for week in week out (30 Rock).

What follows is a beautifully played-out 2 hours of sheer filmic brilliance. Jack Lemmon demonstrates the usual mainstay of the Jack Lemmon brand: being a stammering nincompoop, for whom we root. Kevin Spacey is indescribable, as per usual. His deadpan, straight-laced approach to acting is flawless. For fans of his performance in Swimming With Sharks, this should be your next watch. As with SWS, you love to hate him!

For any person having ever worked in a sales job, you will know what the ‘good leads’ are and you will certainly know what the ‘bad leads’ are. What this film truthfully shows is three extremely despairing salespersons craving the ‘good leads’, willing to do anything to get them.

On the flip-side, if you haven’t worked in a sales office – pray you never do – you will most definitely never want to. There is no glitz; there is no glamour; it isn’t a pretty environment. Here we see hopelessness, despondency and anguish played out to a noir-style, glum backdrop. If you love films and love David Mamet, this is the quintessential filmgoer’s film.

1. HOOP DREAMS (1994).

A film following the lives of two African-American boys who struggle to become college basketball players on the road to going professional. Documentaries don’t come much better than this. Here we have a sincere, compelling look at the lives and ambition of two inner-city basketball hopefuls.

 2. THE KING OF KONG (2007).

Diehard video game fans compete to break World Records on classic arcade games. What an unusually brilliant look at the formidability of gaming nuts. I was hooked by the plight of Steve Wiebe, as he tries to break the world Donkey Kong record.

 3. GRIZZLY MAN (2005).

A devastating and heartrending take on grizzly bear activists Timothy Treadwell and Amie Huguenard, who were killed in October of 2003 while living among grizzlies in Alaska. Straight off the bat…wow! I wouldn’t go as far as saying I am sympathetic towards Timothy Treadwell; however, his story and apparent ability to tame wild bears is enthralling. A must-see!

 4. THE LAST WALTZ (1978).

A film account and presentation of the final concert of The Band. Give me a concert, which features the likes of Bob Dylan, Neil Young, Eric Clapton, Neil Diamond, etc., and which has Martin Scorsese at the helm, any day – truly enjoyable!

 5. THE COVE (2009).

Using state-of-the-art equipment, a group of activists, led by renowned dolphin trainer Ric O’Barry, infiltrate a cove near Taijii, Japan to expose both a shocking instance of animal abuse and a serious threat to human health. If you have a weak stomach, I advise you not to watch this; if you can stomach the worst animal cruelty known to man, this is a riveting watch.

 6. NIGHT AND FOG (1955).

The history of Nazi Germany’s death camps of the Final Solution and the hellish world of dehumanization and death contained inside. If you “enjoy” war films/documentaries as much as I do, and find man’s inhumanity towards other men intriguing, it doesn’t get better than this gem of a war documentary.

 7. IMAGINE: JOHN LENNON (1988).

A biography of the rock music star. There is nothing more to say other than this being a biopic of a true, iconic legend.

 8. FESTIVAL EXPRESS (2003).

The filmed account of a large Canadian rock festival train tour. If this film doesn’t make you want to buy a guitar, start a band, as well as live during this drug-fuelled bonanza, nothing ever will.

 9. ENRON: THE SMARTEST GUYS… (2005).

A documentary about the Enron corporation, its faulty and corrupt business practices, and how they led to its fall. This is a harrowing look at corruption like no other. It is amazing to believe they got away with it for so long.

 10. BOWLING FOR COLUMBINE (2002).

Filmmaker Michael Moore explores the roots of America’s predilection for gun violence. Moore does what he does best: he focuses on an issue (gun crime) and blows the case wide open.

1. TWELVE MONKEYS (1995).

In a future world devastated by disease, a convict is sent back in time to gather information about the man-made virus that wiped out most of the human population on the planet. Here we have proof again that Brad Pitt really is an exceptional character actor. As well as Terry Gilliam’s usual, wacky portrayal of a dystopian future, Pitt’s performance is truly disturbed and unforgettable!

 2. LA FEMME NIKITA (1990).

Convicted felon Nikita, instead of going to jail, is given a new identity and trained, stylishly, as a top-secret spy/assassin. You just can’t go too wrong with a French classic that has Luc Besson at the helm as well as a beautiful, seductive femme fatale as the main protagonist. You really won’t be disappointed.

