Nightman Listens To – Perfume Genius – Set My Heart On Fire Immediately (2020 Series)!

PERFUME GENIUS – ” Set My Heart On Fire Immediately “ | The Fat Angel Sings

Greetings, Glancers, and welcome to my first newly written 2020 Series post of 2023. I know I’m dragging this shit out like a child being torn from its parents, but I hope to finish off the 2020 series in the next couple of months. This will be album 16 of 24 (it was 25 but I removed Harry Styles for some reason). So there’s not many to go, and I’ll prioritize getting this finished before starting something else. Stop starting and start stopping, as they say. I’ll likely do some sort of Round Up ranking post at the end too, ranking the 24 albums by score and maybe some general comments.

Perfume Genius then. Is this a band? A singer? Male, female, or miscellaneous? Was it in the Metal category? Generic Pop? I can’t be arsed pulling up my original post at this juncture, which would surely give me the answer I so dearly do not crave. The artwork points me in no particular direction – a topless gent who looks like he’s spent the time down a mineshaft. Is that the singer? An object of the singer’s affection? A rando? The album title suggests pain, heartache, emotion. Which is just what I need after two Hip Hop albums devoid of those. I’m going in to this completely cold – I don’t know a thing about it and I’ve never heard the name of the artist or the album at the time of writing. By the time I begin the next paragraph, I will have intimate knowledge of both having listened to the album a number of times. Lets do this.

Most of those above questions were answered in the album’s rather lovely opener. Not only is it smooth, melodic, atmospheric, and the sort of subtle opener I generally enjoy in an album, it has a potent lyric, vibe, and voice which had me hooked and hopeful. It’s a powerful opening song, but the album only matches or succeeds this potential two or three more times throughout the album’s run time. There’s a searing frustration permeating my overall thoughts, because so many songs just miss the mark. It’s like watching your favourite football team or played having a solid game, but consistently missing the final product – a misplaced pass, hitting the post, crossing the ball and sticking out your neck only for the ball to graze your scalp and go sailing out of play with no consequence. There are so many positives and potential, but whether it’s personal taste on my part or something unspoken lacking, none of the songs perfectly hit the mark for me.

It’s frustrating because it’s clear there’s talent here, and it’s clear this could have been more impactful for me. Not that my personal feelings matter to the artist, but they matter to me for the purpose of my review. Even with my frustrations, it has been a more positive than negative experience and a few songs have been added to my near-mythical car-driving playlist. The vocals are good throughout, even if they do touch on the nasal at various points, but it’s refreshing to hear something unfiltered these days and great to hear some heart, melody, and emotion in a pop album, especially after my adventures in Hip Hop recently.

In terms of highlights, outside of the opener, Jason, Borrowed Light, Your Body Changes Everything, and On The Floor are the ones to return to. Elsewhere, you can feel the Cocteau Twins influence in the messy Describe and the dull Just A Touch, and Moonbend is a clear riff on Sia’s In Between. I can’t stand Cocteau Twins and In Between is a much more interesting and powerful song, with Moonbend at best a whimpering copycat. Even with that song, and others, which didn’t grab me, there’s usually some minor point of interest – Moonbend going all Rosemary’s Baby in the middle for example. Like quite a few songs on the album, there are potent component parts, but the whole is often much duller than those fleeting moments.

Production wise, it’s top notch, which has generally been the case all the way through the 2020 albums I’ve heard so far. There’s a bit of a seaside vibe throughout and there are many good choices promoting variance in instrumentation, whether it be the harpischord in Jason or the electric pianos and organs in Borrowed Light. It’s and approach which reminds me of The Beatles where they would write the structure of their song on piano or guitar, then head into the studio and say ‘what about if we replace this part with that instrument‘ or ‘what’s that thing over there, how can we stick it into this song to give it something different’?

