The Prestige's Prestigious films to immerse you

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Which Of The Bourne Series Did You Like Best? I Personally Liked Ultimatum The Best Of The Series.
 
Ok, apparently i'm the only one who thinks it's better than The Ice Storm. I can see why somebody would disagree with me though, so don't take my word for it.

But do give it a chance and expect something along the lines of Ang Lee's drama. You might like it.
 
mark, just curious, is the only thing you're willing to count as substance "emotionally healthy substance?" or "emotional substance" in general (not the same thing, the second contains the first)?

If so, I think either of those views of movies is narrow-minded bs, which is why I disagreed with your formulation of movies = emotions in an older thread. Just thought I'd bring that up.

Anyway, I will jump on the Blade Runner is not one of the best movies ever bandwagon as well. Doesn't bother me that it's "cold as ice" and I don't see any endorsement for the death penalty in there either. But when I first saw it I just didn't find there to be much interest in character (which kind of matters when your espoused central concern is with what it means to be human... or maybe it doesn't). But on re-watching it my interest in certain of the characters (Roy Batty, Leon, the red-haired replicant [Zorah?], the guy who made the Replicants, some of the cops) has grown quite a bit and I like it more now. But the central pair/romance that gets the most screen-time is just so dull. Whenever I see Harrison Ford praised for his performance in this movie (as I've seen several times on this site) I get confused and think -- what performance? Even Ridley Scott seems not to have cared, since his director's cut bleaches out what little emotional/psychological dimension there was (I guess there's the unicorn dream, but that and the photos seems more a calculated cue to make you question Deckard's human-ness than a personal touch).

And it is a lovely movie but when so many of my favorite parts of the movie are things that it only indirectly indicates without showing (Replicants who get little screen time, Offworld imagery and the many times the film indicates a vast, complex off-screen world) I can't let it squeak by on looks (maybe as a good movie, not as a "great" movie). It's not at the level of later Tarkovsky or the Greenaway/Sacha Vierny projects for instance, or even Last Year at Marienbad -- those I would consider great regardless of whatever story/plot/character/philosophical "substance" they have.

I also want to bring up though what seems to me to have been Ridley Scott's actual main concern (assuming he actually had a "point" to make). I don't think it was getting you worked up about the personal lives of characters or depicting them as (More human than) human. Instead I suspect that he was more interested in exploring the opportunity for self-aware artifice (without which there can be no "art") that film noir and science fiction lend themselves to so well. Inotherwords a movie is an artificial reality populated by artificial beings, this movie is about a future world where you can't tell what's real and what's artificial anymore. The people central to the story seem completely invisible almost to the point of nonexistence, and the few characters (actors) who actually are somewhat attractive and interesting (I'm not going to say like-able) you can never quite tell who they are, or even if they're good or bad (okay, you know they're cruel, I don't know if that alone makes them evil though). So the few characters who seem the most real and alive (maybe just because we and the camera let ourselves be seduced by them) seem so because they're better at shifting they're levels and styles of artifice or maybe because they're acting rather than watching.

Also isn't it mentioned that Leon and Zorah are lovers? Certainly that knowledge makes the part where Leon attacks Deckard makes him (Leon) seem more sympathetic, even if by following the movie-logic which makes Deckard the hero, you feel like you should be hoping he survives, I find myself feeling more bad for Leon, who seems to actually care about something.

The stuff about how the movie actually encourages you to care/think about people and a humane philosophy has always seemed to be somewhat lip-service to me. But on the other hand that's not all you should care/think about either. Especially when it comes to art. Aesthetics built narrowly around human (modern humanistic) values of love, understanding people and so on are pretty dull and those things should be confined to real life. Art is our outlet for cold rationality, irrationality, evil and all the fun stuff. On the other hand, I think the book does everything the movie does while also getting across more personality, so it's certainly possible in some cases to create an engaging fiction that take both of these views of art into account, they're not mutually exclusive. ...bleh

I guess that's all I have to say on the topic of BR right now, and I sort of just made it up while I was typing it (I let my fingers do the thinking when I'm online). It's a good movie but I like both Alien and the duelists better.