 3. MAGNOLIA (1999).

An epic mosaic of several interrelated characters in search of happiness, forgiveness, and meaning in the San Fernando Valley. Without a shadow of a doubt, Paul Thomas Anderson has to be one of the best directors around today. He is one of the only true cineastes working in Hollywood. Watching one of his films is like sitting through a masterclass in the art of filmmaking. A true auteur!

 4. FROM DUSK TILL DAWN (1996).

Two criminals and their hostages unknowingly seek temporary refuge in an establishment populated by vampires, with chaotic results. Give me Rodriguez directing, Tarantino writing and Keitel acting in the same film any day of the week. Everything just fits for me in this modern vampire classic.

 5. ANY GIVEN SUNDAY (1999).

“Any Given Sunday” is a behind the scenes look at the life and death struggles of modern-day gladiators and those who lead them in the world of American Football. Despite not being the mostly highly rated of films, Al Pacino’s performance alone is worth the watch. He is his usual ferocious best. It is also a very interesting look at life behind closed doors of this seemingly glamorous sport.

 6. USUAL SUSPECTS (1995).

 7. DESPERADO (1995).

1. FARGO (1996).

Jerry Lundegaard’s inept crime falls apart due to his and his henchmen’s bungling as well as the persistent police work of pregnant Marge Gunderson. For me, the Coen Brothers can be very hit or miss; bar a couple of gems (The Big Lebowski, No Country For Old Men), I believe them to be one of the most overrated names in Hollywood. However, this is as perfect a film as you are likely to see. Apparently based on a true story, this is a scary look at what life may possibly be like behind the doors of such ordinary people.

 2. SEVEN (1995).

Two detectives, a rookie and a veteran, hunt a serial killer who uses the seven deadly sins as his modus operandi. This is the ultimate serial killer/detective film. It has everything – David Fincher’s masterful directing, a storyline like no other, incredible yet honest performances by Pitt and Freeman, and the quintessential unmerciful bad guy. A masterpiece!

 3. ONE EIGHT SEVEN (1997).

After surviving a brutal attack by a student, teacher Trevor Garfield moves from New York to Los Angeles, where things get from bad to worse. Despite being quite a rare film featuring Samuel L. Jackson, his performance as a troubled Los Angeles teacher in an urban high school is truly memorable. For somebody seeking out an edgier, grittier Dangerous Minds, this is the film for you.

 4. HEAT (1995).

The lives of two men on opposite sides of the law – one a detective, and the other a thief. God forbid there are people who have somehow missed this film. For fans of crime capers, Michael Mann, Al Pacino, Robert De Niro, to name but a few, you have to watch this film. It is cool, calm and collected, and yet it isn’t afraid to fire off a million bullets when necessary.

 5. KALIFORNIA (1993).

A journalist duo go on a tour of serial killer murder sites with two companions, unaware that one of them is a serial killer himself. For those who believe Brad Pitt is all looks and no substance, you are solely mistaken. His performance as the remorseless Early Grayce is truly terrifying. Pray you never meet a character like this.

 6. LEON (1994).

A professional assassin, Leon, reluctantly takes care of 12-year-old Mathilda, a neighbour whose parents are killed, and teaches her his trade. There is nothing more to say other than this film being one of the greatest films of the nineties, and maybe of all time. Jean Reno is the gentlest, nicest man imaginable, yet he is also the most relentless contract killer around. Add Luc Besson and an irreplaceable Gary Oldman to the equation and you have a classic piece of French-American moviemaking.

 7. THE FRENCH CONNECTION (1971).

A pair of NYC cops in the Narcotics Bureau stumble onto a drug smuggling job with a French connection. Deserving of the Oscar, Gene Hackman plays “Popeye” Doyle, a real brute of a cop, tackling a French drug syndicate in this electrifying, no holds barred crime thriller.

 8. SERPICO (1973).

The true story about an honest New York cop who blew the whistle on rampant corruption in the force, only to have his comrades turn against him. Put the late, great Sidney Lumet at the helm of your film as well as the typically incomprehensible Al Pacino and you have a classic.

