The Prestige's Prestigious films to immerse you

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For me it was the other way around. When I saw it the second time, I enjoyed it a lot more because I knew that I didn't like the ending and, therefore, I knew not to expect anything. I was able to see it without being disapointed. As for being suprised by the ending, yes I was, and that was part of the problem. It felt as if it was given that suprise ending because that's what was in vogue at the time. It didn't chime with either the film or the genre and looked (to me) like a director that either a) didn't really know how to finish his film, so did that in the hope that no one would realise it; or b) wanted to make his film look 'intelligent' or make the viewer think that he'd fooled them. When, in fact, he'd made it like one of those bad Columbo episodes where the killer is someone that wasn't in the episode until he was caught. It just felt as if it'd been tacked on for reasons other than being the real end of the film. If that makes any sense.

I may give it another look though, as I will with Wolf Creek. Maybe I can see what it is that everyone else was raving about.






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Frailty did get a nationwide release in the UK at the time cos I remember seeing it at Cineworld, I remember liking it a lot although I haven't seen it since then. Time to have another look!

Mysterious Skin is a very moving film, specially if you've ever been affected by the issues dealt with in the film.
 
Heh, good to see i'm gone for a week and your list is still going lol. Not got round to reading through all your mini essays but sure you'll pleased to know got Wolf Creek on DVD and encouraged to watch LA Confidential again now, see if it can reclaim the similar position it had on my last list.

As for Chinatown, i thought you'd have got the irony of the sun bleached photography used in a noir film...
 
Be careful Prestige, if you have an opinion on (homo)sexuality that's different from Adi- it's wrong.
 
"God will forgive them. He will forgive them and allow them into heaven. I can't accept that"

19. Dead Man's Shoes (Shane Meadows, 2004)



Back in 2002, Shane Meadows made a film called Once Upon A Time In The Midlands, a studio financed Brit com that the big wigs weer determined to make into the next Full Monty, hoping to rival that weird comedy's box office success. The result, however, was a pretty shite film that Meadows would forever feel ashamed of. It was so bad that Meadows nearly quit filmmaking over it.

Now flash forward a couple of years later; a rejuvenated Shane has that artistic thirst brewing again. It needs to be quenced. He wants to respond to OUATITM, and with Dead Man's Shoes, he launches a response that's not only appropriate, but also blistering too. In fact, Dead Man's Shoes is so strong that it completely eliminates any memory of OUATITM and quickly reestablishes Meadows as a force to be reckoned with.



The premise is simple: A soldier returns home after serving his country to find that his younger disabled brother has been horrifically abused by a gang of local thugs. Revenge ensues..

As you have probably gathered from the the synopsis, Dead Man's Shoes runs more like a western than Meadows' previous film. The opening is set against the backdrop of the wilderness, with the brothers walking towards an unknown destination. They themselves probably have no clue where they are going, but they at least want a direction.



The film raises sensible questions about the notion of revenge. How far is too far? If I seek revenge do I risk becoming a monster myself? Death Wish this ain't. Despite the gangs nasty antics, Meadows never justifies vengeance.

In fact, Meadows' most impressive feat is making us feel sympathy for the midland thugs as Paddy Considine's (****in' superb) Ricahrd goes after them like a man possessed. You really get a full understanding of their fear, and their regret is disturbingly visible just through their body languages and haggered faces.




But lets get straight to the main point here: My love for this film is mainly because of Paddy freakin Considine who I first mentioned when I listed A Room For Romeo Brass. His performance here is an extention of the Morell character, albeit one that's not as eccentric but even more physically and mentally capable of shattering lives. It's an accomplished performance and seriously unnerving. And that iconic gas mask or 'elephant with massive eyes' as one character says incredulously makes him appear even more sinister.