A few of the slower, lower register songs and more mumbled and artistic efforts don’t do much for me, and bring the overall vibe and quality down for me, making the album plod in places. Leave is a prime example – as a piece of work it’s interesting and has a lot going on in its instrumentation and lyrics, but it’s a slog to listen to. Its pace and sloth is all the more striking given it comes just before the bouncing On The Floor, with its gorgeous melodies and fun synth guitars. Your Body Changes Everything is a dramatic highlight. I would have played the vocals plain, acting as a counterpoint to the synthetic potency of the instrumentation. I’d have tried to push a little more of the drama into the vocals, really bite into those lyrics and put some theatricality into it, accentuating the emotion.

After this mid-point, the album falls into a mire of stunted melancholy. Again, it’s interesting, but a drag to sit through so many songs which never get out of first gear or whose moments of brilliance are all too brief. These are not bad songs, but in the context of a full album play through they bleed into each other and the latter half feels like one mumbled, pained ballad after another. Which, by the end of the album, leaves me feeling somewhat worn out, frustrated, and bored. Going back to the opening paragraph, the overriding feeling I get from the album is frustration – the songs I enjoyed are significantly better than the ones I didn’t, and those songs I fully enjoyed didn’t have enough to get up to an A Grade score. As a whole, it’s a strong enough album that I won’t mind hearing again in its entirety, and those standout songs are solid enough that I’d be curious to see what else the dude has done.

SCORE

Sales: 3. Didn’t set the world on fire (immediately), but seems to have done okay.

Chart: 3. Very middling, potentially a 2 depending on how you gauge these things, but it still charted Top 30 in US and UK.

Critical: 4. I struggle to give a 5 for such recent albums as critical thought can change even after a few years, but go on and give this a 5 if you want to. That’s because the album was very highly acclaimed, making many end of year charts and generally in the 90s%s in those aggregator sites.

Originality: 3. Personally, a low 3 for me. I didn’t find anything startlingly new here – it’s very much ‘just a pop album’ – but it doesn’t do much of what other pop albums these days do. It’s rich, it’s not over-produced, and it’s pure. In the grand scheme of things, maybe it’s a 2, but based on what I’ve heard recently, it gets a 3.

Influence: 2. I don’t see it influencing many people or musicians.

Musical Ability: 3. Fine, does the job.

Lyrics: 3. There’s a certain poetry there, and there’s a function to the lyrics in serving the vibe of each song. Nothing particularly fresh, no startling one-liners of new perspectives.

Melody: 3. A highish 3, but the best songs aren’t memorable enough for me and the monotonous songs don’t have enough.

Emotion: 4. Inward looking and exposing the artists fears and hopes, the album’s focus on and expression of emotion, is one of its plus points.

Lastibility: 3. We’ll see. The dude seems to pump out a lot of albums in a short space of time, and I don’t know enough about how this compares to those to say that this one, or any of them, will still be played ten years from now. Low 3 for me at the moment.

Vocals: 4. Smooth, expressive, good.

Coherence: 4. The ideas and the music hold together well.

Mood: 3. Drags in places, particularly in the second half, and not in a good way.

Production: 4. Solid.

Effort: 3. Fine.

Relationship: 2. In younger days this may have spoken to me more, but where I am currently I don’t think it gets to a 3.

Genre Relation: 3. This is a strange category – a crap album can get a high score because it sounds like everything else, but a great album can get a lower score because it stands apart. This is a decent, average album which sounds like many other pop albums.

Authenticity: 4. Dude seems to feel the words and the music, and put his whole being into the songs.

Personal: 3. Starting out I felt like the album was going to be a 4, but that second half drags things down. Repeated listens show that there are only a few highlights, but no stinkers.

Miscellaneous: 3. I’m happy for there to be a heartfelt male pop guy who doesn’t seem to be following the crowd and is happy to do his own thing.

Total: 64/100

I would have guessed this would get closer to the 70 mark, but this seems fair enough. Let us know your thoughts and scores in the comments!