 9. REAR WINDOW (1954).

1. LET THE RIGHT ONE IN (2008).

Oscar, an overlooked and bullied boy, finds love and revenge through Eli, a beautiful but peculiar girl who turns out to be a vampire. And who said the Swedish film industry can’t rub shoulders with the rest of the world? I haven’t had much experience with Swedish films, let alone Swedish horror films. However, this masterful as well as suspenseful take on a vampire film has everything – gore, lust, a creepy desolate terrain and a childhood romance like no other.

 2. ROSEMARY’S BABY (1968).

A young couple move into a new apartment, only to be surrounded by peculiar neighbours and occurrences. When the wife becomes mysteriously pregnant, paranoia over the safety of her unborn child begins controlling her life. Without giving too much away, and putting aside Polanski’s fugitive ways, this film unequivocally places him in the elite of Hollywood. He is a true cineaste, who never fails to leave you with a sickening, disturbed, bleak look on life. A must-see.

 3. JU-ON (2002).

A mysterious and vengeful spirit marks and pursues anybody who dares enter the house in which it resides. If for no other reason, watch this film just to see how the Japanese attempt the horror genre. It is frightening, to say the least. The scene with the stairs (see picture) had me nearly s**t myself.

 4. THE ORPHANAGE (2007).

A woman brings her family back to her childhood home, where she opens an orphanage for handicapped children. Before long, her son starts to communicate with an invisible new friend. Give me Guillermo Del Toro, a missing kid, an unsettling mask, an old haunting orphanage, a shoreline and a cave, any day. These are the ingredients for a neck-breaker of a horror film. Suspense as it should be.

 5. HELLRAISER (1987).

An unfaithful wife encounters the zombie of her dead lover, who’s being chased by demons after he escaped from their sado-masochistic Hell. I quite simply have to add this film because it is absurd. It is beyond belief that Clive Barker wasn’t committed to a hospital after this was released. If you aren’t left with a chill after seeing Hellraiser, maybe you should be in that same hospital. The cenobites will scare the living s**t out of you.

 6. THE WICKER MAN (1973).

A police sergeant is called to an island village in search of a missing girl, whom the locals claim never existed. Stranger still, however, are the rituals that take place there. I’m not much of a fan of British films, but I’m certainly proud of this film. When depicting horror, we don’t need monsters, gore, beasts, bloodshed, brain matter and a host of other obvious techniques to have people queasy; we just need Christopher Lee, a Scottish isle and a bunch of absolute oddballs to freak us out. I felt uneasy more than anything, trying to figure out everybody’s agenda. A real gem.

 7. SILENCE OF THE LAMBS (1991).

A young FBI cadet must confide in an incarcerated and manipulative killer to receive his help on catching another serial killer who skins his victims. Who in 1991 was going to get close to Anthony Hopkins in the running for the Best Actor Oscar? The answer is nobody. Recently been included into the National Registry, this is one of the best films ever made, in my opinion. The casting is exceptionally thought-out; the characters are compelling and formidable; the general atmosphere is harrowing. A masterpiece!

 8. NIGHTMARE ON ELM STREET 3 (1987).

Survivors of undead serial killer Freddy Krueger – who stalks his victims in their dreams – learn to take control of their own dreams in order to fight back. My personal favourite horror badass of all-time, Freddy Krueger makes Mike Myers and Jason seem as scary as Bebop and Rocksteady. When you’re a kid watching this, it’s knowing that you can’t fall asleep to alleviate yourself of the worry – that is where Freddy gets you. What a predicament!

 9. IN THE MOUTH OF MADNESS (1994).

An insurance investigator begins discovering that the impact a horror writer’s books have on his fans is more than inspirational. I would best describe this rare gem as a mix between David Lynch, in his ability to have you feel more lost than when you first started viewing, and the ever-brilliant John Carpenter, whose film it is, in his ability to plaster the screen with the most gruesome, ghastly, slimiest looking beings you have ever seen. This is a real head f**k!

 10. A TALE OF TWO SISTERS (2003).

A family is haunted by the tragedies of deaths within the family. This is another belter from one of my favourite Asian directors, Jee-woon Kim, whose track record of films proves he can quite literally tackle any genre (Western, Gangster, Comedy, Serial Killer, Horror). This is an awkward, gritty affair straight out of South Korea, which comprises all the elements of a real spine-tingler. You have the mysterious, suspicious step-mother; the clueless away-from-home-a-lot, businessman father; the spooky, creepy, don’t-know-what-the-hell-they’re-up-to sisters, as well as the old, rickety house. A fantastic film from a fantastic director.