This has been another rambling post by your roving reporter on the front-lines of love and coolness... LINESPALSY.\\



okay, post is over.
 
You got exactly the same beef as me with Superman. Though like the camp of Terrence Stamp in Superman 2
 
Yeah, I absolutely adored Ultimatum, even if it didn't have Franka Potente in it. It has fast paced, vicious and featured some of the most outstanding action sequences I have ever seen. That rooftop chase scene will never leave my brain. Even if it's fried.
 
Well said Iro. But you forget Adi can't see other people's viewpoints if they're different to his.

I don't know why Prestige is being hassled, surely the beauty of film is two people can see the same film in two different ways.
 
Very interesting choices there. I realize that there's some kind of divide between Alien fans and Aliens fans, but I like both of them. I went back to watch Falling Down repeatedly at the theatre because it really spoke to me. I mean, I accepted it as a fantasy, but there was so much black humor crammed in there, and I enjoyed the fact that somebody who I thought was as far away from me as possible (Mr. Pocket Protector) ended up representing me better than some "left-wing" hero. As far as Hulk goes, I never had a problem with it like most did. I'm neither a fan of the comics nor the TV show, but the movie was smooth enough and was certainly an Ang Lee film. As far as the multiple shot/split screen technique he used to try to make it more comic-bookish, that technique was used all over the place in the 1960s and '70s. A few of the films which utilized it were Grand Prix, the original The Thomas Crown Affair, Woodstock, The Boston Strangler, the original The Andromeda Strain and many of Brian DePalma's films.
 
Heres the next batch of films. This list has been incredibly hard because i've done it in order with number one being my favourite. Easily the hardest thing i've ever had to do, and yes, I include my dissertation in that statement.

Anyways, heres the next bunch in the countdown.

89: Mildred Pierce (Michael Curtiz, 1945)



I saw this film at a film studies screening about four years ago. This film started my film noir craze, and it was interesting to see a film noir in which the main character was the femme fatal herself. It's a charming film that arguably contributes to the rise of feminism with it's detailed depiction of a young lady who rises up in male dominated world only to become a powerful woman.

I wasn't really interested in the murder mystery aspect of the film, but rather the gender roles that were reversed and the relationship between Mildred and her daughter Veda. The notion of greed doesn't escape even this feminist-ish noir and this film just proves that it's not limited to overweight patriarchs.

88: Mortal Kombat (Paul Anderson, 1995)



Ok, ok, ok I am fully aware how random this entry might be. But I have to tell you, I genuinely love this movie. Yes, it's not the most cerebral flick in the world and it's directed by Paul bleedin' Anderson, but it's great fun. I shouldn't really like it at all. The special effects have dated, the dialogue diabolical, and there are enough goofs in the film for somebody to run an entire website based on them.

That said, I am a huge fan of the original 2D games and this film came out during a period in my life where things weren't great. As a result, this film would take my mind of things. I also liked the fact that a Hollywood film made an asian man the centre of attention. It was Robin Shou's Liu Kang's arc (Though Linden Ashby was suitably bad ass as well) that we're supposed to be emotionally invested in.

You gotta love some of the fight sequences as well. I'd even go as far as to say they are somewhat influential since this film was the first to mix techno music with hard hitting martial arts fight scenes. Perhaps this belongs on a guilty pleasures list, but I really couldn't leave it out. And yes, I do think it deserves it's place at 88

87: The Untouchables (Brian DePalma, 1987)



I first saw this film as a minor, completely immersed into the whole crime aspect of DePalma's world. I remember being incredibly saddened by the brutal death of Sean Connery's character.

I watched it again recently and noticed just how skillful the direction was. DePalma's signature tension building scenes were on full auto drive, and the auteur really gave us a crime story in which you gave a **** about the characters. This is Kevin Costner's best film as far as performance and film quality goes.