Theres a scene where the leader of the local gang (Gary Stretch, also excellently nasty) tries to intimidate Richard after it's revealed that the latter invaded the gang leaders home. It's not a scene hyped and built up from adverts or television spots like the dinner meeting between Neil and Nate in Heat. And neither Paddy Considine nor Gary Stretch have the acting pedigree of Bob 'n' Al. But man, is this one of the most intense verbal confrontations I have ever witnessed on screenh. A true paradigm of controlled aggression from both characters. The scene feels so real and so unnerving because you can tell just from Richard's eyes that he really wants to beat this other man to death with his bare hands. It's worth noting that Considine played the scene as if Ricahrd was as scared as he was angry, which makes the scene even more interesting.



The flashback sequences of Toby Kebbell's long suffering character being abused get progressively more disturbing until the full extent of the abuse is revealed. These scenes, shot in ultra grainy sepia, reveals Meadows knack for the dark side of life. Toby Kebbell is as incredible as Considine in some respects. He never over does the spasticated simpleton rountine. It's a performance that feels uncomfortably close to home, and I even wondered if Kebbell really was disabled after my initial viewing. A somewhat underrated performance.



Anyways, I don't want to go on too much about the film as it's actually full of surprises and surprisingly moment sof black humour. But I will say that it's one of the best vigilante films you'll ever see if you haven't already watched it. It's a western to rival the Clint Eastwood pictures. It shares many of the same themes. It's a brilliantly realised and uncompromising portrait of the realities of taking matters into your own hands and losing your soul in the process.. It's levelled by Meadows and Considine's (who also co-wrote the script) dark humour and knowledge of humanitarian sensibilities. Theres even a drug sequence that rivals anything Terry Gillian has done. Excellent British cinema.



18. The Usual Suspects (Bryan Singer, 1995)



Believe it or not, I knew about The Usual Suspect's surprising conclusion before I watched the film. It's one of those twists that you can't get away from. You had to watch it when it first came out to avoid spoilers. It's often referenced in music, television and other films. It's one of those twists that has now become a major part of pop culture. But is the film's greatest strength the twist? Some may think so but i certainly don't. Yes, the twist is one of the most memorable aspects of Suspects, lets not forget about the Altmanian use of a FABULOUS ensemble cast combined with Christopher McQuarrie's razor sharp dialogue and John Ottman's sickingly slick editing make this mere 'ol' shaggy dog tale a neo noir classic.

Bryan Singer, much like the legendary Stanley Kubrick, has a reputation for being a bit of a perfectionist. Though it's not as renowed. He made Christopher McQuarrie (his college friend and former police officer) rewrite the Suspects screenplay NINE times before he was satisfied enough to shoot. And anybody who's ever watched the DVD features of this film will know that despite being a very young director at the time, Singer, was very much leader. who fell out of his cast and crew numerous times. In my opinion, this example of artistic savagery is the best thing that could have happened to the film as it is clear that everybody brought their 'A' game, eevn the usually abysmal Stephen Baldwin.



And this, in my view, is why The Usual Suspects is such a fantastic film. The way in which the ensemble interact together is an excellent example of how powerful characterisation and distinctive characters can be. I love the fact that you immediately get an idea of their personalities during the wonderfully edited sequence where they are rounded up. Th constantly sarcastic Hockney, the comically hot-headed McManus, the often incoherent Fenster and the morally complex Dean Keaton. Each of these guys are very distinctive in their physical and personal traits.

The scene where they all come together for the first time for the infamous line up is one of my favourite scenes in cinema ever. The simplicity of the set, the dialogue and camera work gives the scene an audition feel that's emphasised when The Suspects are givena specific phrase to read out aloud. The way in which these protagonists raed the line is also a good indicator of their defining traits.



For example, the way Todd Hockney (what a name) says the line suggests a man who doesn't give a **** about the world or anybody. He doesn't get emotionally attached to things and sees it as a weakness. He also consistently uses sarcasm as a defense mechanism.

The exaggerated way in which McM-anus says the line suggests an immature prat who clearly wants to be the centre of attetnion and is always busting his bollocks to be looked upon as a leader. Stephen Baldwin is perfectly cast here and almost seems to be playing himself.



The funniest way the line is read is when Fenster's off key mumblings make it sound as if he's about to bust into a little rap! . It's an excellent scene capped off with Kevin Spacey's cold deliverly that clearly serves as a hint to the film's spectacular ending.