1. KING OF COMEDY (1983).

Aspiring comic, Rupert Pupkin, wants to achieve success in showbusiness but resorts to stalking his comic idol, a late night talk show host who craves his own privacy, in order to achieve this success. This is proof that De Niro really can do anything – gangster, comedian, serial killer, Vietnam soldier, The Devil, etc. I love Pacino, but if I had to choose between them, hands down De Niro takes it – maybe not by much though. He is not known too much for his comedy; however, his comedic timing, along with Scorsese’s usual, brilliant self, makes this film an absolute must-see.

 2. SIDEWAYS (2004).

Two men reaching middle age, with not much to show but disappointment, embark on a week-long road trip through California’s wine country, just as one is about to take a trip down the aisle. If you haven’t seen this, please run out and buy it now! All I wanted to do after watching this film was assemble a bunch of friends, hire a car and live the Californian wine country road trip life. Sideways leaves you with the same free-spirited, care-free feeling that reading Kerouac’s On The Road leaves you with. This is nothing short of magnificent.

 3. AMERICAN PSYCHO (2000).

A wealthy New York investment banking executive hides his alternate psychopathic ego from his co-workers and friends as he escalates deeper into his illogical, gratuitous fantasies. Straight off the bat, I’m not quite sure whether this is supposed to be seen as a comedy. However, I never stopped laughing throughout the whole film, so this has to rank in my list. Bret Easton Ellis’ masterpiece is the epitome of a dark/black comedy. I don’t think you are meant to be laughing, but you are!

 4. PORKY’S (1982).

Set in 1954, a group of Florida high schoolers seek out losing their virginity, which leads them to seek revenge on a sleazy nightclub owner and his redneck sheriff brother for harassing them. Before there was American Pie, there was Porky’s, a film which showed what men are really like. This is full of laugh-out-loud moments and Kim Cattrall’s performance is very memorable, to say the least.

 5. OFFICE SPACE (1999).

1. ICHI THE KILLER (2001).

As a sadomasochistic yakuza enforcer named Kakihara searches for his missing boss, he stumbles across Ichi, a repressed and psychotic killer who may be able to inflict levels of pain that Kakihara has only dreamed of. Straight off the bat, if you have a weak stomach or are easily shocked, this may not be the film for you. This is as explicitly violent and extreme a film as you are ever likely to see. Then again, it is a Takashi Miike film so you should be expecting the worst. This has real cult status now. If you want real grit and a no-holds-barred rollercoaster, watch THIS! Good luck.

 2. KING OF NEW YORK (1990).

A former drug lord returns from prison determined to wipe out all his competition and distribute the profits of his operations to New York’s poor and lower classes in this stylish and ultra violent modern twist on Robin Hood. This film must just be a personal favourite of a select few (including me), as its average rating is surprisingly quite poor on IMDB. Nevertheless, this is Christopher Walken at his subtle, yet superb best. He is blistering as usual.

 3. NEW JACK CITY (1991).

A crime lord ascends to power and becomes megalomaniacal while a maverick police detective vows to stop him. If you are expecting Wesley Snipes to steal this show, you’ll be in for a surprise. This film is 99% about Chris Rock’s performance. If there are any doubters as to his acting ability, I dare you to say that after watching New Jack City. He single-handedly dominates this picture with the best drug-induced performance I have ever seen.

 4. A PROPHET (2009).

A young Arab man is sent to a French prison where he becomes a mafia kingpin. It is difficult to know what foreign films are worth watching, especially when it comes to the crime genre, as Hollywood exhausts every possible storyline. I read up on A Prophet and it really was worth the 2 1/2 hour watch. Tahar Rahim (protagonist) is one to look out for in the future. To start off with, you don’t think he will last 5 minutes in this prison. Soon after, your opinion certainly changes. He becomes cool, calm and a person not to be fucked with.

 5. CARLITO’S WAY (1993).

A Puerto-Rican ex-con, just released from prison, pledges to stay away from drugs and violence despite the pressure around him, and to lead a better life. I can safely say this is currently and has been my favourite gangster film for some years now – not so much due to the storyline but rather the characters and performances of Pacino and Penn. We are talking here about two actors who are in the elite list of acting talents. Pacino is very collected, yet you know he can unleash his ferocious side at any time; Penn is untouchable in his lawyer-turns-aspiring-gangster role. He is the devil on your left shoulder.