Bill & Ted Face The Music

Bill & Ted Face the Music': Third Time's a Most Excellent Charm, Dude – Rolling Stone

Growing up, there were a handful of movies that I repeatedly came back to not only on my own, but with friends; Predator, T2, Wayne’s World, and the Bill And Ted series. Even in this age of any and all commodities, however barely remembered, being remade or franchised to further dilution, I never imagined I’d see a Bill & Ted sequel. Sure, we’d had the short lived animated series, and every few years we’d hear a rumour of a new script being proposed, but it seemed like the ship had sailed. No-one was interested in rock music any more, never mind movies about rock music, so why would anyone take a chance on releasing a movie which was barely marketable?

Yet here we are, decades later, with an older and somewhat wiser Bill and Ted tasked with saving the world, again. What’s more, the prophecies outlined in the previous movies didn’t really come to pass. Bill & Ted’s band had some success, but like most guitar bands of the era, they split up and are now seen has has-beens barely able to play in a bar to 20 people. They’re still married to their respective babes and they even have daughters, daughters who also aspire to being kick-ass musicians, but all is not rosy; there’s a chance their wives may leave and there’s a chance the world may end. Enter the daughter of Bill and Ted’s old pal Rufus, who takes the lads to the future where they learn that, if they don’t write the perfect song by that evening, all time and reality will collapse. Bad news. There is also a time-travelling Terminator robot sent to destroy them. Luckily, they have their own time machine to try to travel to potential futures to hear the song they haven’t written yet, while their daughters use another time machine to go back and recruit some of the greatest musicians of all time. It’s incredibly convoluted and seems ready to fall apart at any moment.

And yet, it works. It knows it’s silly and it leans into the ridiculousness of it all. It’s funny, it’s nostalgic, and most of the cast members from the originals return. It’s a bit of a shame that the music isn’t great and that they didn’t lean into how metal has changed in the years since the early 90s, but my overriding thought is that I was happy it even existed at all and that it isn’t crap. We still have plenty of modern bands and artists making an appearance, but the script is less interested in the name-dropping and culture surrounding the music. Reeves and Winter initially seem a little awkward in their roles, but this seems to shed over the course of the film and they eventually revel in it. The returning performers equally enjoy themselves, and most of the newcomers are fun too.

The film will likely be completely bewildering for any number of factors to anyone who has not seen the previous movies, but it was made for the fans and those fans should get plenty of enjoyment out of this belated sequel. Let us know what you think in the comments!

Falling Down – Get Rekt!

Rekt PNG Images, Free Transparent Rekt Download - KindPNG

Greetings, Glancers! Today I run a more critical eye over my tenth favourite movie of the year 1993, seeking to ignore my bias and provide a fair score based on the 20 criteria I feel are most important in the creation of a film. Today’s movie is Falling Down, Joel Shumacher’s story of a man who says ‘fuck it’, and goes on a rampage through LA.

Sales: 3. Do you go 4 here? It made around double its budget, but it was far outside the Top 20 Grossing movies for the year. That feels like a three to me. However, it did reach number 1 in the US Box Office for its first couple of weeks, so if you care strongly about initial audiences, then you could bump this higher. Of course, it dropped off quickly.

Critical Consensus: 4. While the moral complexity of the film, or perhaps more accurate to say the moral ambiguity, has always been a point for discussion by critics, consensus has always remained strong. The cast and the direction have been lauded, the script has taken a bit more of a beating as time has moved on due to the perceived racism and possible appeals to violence therein, but general consensus remains that it is a bold, violent, and funny satire on 90s society.

Director: 4. Schumacher had an impressive run from 85 to 95, making no less than 8 films. It’s a toss up between this and The Lost Boys as his best overall film and here he continues his use of setting, of soundtrack, of weather to heighten what’s already in the script. It’s stylish but not stylized and is ultimately played out like a futile tragedy rather than the rebellion emboldening statement some make it out to be.

Performances: 4. Michael Douglas is excellent in the lead, ably followed around by a game Robert Duvall, Barbara Hershey, Rachel Ticotin, and Tuesday Weld.

Characters: 3. It’s all about D-Fens, who is not, at least on the day presented, a very nice man. Sure he’s pissed that he’s out of work, divorced, late, his life is going nowhere, his expectations of the world aren’t being met, but does that mean he can go on a rampage? He’s supposed to be an everyman, at least for the men of the world who are angry at their lot in life, but taken to extremes. Depending on your POV, those extremes may only be slight.