86: Austin Powers: International Man Of Mysteries (Jay Roach, 1997)



Waynes World , whilst funny in parts, isn't exactly my cup of tea. In fact, i'm sure that a majority of you lot will know by now that i'm not really 'into' comedies. However, that's not to say that I completely dismiss the genre. In this case, it works wonderfully.

Mike Myers best character ever caught me by surprise. I don't remember being hyped for this or even planning to see it, but it came on Sky and, what was a rare occasion, I was laughing incredibly hard while watching a Mike Myers film! The innuendos and sly digs at the swingy 60s subculture is enough to justify this film's spot. Standout scene has to be where he manages makes the fembots work up a steam with his groovy body

85: Ghostbusters (Ivan Reitman, 1984)



Look, yes Bill Murray gave a nuanced performance in Lost In Translation and yes, this hardly a a brainy film. But it's just so much damn fun! And Mr Murray has never been funnier and cooler since, imo. I had a hard time watching this film when I was a kid. I found it scary yet thrilling at the same time. Even thought that actual Ghostbusters existed. I thought it was a real occupation and hoped to conquer my fears of monsters to see it...boy, the joys of being young and naive.

The special eftfects were groundbreaking, the score immediately iconic and recognisable. Theres so much to like about this film. The original horror comedy and perhaps an inspiration for the much gorier but equally as funny Evil Dead 2?

84: Casino (Martin Scorsese, 1995)


I've always admired Scorsese even though his peers and fans give him way too much credit. But the man can convey his vision i'll give him that. I love his brilliant fast zooms in your face camera movements. And I think this film showcases that skill to it's fullest degree. Theres such a strong energy to it that it really sticks with you afterwards. I remember having a dream in which everything was zooming towards me at a fast speed, Scorsese style.

This film got a bit of stick for being Goodfellas 2, but you can't deny the execution. It's full on Scorsese doing what he does best, and that's bring you a crafty crime drama full of dark humour and a strong lead in DeNiro's casino manager. Joe Pesci's demise in this film has to be one of the most disturbing in recent memory, though. So yeah, not as funny as Goodfellas but somewhat underrated at the same time.

84: The Hard Way (Vincent Sherman, 1991)



Speakin' of underrated, this little gem seems to have been forgotton about. I watched it many years ago and LOVED it. For Lethal Weapon, Last Boy Scout and all those other cop flicks. THIS is the best 'buddy movie' i've seen. Michael J Fox is on full charismatic display here as the method actor who teams up with James Woods. James Woods as the hardboiled co'p chasing Stephen Lang's killer has some of the best exchanges in modern american cinema, 'meh, go tie your dick in a knot'. If you haven't seen it, I recommend checking it out.

82: A Fish Called Wanda (Charles Crichton, 1988)




I think i'm realising that I like a lot more comedies than I realised! Anyways, I am quite a big fan of this film. I love the interaction between the characters and the mix of American and British cast ensures you get both humours in the SAME film. Kevin Kline and Michael Palin are the standouts in what is a fast paced romp that still had me laughing the other day I saw it. The comic timing is impeccable too. Oh and Jamie Lee Curtis doesn't look half bad in that pic, too

81: Blade 2 (Guillermo Del Toro, 2002)



Don't get me wrong, I am a fan of the original Blade film. But where the reason this one gets on the list and its predecessor just misses out, is because this film is simply bigger, faster and even more violent than before. And that's what the Blade films should primarily be about. One of the main reasons the Del Toro version is superior is because he uses a villain that's actually menacing and a worthy adversary to Snipes' Blade. Luke Goss, i think, shocked a lot of people with his surprisingly strong portrayal of Nomak, the mutated vampire.

But lets not get carried away here, the real stars of this film is the excellent special effects and fight sequences. You can tell Del Toro had fun because every action piece is inventive, gory and dynamic. Shame about Trinity, eh?

80: Nil By Mouth (Gary Oldman, 1997)



The poster says it all. This is an intense film and you really wouldn't want to watch it with a partner or your mother or whatever. It's partially based on Gary Oldman's early life in a South London council estate and deals with the domestic abusive relationship between Ray Winstone's brute and Kathy Burke's suffering house wife. There truly are some scenes of uncomfortable savagary and it's another film that's not easy to watch at times. But beneath all the viciousness is a commentary on why women endure such abuse. It's a bit difficult to understan but nevertheless, it's brave and compelling stuff and i'm surprised Oldman has yet to follow this great debut up.
 