 6. THE KILLER (1989).

A disillusioned assassin accepts one last hit in hopes of using his earnings to restore vision to a singer he accidentally blinded, only to be double-crossed by his boss. This is my first of two films in the John Woo/Chow Yun-Fat series. He may be the master of action. He doesn’t hold back as per usual. If you require a million bullets and a million squib effects, watch all of their collaborative films. You feel like you have been in the gun battles yourself.

 7. HARD BOILED (1992).

A tough-as-nails cop teams up with an undercover agent to shut down a sinister mobster and his crew. Need I say more than it being a John Woo/Chow Yun-Fat epic where over 100,000 rounds of ammunition are fired!

 8. BOYZ N THE HOOD (1991).

Saga of a group of childhood friends growing up in a Los Angeles ghetto. I still am yet to visit Los Angeles but I believe this is an area of some notoriety – “The Jungle”. By god, I don’t want to visit there but film portrayals I find fascinating, as I believe it really is that bad. Films, such as Menace 2 Society and Training Day, can’t be helping the area. Nevertheless, this film is powerful, dramatic and I’ve seen it maybe 50+ times. It is a must-see for any film buff wanting to gain knowledge of new culture.

 9. WHITE HEAT (1949).

A psychopathic criminal with a mother complex makes a daring break from prison and leads his old gang into a chemical plant payroll heist. Shortly after the plan takes place, events take a crazy turn. Without a doubt the oldest film on my list, this is the definition of a timeless classic. James Cagney is relentless and a true crime figure. He has the voice, the attitude, the salty wit and unlike the majority of actors today, he doesn’t have the all-American chiseled looks.

 10 . A BITTERSWEET LIFE (2005).

A loyal hotel manager/enforcer is asked by his crime boss to kill his girlfriend’s lover. Daring to defy him, his actions lead to terrible personal consequences and set in motion a cavalcade of blood, violence and mayhem. This is an absolute gem from the masterful yet diverse director, Jee-Woon Kim. Regarding the enforcer, Byung-Hun Lee, I see this guy, and I want to be this guy. He is the epitome of cool.

1. GLENGARRY GLEN ROSS (1992).

A look into the inner workings of a downright desperate and gloomy real-estate office. There isn’t much more to say about this male-oriented film other than it being a true performance piece containing true legends of the industry. Based on the award-winning David Mamet play of the same name, this story, which is beautifully told by Al Pacino, Jack Lemmon and Kevin Spacey (to name a few), will have you never wanting to step foot in a sales job for as long as you live. A must-see for true cineastes.

 2. SWIMMING WITH SHARKS (1994).

A young, naive Hollywood studio assistant finally turns the tables on his incredibly abusive producer boss. For fans of Kevin Spacey, this is the film for you. He plays that boss you wish you never have the pleasure of working for. He is manipulative, waspish and is one real malevolent son of a bitch. You really would end up killing him.

 3. THE GAME (1997).

Wealthy financier Nicholas Van Orton receives a strange birthday present from wayward brother Conrad – a live-action game that consumes his life. David Fincher strikes again. This is a Fincher film that seemed to go under the radar slightly and I am not quite sure why. The cast is superb, the cinematography is Fincher at his best and, by God, do I wish I had written this roller coaster of a storyline. A real gem.

 4. TRUE ROMANCE (1993).

Clarence marries hooker Alabama, steals cocaine from her pimp, and tries to sell it in Hollywood, while the owners of the coke try to reclaim it. Straight off the bat, this is currently and has been my favourite film of all time for 15 or so years now. Tarantino’s ability to subtly blend romance and violence is flawless. In addition, this film comprises a cast that now would cost $100m easily. Why would you not want to watch a film that has Pitt, Oldman, Walken, Hopper, Kilmer, Sizemore, Slater and Samuel L. Jackson just ripping up the screen. That is to name but a few.

 5. THE APARTMENT (1960).

A man tries to rise in his company by letting its executives use his apartment for trysts, but complications and a romance of his own ensue. This was my first experience with Jack Lemmon and certainly wasn’t my last. “They don’t make ‘em like they used to” may be one of the most appropriate sayings when discussing this film. His ability to play the underdog is effortless. Without your Jack Lemmons or Billy Wilders, we wouldn’t have The Office or Curb Your Enthusiasm, fact! Please watch this.