Cinematography: 4. LA is so burned into our minds thanks to a hundred years of film and TV that it’s difficult to present it in an interesting way. It looks here just as it looked on news reports of the riots – an urban wasteland, brimming with chaos and only the facade of oases to make us think it’s some sort of paradise. The use of the sunlight and warmth is oppressive and hints that it’s not only this individual who is about to explode, but that the entire city could erupt at any minute.

Writing: 3. I’d love to go four here because the script is funny, and in my younger days I probably would have gone higher. But time moves on and attitudes change – there’s no getting away from the fact that parts of the script, intentionally or not, can be and have been co-opted by certain wings of society who would hold the movie up as a plan of action rather than a satire.

Plot: 3. At its core it’s very simple – it’s a classic ‘man wants to get home’ story. Regular glancers will know that that may be my favourite type of story. It’s a road movie mostly on foot. It’s simply a man trying to get from A-B, but he keeps being blocked on his journey and growing ever more enraged with the world.

Wardrobe: 4. It’s so simple, yet so effective. You think of this movie, and you immediately see Michael Douglas in his cheap shirt and trousers, with his briefcase.

Editing: 3. I’m not sure I’m ever going to give more than a 3 in this category.

Make up and Hair: 4. Again, very simple, but manages to be iconic. Which earns it the extra point.

Effects: 3. Not a movie filled with visual effects, but the practical work on the gunplay and explosive side are all solid.

Art and Set: 3. Compliments the Cinematography.

Sound And Music: 4. While the score itself isn’t overly tuneful or memorable, it is eerie and effective within the context of the film, and all of the other associated sounds help to build the paranoid and oppressive atmosphere.

Cultural Significance: 4. It’s on the outskirts of Cult territory in that it has all the attributes of a cult movie, except with a big name cast and director, and is marginally more known and seen. That said, the movie has had a cultural reach beyond its means, particularly in the music scene where many bands and artists have taken inspiration from it. That mirror of culture, The Simpsons, has also made reference to it.

Accomplishment: 3. I don’t feel this warrants higher than a 4 – it’s the sort of movie a lesser director may make with lesser known stars, but has been given the Hollywood treatment. It’s something of a throwback to films of the Dirty Harry and Death Wish movies in their outlook, but it’s not a strict revenge movie or cop against crime movie. It does elevate a simple idea though.

Stunts: 3. It’s not strictly an action movie, or a thriller, or a drama, but some Venn Diagram middle point. There is action but it’s on a small scale, and is more about the sudden abrupt outbursts, like how Takeshi Kitano would do things once upon a time.

Originality: 4. I went back and forth between 3 and 4 on this. It’s not the most original idea – we’ve seen angry man movies, we’ve seen trying to get home movies etc. But it’s the merging of these ideas, the positioning of the story in a modern day, recognizable, cosmopolitan warzone, and making the lead character conflicted and one who seems genuinely unsure of how to even exist anymore when his idea of how the world should be no longer exists.

Miscellaneous: 3. Nothing worthy enough to get me up to a 4. I love the poster.

Personal: 5. On another day if I was being more critical I’d go down to a 4, but I love it.

Total Score: 71/100.

Let us know your scores in the comments!

The Nightman Scoring System (c) Music Review Master List!

Greetings, Glancers! I mentioned in my last post that I was going to go back and give my favourite albums, and anything else I’ve heard, the Get Rekt treatment. I completely forgot that when I’d been doing this for The Beatles that I was posting them under the Nightman Scoring System series instead. That works out nicely as it provides a neat differentiation between movies (Get Rekt) and music (Nightman Scoring System). Even though it’s basically the same approach – score using an unbiased system breaking a product into twenty equally weighted categories.

While it was easy to do this with movies, because I had already posted lists of my favourite movies of each year and had a ready-made master-list, I did not have anything similar for music. This post changes that. This post will similarly be updated with albums, scores, and links to reviews, the differences being that I’ll continue to update the music I review, and instead of going year by year, I’ll post alphabetically by artist. In the early days, there won’t be many artists, but as time goes on and my reviews batch up, you’ll see the array of artists expand.