Sorry i've been slacking as of late. Lets get a few down us, eh?

44. Lost Highway (David Lynch 1997)



So my favourite David Lynch finds its way onto my definitive list. And in a very high position too. Make no mistake, though, I am usually a detractor of Lynch, but this film did the business for me. It's a visionary piece of art and isn't completely impossible to analyse. Simply put, I don't feel inadequate watching this film because there are a whole range of ways to interpretate the narrative unlike his other oddball and 'avant garde' films.

A fine paradigm of neo noir with it's metamorphorised protagonist, Lost Highway had me glued to my seat, frightened and mesmerized by all of it's features. One feature was the dream-like and soft focused photography, that somewhat encapsulates everything about the film and it's themes. It's all typically Lynchian but somehow it works wonderfully well here. Themes of escapism and idealism are realised in absurd yet poetic ways.

It's a very sexy film too. Patricia Arquette has never had me searching her up on google before, but she's completely beguiling (and naked) in this feature. Her sultry looks combined with the soft photography is just immersive and much more erotic than anything Shannon bleedin' Tweed has been in. Fantastic performances all round too, with Bill Pullman being the strongest of the lot. And yes, it's even better than Mullholland Drive.

43. Chopper (Andrew Dominik, 2000)



Andrew Dominik seems to have a taste for renowned outlaws. From Mark 'Chopper' Brandon Reed to Jesse James, Dominik doesn't hide his fascination for the darker souls. However, the main difference between this film and the elegant Assassination Of Jesse James is that Dominik's style here is a lot more hyper and the film is dominated solely by it's star/subject - One Eric Bana. Completely unrecognisation what with a SERIOUS weight gain and grunt attitude, Bana makes a thrilling star turn in gritty yet comical take on Chopper's life.

The ****ed up thing about Chopper is your familiarity with the guy. We've met this guy somewhere before. Whether it be in a pub or at some convention. Chopper likes to go on as if he's one of those cool and easy going Australians, a real Crocodile Dundee type, and pretend to be your best friend. He'll even offer you a beer without you asking - Only to turn into a homocidal maniac at the flip of a switch.

But Bana and Dominik's genius is not in showing split sides of the man, but subtly suggesting a many of layers that are often conveyed through controlled emotion than dialogue. You get the feeling that Chopper is a lot sensitive than he makes out, despite his dodgy life style. Take the scene where his 'mate' betrays him by impaling him with a knife. Chopper ignores the physical paind but quietly acknowledges he is far more upset at the betrayal.

The best scene is the finale, though. You know when people say that laughter and sarcasm are usually done as a defence mechanism? Well it's never been truer when Dominik exposes Chopper's sense of insecurity and lonliness.

But enough can't be said of Bana's portrayal. He really immerses himself into the role, bringing a strong mix of blokely machoisms and repressed innocence. He's haliriously funny throughout too. If there was ever any indication as to how this man was once an up and coming comedian, this is it.

42. Toy Story (John Lasseter, 1995)




The fist feature length film to use computer generated animation is still ahead of the game and the animated film to beat. Shrek, The Incredibles and Monster's Inc may be more familiar with the masses today. But let us not forget who started it.

Surprisingly, the visual feast of Toy Story isn't the most impressive thing about it. It's Joss Whedon's ingenious and strikingly witty script that raises the film from pretty looking kids adventure to essential cinema for EVERYBODY.

The toys themselves are instantly likeable, each with their own quirks and rubber distinctions. From Slinky The Dog to Mr Potatoe Head, these characters are loveable. That said, the toy praising should really be reserved for Tom Hank's sympathetic and wonderfully sarcastic Woody and Tim Allen's ignorant and halirious Buzz Lightyear. It's in their scenes where Toy Story rivals any buddy flick for best comeidc duo act. There are a lot of adult themes touched on aswell. The sense of being over looked to name but a few and the foray into existential crises isn't a norm of Disney. But when you have Joss Whedon as your writer, you've already got something special on your way.
 