Another great sequence is when Verbal Kint narrates the nightmare like flashback of Keyser Soze's origins. Filmed in desaturated colours and overexposed lighting, the violent scene is extremely effective because it's a huge contrast to the other scenes in the film and stands out as the most visually arresting bit in terms of both form and content. Kevin Spacey's unreliable narrator is also fantastic in this bit, telling the story with such conviction and awe that you half wonder if this was the only true thing he told Detective Kujan (a great Chazz Palminteri).



I must say that I did feel that Gabriel Byrne was somewhat underrated in his portrayal of Dean Keaton. I think it had something to do with that scene stealing MoFo Kevin Spacey, who had the more showy role and the best lines. Oh, and not to mention the fact that he narrated the film . But as mesmerising as Spacey was, I do wish that Bryne's nuanced performance was acknowledged more.

Still, this is a flashback packed narrative with some awesome sleight of hand executed by a director who should leave Men Of Steel for awhile and go back to his familiar, norish roots. Did me knowing the twist hurt my experience watching the film? Not that much. Because in the end, it's the WAY the story is told. Sleight of hand at it's finest.
 
Cheers lads. It's always nice to get some encouragement so thanks Justin and Honeykid

Yeah Honeykid I was originally going to put this at number 8 on this list, but I always end up reviewing my list every few days and I really want it to be perfect and true to myself because i'm telling you guys now, I won't do anything like this for another 4-5 years. So it's important that I make this definitive and when I thought long and hard about it, Jesse James was not quite perfect enough to make my top 10. There are some truly outstanding films i've got lined up in that division, and i'm interested to see what you guys think of them. All I can tell you is that my list is definitive as far as i'm concerned and each film deserves it's spot.

I'm glad you loved the film as much as I did aswell. Like I said before, it's not to everybody's tastes so it's always good to see somebody rate that film because it so deserves it. Honeykid, when you going to do a list anyhow?
 
It was ok, got to see the sights etc so in that respect was good. What's your new job??
 
39. The Maltese Falcon (John Huston, 1941)



So the blue print for detective noirs finally makes it's relatively high appearance at the 39th mark. Some of you lot may have been wondering if it was going to make the cut. But this is John Huston's masterpiece and The Prestige says my fellow Mofo's needent worry as I literally worship this film, especially considering what it's done for film noir. As with everything, you've got to start at the beginning and Maltese Falcon is noted as being the first film noir released in Hollywood.

I've made it no secret that I have a soft spot for noir, particulary the 40's era. I don't know what it is. Theres just something fascinating about the sleazy and amorality of the genre. And the way I see it, you don't have the right to call yourself a fan of noir if you don't rate Huston's landmark in cinema highly.



All the familiar tropes of film noir are on full display; from Bogart's cynical and world weary private dick to Mary Astor's alluring Tzetanian femme fatale and more twists and turns than a packet of quavers crisps.

What really stood out for me, though, was Huston's knack for exposing and satirising the nature of greed -'it's the stuff dreams are made of'. But really, it's that sort of social observation that makes this film one of the definitive noirs of that era as well as the first. And of course greed would become a strong theme in Huston's subsequent films.

Obviously, as with a lot of noirs, theres a slight air of misogyny, but it's to Bogart and Huston's credit that we are able to overlook this and enjoy the witty scathing remarks Sam Spade spits out of his mouth with flirtatious relish.

It's also a deceptively claustrophobic film, too. A majority of the plot takes place indoors, giving a recurring sense of paranoia and tension that would set the tone for other noirs after it.

38. Bullet Boy (Saul Dibb, 2004)



The rise of knife and gun crime in urban London and the ways in which it causes a disequilibrium society is the heart of this beautiful debut by Saul Dibb. Now it's not a commercially well known film, so i'll give a little synopsis:

Ashley Walters stars as Ricky, a former youth offender who's just got out of prison and obviously looking to go straight and make something of himself. However, less than a few hours after being released from prison, he's hooked up with his old mate and soon unwittingly finds himself in a spiral of violence that he never had any control over in the first place..