If you’re interested in any of the artists and albums below, or my thoughts on them, please have a look around and share your own thoughts. Enjoy!

Bad Bunny – YHLQMDLG – 58

Biffy Clyro – A Celebration Of Endings – 63

Bob Dylan – Rough And Rowdy Ways – 64

Chloe X Halle – Ungodly Hour – 68

Code Orange – Underneath – 61

Deftones – Ohms – 60

Dua Lipa – Future Nostalgia – 74

Enter Shikari – Nothing Is True & Everything Is Possible – 57

Fiona Apple – Fetch The Bolt Cutters – 67

Ghostmane – Anti-Icon – 54

Jessie Ware – What’s Your Pleasure – 58

Lady Gaga – Chromatica – 74

Lil Baby – My Turn – 51

The Beatles – Please Please Me – 81

The Beatles – With The Beatles – 71

The Beatles – A Hard Day’s Night – 92

The Beatles – For Sale – 80

The Beatles – Help! – 93

The Beatles – Rubber Soul – 90

Christmas At Castle Hart

Christmas at Castle Hart (TV Movie 2021) - IMDb

Top of the morning to ya, and other things us Irish folk don’t actually say. Who knows, maybe those weirdos down South of the border do, but up here you’re more likely to get a side-eyed glance followed by a rapid fire WHATABOUTYEBIGLAWDWHATAREYAAFTER? Yes, you are correct; Lacey Chabert has finally brought her Hallmark movies to Ireland!

Lacey and her sister work together as (I want to say…) waitresses, but are fired for making fun of their boss while their boss is standing behind them. Christmas is coming, the girls have nothing better to do, so they decide to fly off to a small village in Ireland to look into their family routes. It’s all very charming and quaint and the locals take the girls Americanisms with good spirits, and before long they’re snooping around the local Castle. Screwball misunderstandings occur, and Lacey and her sister finds themselves pretending to be high class event planners so that they can help the local Earl (Stuart Townsend) run a Christmas party at the Castle. As the girls plan for Christmas, they become more entangled in the myth they’ve created, become closer to the men and women of the town, start developing romantic feelings for some of them, and grown guilty about living this lie.

It’s standard Hallmark fair – festive, light romance, pretty people, a harmless plot and cast, gentle humour, and it is all wrapped up neatly with a bow for a heart-warming ending. The positives are Lacey and the rest of the cast, the novelty of having the film somewhat close to me, and having the film set outside one of the major US cities. It’s something which these kinds of movies have been doing ore of recently – taking familiar stories and giving them a very slight cultural twist by situating them in another Country and showing off some of the scenery. This being Ireland… we don’t get a lot of snow, so it was amusing seeing the fake frosting and snow covering the streets and houses on screen, and most of the Irishisms which are made are done are responded to in a withering fashion by others in the cast. These films never feel super-Christmasy, but they have become a festive tradition in themselves and gives me and the missus a break from the usual Die Hards and Rare Exports.

Let us know in the comments what you think of Christmas At Castle Hart!

Get Rekt – Future Music Review State!

Greetings, Glancers! It seems like I’m persisting with this whole Get Rekt/Nightman Scoring malarkey. You’ve likely seen my Get Rekt movie update – if you haven’t, click here. While I’ve already spent, some may say wasted, considerable time working my way through my favourite movies of all time and scoring those with my fair and unbiased system, I haven’t really done the same on the music side of things.

I’ve been examining this recently, and I’ve been considering writing my Favourite Albums Of Every Year Lists too, but I’ve been seriously struggling with those. I tend to absorb movies more easily than I do albums, even though I’ve loved music longer and with more passion. Whenever I try to make these lists for my favourite albums, they’re inevitably populated with the same small handful of artists, which makes it look like I have narrow tastes. Which couldn’t be further from the truth. It’s just that… I find it easier to call a film a favourite when it is flawed than I do with an album. If music is flawed, or not to my tastes, I probably won’t enjoy it. Certainly not enough to be so brazen as to put it in a so-called Favourites list. If a movie is flawed, I can still quite easily admire it for its technical ability and cultural significance, often enough to say it could, just maybe, squeeze, into one of my favourites lists. I’ll still vote for what I love over what I respect though.