Great post, man. I see where you are coming from. I think with Ledger, I had always written him off as another Australian heartthrob being shoved down our throats. But he surprised me in his recent efforts performance and I looked a bit closely at his work, especially when I heard he was playing The Joker. I think it's a tremendous performance and he was genuinely frightening in it, imo. It's a bit uncanny and hard to describe what he did with it. I don't think it's just simply a case of him doing a good job playing a psycho. He plays it in a way that you know that The Joker is simmering with aggressive intentions, as if he's horny about committing acts of violence - if that makes any sense!!

EDIT - I also reckon he would still have been nominated had he still been alive. I'm not sure about winning, but definitely nominated.
 
Yeah, I love both Alien films too as they both made my list. I just happen to like Jim Cameron's one better. Surely there's one you prefer over the other, Mark? Like if you were told by the devil that there is only ONE Alien film you were allowed to watch for the rest of your life, which would it be?

And yeah, Falling Down is definitely meant to be thought provoking. I'm glad it had an impact on you and that you are
humble enough to admit that there's a bit of you in there in that film. I think it makes most people self-examine themselves and realise a lot of uncomfortable truths. Very glad you rate it.

As for Hulk 's split screen technique...I was using the word 'innovative' loosely it. It's my fault and I should have chosen my words carefully. I know that it's a signature of DePalma's and it's been used before, but I meant that I have never seen it done in a genre film like Hulk. You'd think that most comic book adaptations would use comic book panels.
 
"Believe the unbelievable"

9. The Matrix (The Walchowski Bro's, 1999)



Now known as the last great film before the new millennium (and what a way to end the previous century), The Matrix is one of those films where anything and everything comes together. Everything you learn in the beginning of the film is fully paid off later on. Early in the picture, The Walchowski Bros give us very little in the way of information regarding it's title and only leave us with cryptic and obscure messages. It's an interesting and successful set up so that when the rug is pulled underneath our greasy little feets, the Walchoski's are sure that land right on our necks. We are more or less in the same frame of mind that Neo is once we learn the truth..



What follows next in the narrative is a very effective dramatisation of a fractured reality by showing a COMPUTER system masquerading as a real world, only to move the man who sees clearly into something resembling a god, which is where the themes of science fiction and religion come into play with one another. But I am not going to go into that because that discussion has been done to death everywhere The Matrix is mentioned.



Although it feels 100% original, it would be quite ignorant to suggest that The Matrix is completely without it's intertextualities. The film derived as much from japanese manga and lesser known sci-fi shorts as it did from similar conceptual films like Dark City. However, The Matrix still manages to be head and shoulders above it's inspirations because of it's heavily implied subtexts and the revolutionary way in which the CGI gives the film a sort of comic book aesthetic never seen before on celluoid. In fact, I had assumed that Matrix was a comic book adaptation after my initial viewing of it.



The opening sequence also sets the tone for what is essentially a highly kinetic action film that's a lot more intellectual and than I had been prepared for. From the moment 'bullet time' struts its stuff with a spectacular 360o rotation and Trinity's uber intense roof top chase, The Matrix establishes itself as a film that's come to make a radical statement. It's stating that this is going to be a cinematic experience unlike anything you've ever encountered before. It's the moment you actually agree with the tagline - Believe the unbelievable.



One aspect not often acknowledged in The Matrix is the sexual undertones and subtle questions of gender. When The Oracle refers to Neo as 'pretty' but not too bright, it's as if she is associating Neo with one of Alicia Silvertone's posse in Clueless.
And when Mr Anderson does make the transformation into the superhuman 'The One' Reeves' handsome features do not look significantly more masculine than that of, say, Trinity's. A lot of this may be because Larry Walchowski, it has been reported, has gender issues himself. I'm not sure if that's 100% true or not, but if it is certain then my little insight into the film may be actually be very relevant.