 6. DR. STRANGELOVE (1964).

An insane general starts a process to nuclear holocaust that a war room of politicians and generals frantically try to stop. I had heard about this film for many years, yet had somehow never found the time to watch it. What had I been doing all that time? Peter Sellers, wow!  There are not many films which have me in stitches but Kubrick’s satirical masterpiece really does have you gasping for breath. I would like to think this film isn’t an accurate portrayal of war room behaviour; however, I’m really not sure.

 7. CHINATOWN (1974).

A private detective investigating an adultery case stumbles on to a scheme of murder that has something to do with water. Here we have another sordid, yet beautifully shot classic from Polanski. Along with Rosemary’s Baby, this certainly ranks as a masterpiece in the pre-fugitive Polanski era, despite its incestuous subject. I can’t think of many examples of films that would even touch on this issue prior to this. As well as Jack Nicholson in his usual superlative form, the casting of Hollywood institution, John Huston, as the main bad guy is inspired. It is a shame Polanski had to hightail it out of the US soon after.

 8. PRIMAL FEAR (1996).

An altar boy is accused of murdering a priest, and the truth is buried several layers deep. Immediately, I own up to Edward Norton being my favourite actor. Watch films, such as this, American History X and Rounders and you will agree that somebody somewhere seriously needs to get this man acting properly again. His core, technical acting ability is obscenely good. It would be a shame for him to whittle away. His portrayal of Aaron/Roy will put a shudder down your back. Again, this film seems to have gone fairly unnoticed over the years and I am not sure why. I love this film.

 9. AMERICAN HISTORY X (1998).

A former neo-nazi skinhead tries to prevent his younger brother from going down the same wrong path that he did. If you haven’t seen this film, questions have to be asked as to where you have been living. I really believe most actors wouldn’t have had the bottle to even take on this role, let alone unleash the venom Edward Norton did. It could have seriously ruined his career. If you are looking for the ultimate bad-guy-turns-good-guy story, this is your film. It is all about his redemption – the racism is just a part of what’s going on. To think the director, Tony Kaye, requested to have his name taken off the credits is mental. An all-time classic. Norton is the man.

 10. ONE FLEW OVER THE CUCKOO’S NEST (1975).

Upon arrival at a mental institution, a brash rebel rallies the patients together to take on the oppressive Nurse Ratched, a woman more a dictator than a nurse. Jack Nicholson is an actor that would actually never be in my top 20; however, I watch him in this film and I question whether I should belong in such an institution myself. He is quite simply incredible. With a rather strange, yet extremely competent ensemble of actors working with him, including a young Danny De Vito and Christopher Lloyd, the stage was set for Nicholson to deliver arguably his magnum opus. He is blistering. He is a real tour-de-force in this film. This is an out-and-out must-see for any serious film buff.

1. THE LIVES OF OTHERS (2006).

In 1984, East Berlin, an agent of the Stasi (secret police), whilst conducting surveillance on a writer and his lover, finds himself becoming increasingly absorbed by their lives. Before seeing this film, I had little knowledge of everyday life in East Germany during this period. This was a real eye-opener for me. I didn’t quite realise the extremes the Stasi went to, in order to ensure its civilians remained true and proper to its society’s values. This film provides some truly remarkable performances and is a real thought-provoker. It was certainly worthy of the Oscar. A must-see.

 2. LA HAINE (1995).

 3. MESRINE: KILLER INSTINCT (2008).

1. LADY VENGEANCE (2005).

After 13 years of false imprisonment for the kidnap and murder of a 6-year-old boy, the beautiful yet ruthless Geum-ja Lee wreaks havoc on the man who was actually responsible for the boy’s death. This is the third installment in Chan-Wook Park’s vengeance trilogy and is my personal favourite. What’s not to like – she is relentless, vindictive, utterly disturbed, and yet you can’t take your eyes off her.

 2. A BITTERSWEET LIFE (2005).

A loyal hotel manager/enforcer is asked by his crime boss to kill his girlfriend’s lover. Daring to defy him, his actions lead to terrible personal consequences and set in motion a cavalcade of blood, violence and mayhem. This is an absolute gem from the masterful yet diverse director, Jee-Woon Kim. Regarding the enforcer, Byung-Hun Lee, I see this guy, and I want to be this guy. He is the epitome of cool.