The reasoning for Ricky's escalation couldn't be anymore trivial if it tried. And that's one of the most disturbing aspects of the film - Dibb's depiction of a minor situation ends up being a major factor in the cause and effect relationship and the result of the film's tragedies.



Dibb's strong documentary background aids him in bringing a raw and realistic vibe to the film. It's photographed in a grainy naturalistic style with no trace of gloss whatsoever, giving an uncomfortable sense of authenticity to the film dodgy areas.

Now, i'm very well aware that the premise for this film may sound cliched and overly familiar, but it's the emotional punch that gives it it's weight. The naturalism of the performances and directorial choices in the film forces the spectator to observe just what happens when innocence is fractured and why, at times, it's almost impossible to avoid conflict of any nature.

I can't finish this without mentioning my boy Ashley Walters. Believe it or not, I have met him a few times and he seems like a lovely bloke. He adds a sense of realism to the film because of his notorious gun conviction several years ago, so he clearly used the role as a way to tell his side of the story. Mark my words, though, the man is a revelation in this film and you'll feel for him throughout. You find yourself really wanting him to get out of his predicaments.



It should also be noted that this film was not only filmed in my home city, but also my very home town, Hackney. So the realism there is overwhelming. I don't know if this makes me more partial to this film than most would be, but I do think it deserves it's place in British cinema history.

There are many films with the same premise, but they always come off as lectures and preachy ****. This is one of the most unpretentious of it's kind. Like I said before, it's about the way the film speaks to you that really sets it apart, and this speaks to me on a level. I remember crying once the film had finished. I cried in my girlfriend's arms because it really felt like a positive film that didn't just have something to say, but it said it in a way where I felt everybody could understand and take something from it. This should be shown in schools for god's sakes.




But back to Walters. He is quite a powerful presence and there are hints of a hardened heart of darkness in his moments of brooding. He's one of my favourite actors because of this film (and the fact that he's from my home town) and I am confident that you will all be seeing a lot more of him.

I wish I could mention the supporting cast who are all EXCELLENT, but I fear that i've spoken about this film way too much and I don't want to spoil it for anybody.

37: Psycho (Alfred Hitchcock, 1960)




No introduction necessary for this classic contribution to cinema. Hitchcock's coffee black comedy is an exercise in turning conventions on it's head and violating audiences expectations.

Killing the film's biggest star (Janet Leigh's Marion Cane) was a stroke of genius. You can imagine the impact it must've had on viewers back then. I imagine that they felt a lot more vulnerable watching any film afterwards, particularly horrors and thrillers. This film was one of the few in Hollywood to show an 'anything goes' mentality.



Any readings of Freud in Psycho is reserved for those who fail to see this film for what it is - a thrill ride. Psycho is all about the ride, baby cakes. Yes, there are social observations as with all of Hitch's films, but it's the technical expertise that transcends any academic readings about the film.

To put it bluntly, this is Hitchcock's 'picture perfect' film. He reaches Stanley Kubrick levels of meticulous camera compositions and extreme close ups on specific parts of the mise-en-scene to further emphasise tension. But this film wasn't about technical experimentation. This film is a paradigm of a man who refused to see the limitations of cinema and set out to take the audience out of their comfort zones. And he succeeded..

36. Terminator 2: Judgement Day (James Cameron, 1992)



Yes, I do realise that I have a lot of sequels in my list (with a couple of more to come). But most of the ones I do have have surpassed their originals. This one....is not exception as the first Terminator film will eventually make it's appeareance on my list. However, that's not to say that T2 isn't a good sequel. On the contrary, it's an excellent film, hence the reason for it's 36th position.

The original Terminator is a bit more of a masterpiece because of it's tech noir approach - I feel it even rivals Blade Runner as one of the best sci fi films of the 80s. However, this one is still an exuberant rollercoaster ride of popcorn entertainment that keeps you on the edge of your seat at all times. And it does so big willy style .



It's loud, humourous, expensive and full of adrenaline pumping action scenes that, at one point, set the standard for action in Hollywood. The CGI was impressive back then aswell and it's clear that James Cameron used every single penny of his mega budget to get the best vision possible.