One of the main reasons why The Matrix Reloaded was vastly inferior to it's predecessor is the fact that he because 'The Messiah' He was an equivalent of bleedin' Superman, so there was no vulnerability to him. He's not an underdog in the latter films so you are never really too concerned for him during the fight scenes. That's one of the main reasons why I consider Reloaded the weakest of the series. If your main protagonist is, um, virtually unbeatable, where is the drama? Where is the suspense? Where is the thrill? Where is the emotional attachment to the characters? Because it certainly ain't in the sweaty rave scenes..



Reeves is perfectly cast as the the bewildered Messiah. You can say what you want about his acting ability, but I honestly can't imagine another performer playing the role. It's not a case of the best actor but the RIGHT one. Morpheus is a character that HAD to be played by an actor of effortless charm and frightening charisma - enter Laurence Fishburn. It's probably my favourite performance in the film.



Fishburn showcases calm authority and just a great sense of dignity in Morpheus. You believe his every command and when he says, 'stop trying to hit me and hit me!' you really feel like your observing a martial arts master trying to condition his student. Carrie Ann Moss is great as well. Her passiveness only rocked when forced into verbal and violent confrontations. I know many people don't rate her as an actress, but she chooses good roles in brilliant films and seems comfortable in her performances.



All in all, this is one of the greatest films ever made if only for this epicness and vivid imagery. A true worthy placement in my Top 10 and that will probably never change.
 
Those last two were very interesting and unusual choices Pres. I loved Falling Down and, like Mark, went back to see it, not only because I wanted to see it again, but because I just had to show someone else this masterpiece.

Not being a fan of comicbook movies (or comicbooks) I only saw Hulk because Ang Lee was directing and I just had to see what he did with it. Also, this was the first big Hollywood outing for Eric Bana after Chopper (which I thought was magnificent.) I can't say that I was a big fan, but I thought it was ok. After reading your review, I'll take another look at it the next time I get a chance. Putting it above both The Godfather and Goodfellas (and meaning it) I've got to take another look at it just to see if I can see what you're getting at.

I hate split screen, I don't think it work well (especially on tv, which is how I saw Hulk) but I thought this was the best use of it I'd seen for a while. The only other time I've seen splitscreen that I thought worked was The Boston Strangler.
 
There are some interesting essays out there about "Citizen Kane" being the first film noir. They're worth a look if you're interested in the genre and want to read something that isn't quite so 'by the book' as it were.
 
21. Heathers (Michael Lehmann, 1989)



**** The Breakfast Club, **** Beverly Hills 90210, **** all these high school teen films where the most stereotypical of stereotypes inhabit the cute and cuddly world of 'angst'. Most of those films were acted by non teenagers anyways. But THIS film. This piece of dark art here was something of a rarity back in the late 80's. A blique black comedy about the ridiculousness of cliques. Simply put, Heathers is Beverly Hills 90210 as directed by Mr Stanley Kubrick.

From the get go and all the way to the cast's wardrobe/make up, Heathers immediately felt to me to me like a parody of teenage inner circles and the vanity of the 80's. However, it's not just a clever piss take at American 80's values.



The film also hints at Lehmann's Kubrick -like disgust for authority figures and parents. The film suggests that teenagers are pure in their form and what you see is what is what you get, whereas those hypocritical authority figures are just plain nasty. No sense of loyal and an eagerness to **** each other over. Is Lehmann being harsh? You bet. But is this true though? Hell to the yes. At least in my experience. And that was one of the most fascinating things that I found about Heathers, David Waters acknowledging the ******** teenagers often have to face.

Lehmann and Waters are clearly influenced by Stanley Kubrick. One of Kubrick's recurring themes was dehumanisation and Heathers somewhat deals with dehumanisation. The dehumanisation of adults and, to a lesser extent, the dehumanisation of high school, albeit in a coffee black way. And that's Lehmann and Water's ace in the hole, the bleakness of the film that's portrayed in a very very funny way. It deals with the easy to relate to notion that high school really is like hell.