 3. THE CHASER (2008).

Joong-ho is a dirty detective turned pimp in financial trouble, as several of his hookers have recently disappeared. While trying to track them down, he finds a clue that the vanished girls were all booked by the same client with whom one of his girls is meeting with right now. Along with some of Takashi Miike’s stomach churns, this goes down as one of the most explicitly violent films I’ve ever seen. The detective has found his killer; now all he has to do is find the killer’s next victim. This film really does never stop moving.

 4. OLDBOY (2003).

After being kidnapped and imprisoned for 15 years, Oh Dae-Su is released, only to find that he must find his captor in 5 days. A winner of the Grand Prix at the 2004 Cannes Film Festival and the second installment in the Chan-Wook Park trilogy, I remember vividly seeing this in cinema and thinking that it pisses all over most Hollywood gangster pap. If you want a gritty watch, this has everything – violence, kidnapping, torture, incest, sex, and a badass protagonist that is quite simply a force to be reckoned with.

 5. MEMORIES OF MURDER (2003).

In 1986, in the province of Gyunggi, in South Korea, a second young and beautiful woman is found dead, raped, tied and gagged with her underwear. Detective Park Doo-Man and Detective Cho Yong-koo, two brutal and stupid local detectives without any technique, investigate the murder using brutality and through torturing the suspects, without any practical result. Based on a true story, this is exactly what a serial killer/detective thriller should be – no subtext, no subgenre – just two cops kicking over rocks in order to protect a community.

 6. JSA: JOINT SECURITY AREA (2000).

In the DMZ (De-militarised zone) separating North and South Korea, two North Korean soldiers have been killed, supposedly by one South Korean soldier. However, the 11 bullets found in the bodies, together with the 5 remaining bullets in the assassin’s magazine clip, amount to 16 bullets for a gun that should normally hold 15 bullets. A cover-up is suspected. I discovered this film whilst on a mission to watch all Chan-Wook Park’s complete filmography. This film is a must-see for anyone interested in reading about a rather lesser-known history.

 7. I’M A CYBORG (2006).

A girl who believes she is a combat cyborg checks into a mental hospital, where she encounters other psychotics and very interesting people. Eventually, she falls for a man who thinks he can steal people’s souls. This film is sheer proof that Chan-Wook Park is no one-trick-pony. He is capable of bouncing from blood and gore to whimsy and magical creativity almost effortlessly. This film isn’t groundbreaking for sure. However, a blend of charisma, quirkiness and a real sweetheart allows this film to really settle nicely in the stomach.

 8. MY SASSY GIRL (2001).

Based on a series of true stories posted by Ho-sik Kim on the Internet describing his relationship with his girlfriend, it describes the meeting of Kyun-woo (Cha) and an unnamed girl. Kyun-woo is shamed into assisting the girl because other passengers on a train mistakenly think she is his girlfriend. Once he helps her, Kyun-woo develops a deep sense of responsibility for her, thus enabling him to tolerate (somehow) the girl’s abuse. If you were unfortunate enough to watch the Hollywood version first, or have only watched the Hollywood version, then my deepest condolences go out to you. This is a rom-com that only the Asians could have pulled off. It is sincere, and demonstrates the sort of behaviour only a victimised yet smitten relationship-goer can relate to.

 9. SAVE THE GREEN PLANET (2003).

Byeong-gu believes that the world is on the verge of an alien invasion, and sets out to save the world. For some time, he has been documenting suspected aliens already inhabiting Earth. One of these aliens (suspected), a CEO of a large company, he takes hostage in return for information of the invasion. I’m not quite sure how, but this film manages to effortlessly blend together the comedy, fantasy, drama, thriller and sci-fi genres without breaking a sweat. The protagonist is truly unforgettable. From the off, you have no clue as to whether he is completely insane or a genius.

 10. THIRST (2009).

Through a failed medical experiment, a priest is stricken with vampirism and is forced to abandon his ascetic ways. Another film from the truly diverse Chan-Wook Park, this is exactly what a vampire film should be – the unequivocal need for blood, in which to survive. This is no Twilight, Vampire Diaries or True Blood so don’t expect any of that gooey love shit.