Arnie's T-800 is suitably monotone and robotnic, pumping out wry one liners with a dead pan enthusiasm.



I really wish I had not known that Arnie was going to be the good guy the 2nd time round. I understand that it was supposed to be a twist. Stupid cousin told me.

Another interesting aspect about the film is that Arnie is now the underdog instead of the fearsome and relentless killer. This is another reason why this film doesn't surpass the original - it takes away some of the aura and presence that made The Governator unique in the first one. Some may say it makes him more sympathetic...but that's missing the point - he's a ******* robot.

That said, there surprising moments of savagery from him. Witness the scene in which Arnie shoots a poor security guard several times in the shins and knees, ensuring John Conner that 'he'll live'. It's crazy **** from a director who believes in the 'more is more' philosophy of filmmaking. And in this case..he's right.



I would just like to say that I really appreciate the comments everybody has made to the thread. Without the comments the thread would be pretty much useless and I thank everybody in taking the time out to read my list so far, which I feel pales in comparison to other guy's lists like Pyro, Mark F and Swedish and many others. But yeah, thanks for the replies thus far guys, and we're almost there!
 
Yes it is I think. I love the honesty of it (and him, such a likeable guy) . Although Dead Mans Shoes and This is England are more accomplished and polished films, Romeo Brass has that brilliant edginess - when you see it for the first time you have no idea what's going to happen..like real life hey?
I love 24/7 too , Bob Hoskins is a great talent, it's a pity he doesn't always choose films that reflect that.

edit - forgot to say I'm enjoying reading your list
 
Mine too

I enjoyed your write up of Dead Man's Shoes, Prestige. I had this recorded on skyplus once, but as soon as it started I thought 'this is going to be upsetting' and I wasn't in the mood to appreciate it so switched it off. I now think I will definitely look it up (although you have confirmed that it will definitely be upsetting...).

The Usual Suspects on the other hand I always thought was a bit overrated. I always thought that was because I, like you, knew the twist beforehand. Still, maybe I owe it another look, since so many people rate it so highly.
 
59. Frailty (Bill Paxton, 2001)



Another underrated psychological thriller makes it relatively high on my list. So underrated is this film, a lot of people don't even know that it exists!

It's a bit of a chilling horror story set in a small town 1950s deep south America. Told in a series of flashbacks by Matthew McCoughney, Bill Paxton is the working class single dad who after a 'visit' from Jesus, starts doing 'Jesus work' and picking off the so-called evil doers whilst his eldest son desperately tries to stop him.

This film has a fairly simple set up, and it's in it's simplicity where it shines brightest. First time director/actor Bill Paxton directs with confidence and restraint. None of that MTV style cutting, his film is full of still shots and Bazinian style images. Images that are there for you to absorb and think about. The use of static camera work just felt so controlled that you'd have a hard time thinking Paxton was a first time director on this flick. Like Gary Oldman with Nil By Mouth, Paxton showed a flair for directing and just..stopped.

What's most impressive about this film is the tone though. The slightly desaturated colours gives off a really dark vibe to the film. And seeing Bill Paxton's dad going mad recalls Jack Nicholson in The Shining. It's definitely a film that needs to be seen by more people and hopefully I can persuade Mofos into purchasing it if they haven't already seen it. It beats the hell out of Sixth Sense, that's for sure.

58. Ong Bak (Prachya Pinkaew, 2003)



This film is shallow, nuff said. BUT. Big BUT...the action and fight choreography is like nothing you've ever seen before. Tony Jaa's athleticism coupled with his tenacious ability to do never before seen stunts left me wide eyed. He can do things nobody else can. Period.

Like I said, the plot or acting were never going to win awards, but just watching Tony Jaa's superior Muay Thai skills being used in a glorified yet very violent manner makes this film unmissable for fight junkies. Believe me when I say that what you see in the film contains no CGI or wirework. This is as raw and real as it gets, and it'll leave you gobsmacked.