The Sid 'n' Nancy element of the story also impresses. Christian Slater and Wiona Ryder have undeniable chemistry together and their scenes, including the explosive climax, are the best moments in what's a brilliant piece of satire. And that's the thing that appeals to us more than the other aspects of the film. The tone of it. The nihilistic and bleak yet absurdly funny tone.

Christian Slater is to this film what Malcom McDowell is to A Clockwork Orange; a deranged sociopath with a taste for the perverse. It's an excellent performance and somewhat of an iconic role for Slater. At least I think it's his best role in any film. His teen roles were similar to Tom Cruise in that they were usually young punks who learn their lesson by the end of the narrative, but Slater's earlier roles were far darker and more interesting than that of the Cruisemeisters.




And what of Ms Ryder? She too gives a great performance and definitely an early sign that she was to have a grand career. And while I wouldn't say her career has been grand - I will say that she's a damn fine actress and displayed a substantial and crucial amount of charisma as the black sheep of the 'Heather' clan.
All in all, it's a brilliant black comedy that deserves to be here mainly because it was a brave screenplay at the time of it's release and it's sort of a revisionist 'teenploitation' film in the same way that Unforgiven's a revisionist western. Brilliant stuff and not even worthy efforts like Mean Girls and Clueless can knock this dark art off it's throne.


20. Scream (Wes Craven, 1996)



The much loved stalk 'n' slash horror revival started when the once very creative Kevin Williamson penned his post-modernist shocker in just THREE days. This is probably the one time Williamson had a brain wave because he has yet follow up both Scream and The Faculty up with something half decent. It's been ten years, Kevin. What the hell happened to you, son? Still, despite his sour recent contributions, Scream remains Kevin Williamson's finest hour (or two).

It's a gleefully constructed slasher that explores the relationship between horror films and their target audiences. Those audiences being the genre smart teens that dominate this terrific piss take.



To my knowledge, this is the film that started off the 90's horror revival and one of few to use self-concious, self referential devices. However, the greatest thing about the film is the fact that there is a lot of PLEASURE to gain from referencing the classic survival horror of the 70's and slasher scene of the 80's. It's one of the best examples of involving audience participation in narrative. It's also particularly great for the generation that grew up with those films referenced in Scream because of the associations and pedigree these intertexualities bring.


Not only does this demonstrate how cinephilic Craven and Williamson are, but it also slyly exposes us spectators pleasures in deconstructing the references, specially the references of cult horror. For that reason alone, Scream is revolutionary cinema.



Craven, a master of the fright genre, uses the conventions for stability, but with the aid of Williamson, introduces an unfamiliar element of self awareness that I hadn't seen displayed in a horror film until I sat and watched this at home on my VHS player. Though, that is not to say that Scream is low on suspense and thrills. It clearly incorporates those genre must haves and does it as well as the films it sends up.

Oh, and what about the subvertion of the genre when Craven/Williamson decide to mess with us and do a Hitchcock by killing off Drew Barrymore. She's arguably the film's biggest and most recognisable star (at least at the time she was). Some people think it's not a reference to Psycho and was just done for shock value. I say it's both of those things. Intertextual yet brilliant bit of sleight of hand. That scene sets the tone for what is a film full of misdirection and unpredictability.




The final twist at the end was definitely unexpected and very well revealed. C'mon, how many of you guys thought that Billy would end up being the killer? Specially considering Craven's use of reverse psychology by making him out to be a suspect throughout the entire film. This use of reverse psychology followed in the lesser sequels and subsequent wave of 90's horror films that were trying to capitalise on Scream's success.

But seriously, I really have to give Williamson the most kudos for this film. It's his baby and he saved Craven and the slasher genre's arses with his Whedon style dialogue and excellent film knowledge. The original screenplay is one of the funniest and sharpest bit of text i've ever read, and if it wasn't for genre bias, it might have been nominated for an Oscar for best original screenplay.



It's a shame that Williamson's reteam with Craven resulted in the aptly titled Cursed. A film that's completely the opposite of Scream - unfunny, unintelligent and completely lacking any charm.
 
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