Of all the recent martial arts actors, Tony Jaa is the only one who comes closets to the likes of Bruce Lee. The man is lean to the max but not overly built. He has the grace of Jet Li, the fearlessness in injury like Jackie Chan, and the charisma and speed of Bruce Lee.

I dare say that this film boosts some of the best fight sequences in film history. I've yet to see something come close in terms of all out brutal hand to hand combat. Awe indeed.

57. My Beautiful Laundrette (Stephen Frears, 1985)



An early role for our Daniel Day Lewis. Set in my home city an all. It tells the story of Pakistani immigrants who basically set about renovate a family business in Thatcher period Britain. Omar, a member of the family, is the one who's into it and ends up falling into a homosexual relationship with a former friend and ex NF member.

That's my synopsis of Stephen Frears very relevant (even today) film that somehow manages to explore immigration, political ideology, class, facism and homosexuality - all in one film. On paper, this may read like an over ambitious and messy film that has too much stuff to fit in, but it's handled masterfully and sensitively.

Forget the gay relationship between Daniel Day Lewis' character and Omar. While mildly interesting in it's exploration of sexuality, it's not the most important aspect of the film. Frears doesn't give a damn about man on man love. And I don't think he views this as a 'gay film' despite it featuring a couple of scenes of two blokes kissing.

He's much more interested in what the film really explores; The predicament surrounding immigrants in Britain, particularly England. The desire to belong and fit into the more 'prestigious' western society whilst simultaneously trying to stick to their roots and heritage. It's something that was rarely explored on film back then, so it's sort of ground breaking stuff.

The idelogy of Thatcherism is also explored more than adequately. One of the Pakistani family members tends to proudly represent Thatcherism. He is financially successful, having worked his way up from the bottom and has a white girlfriend in which he is having an affair. Other members are far more into their roots and more interested in fighting racism and such. Despite all this, the characters are still portrayed as human and nobody is perfect in it. Each of them have their flaws and their goods.

DanieL Day Lewis puts in a memorable performance too. He isn't over the top or anything, but nuanced and ably conveys his character's sense of confusion. This is essential viewing.

56. The Bourne Identity (Doug Liman, 2002)



Listen right, i'm a proud Brit, yeah. But the Bourne trilogy is superior to the entire Bond series. This is what we needed. We needed Bond to be gritty back THEN. But it was Doug Liman's stylish, grittish and enjoyable action thriller flick that made people sit up and think, 'hang on a sec, this stuff CAN be non silly and feel fresh!'. Well, at least that's what I thought.

I love how Bourne gets to travel everywhere and anywhere. You see a majority of Europe throughout the series and each country has it's own interesting little encounter.

Matt Damon makes for a surprisingly tough action hero. Even the simplest and most subtle lines, 'i'm not gonna ask you again' makes you realise that this bloke means business. The excellent car chase, snow field shoot out, sense of urgency and lack of CGI makes this one of the best films of it's genre. It's also funny in many parts, too.

I've yet to mention the love interest in this. I would like to think that i'm not alone in thinking that Matt Damon and Franka Potente had some GREAT on screen chemistry. I actually really liked their relationship, and it felt somewhat real, in a fictiony sort of way. Like the bit where he is washing her hair. I dunno, theres just something sort of tender about that. And this is coming from a guy who generally dislikes the obligatory love interest.

55. Rio Bravo (Howard Hawks, 1959)



The original and best siege film. The film has a VERY slow pace. But when you're rewarded, you're rewarded handsomely. I first saw this film at a film studies screening and was a bit tired at first, but I got fully immersed into the experience of watching a film that featured a very simple premise yet complex character building.

I mean, the first 5 mins where theres no dialogue exchange AT all can be a bit off putting for those who aren't patient, but like I said, the film rewards with it some wonderful and memorably characters, who are each given their screen dues. The individuality of these people helps us care about them in all. Like Dude's inability to look after himself. In most films, such a character would have been there purely for the comic relief, but everybody can relate to Dude.

Questions and themes of the community and patriarchal figures are raised, giving an already rich film more meat than it really needs. Tragic in places yet also quite funny. This is the ultimate Hawks film. And my favourite of his.
 
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