So, if I can’t do a solid list of favourite albums by year like I did for films, I can’t really follow the same plan with Get Rekt. What can I do? Alphabetical? Still go year by year knowing that I may only have five albums instead of ten? Ignore favourites and just go Get Rekt on everything I’ve ever heard? That’s an option, and that’s what I’ve been doing with my 2020 series. I think that’s the way to go, that or I simply go artist by artist through my favourite artists. But that may be dull and repetitive, more so than usual around here.

That’s it, really. I didn’t come into this post with a conclusion in mind or a decision formed. And I still don’t. I just came into the post wanting to let you know that I want to, somehow, translate the Get Rekt format over to music, so that people can moan and grump and rage over the arbitrary scores I give albums. I’m not going to stick a list of albums here, like I did with the movie post. Not yet anyway. Instead, at some point in the future I’ll write a new post which I will plan to continually update as and when I write Get Rekt music reviews. So far, I’ve reviewed some of the (apparently) best albums of 2020 (which reminds me that I should probably do something similar for 2022 – fuck 2021, I guess), and I’ve updated some of my Beatles reviews with Get Rekt notes. I could go back and do retro Get Rekt updates for all of the Madonna, Bon Jovi, Roxette, Bryan Adams, David Bowie, and other artists I’ve regularly covered here too. I think I’ll do a mixture of that, and a mixture of my favourite albums. Won’t that me fun? Keeps me off the streets, I guess.

Tusk

Tusk (2014) - IMDb

Say what you will about Kevin Smith, but you can’t deny what an interesting career he’s had, a true American Dream for the modern world. Ignoring his work as a writer, comedian, podcaster etc, and purely focusing on him as a director, he came from nowhere with Clerks which cemented him as an up and coming Indie darling. His first phase saw him releasing cult hit after cult hit, ending with Jay And Silent Bob Strike Back. His next phase saw a big budget failure, a sequel, a return to his cult type comedies, and a buddy cop movie. Then he turned his eye towards horror, something few could have anticipated, with Red State being an interesting exercise in satire, and Tusk which is… something else entirely.

Born out of an idea from one of Smith’s own Podcasts, Tusk stars the ever game Justin Long as an obnoxious clout follower, a Tom Greene for the new Internet Age. He courts controversy (the Not See Party) and seemingly makes his money by exploiting and making fun of online and real-life idiots. A step above your average Insta-Influencer then. He’s an all round jerk, treating people like NPCs and even his beautiful, devoted girlfriend played by Genesis Rodriguez. For his next episode, he is travelling to Canada to interview a kid who became a fleeting online sensation when he filmed himself accidentally cutting off a limb in the midst of some samurai sword swinging. When his trip is derailed, he instead finds himself lodging with the mysterious and storied Howard Howe who wishes to share some of his sea-faring tales. Unfortunately, Mr Howe is more than what he seems.

Tusk is an odd movie – the whole turning a man into a Walrus is the least unusual thing. For strange for me was the critical divide and reaction. I fully expected critics to not enjoy it, but I didn’t expect that so many would be so bewilderingly upset or sickened by it. It’s not particularly shocking, it’s clearly a comedy with a bit of a horror twist, and it’s so ridiculous that to be so morally offended by it you must similarly be dumbfounded by a toddler farting in your lap. I can only assume the critics are so closeted and precious that they’ve never experienced the real world, never mind the various lewd fantasies which creatives can dream up.

More odd are the characters themselves, and the associated performances. Michael Parks is extraordinary in his dual roles, playing different versions of Howe at different times, while Johnny Depp shows off and seems to be in a different movie from everyone else, hamming things up more than what is required. Elsewhere, Smith’s writing is as characteristically sharp as ever with the dialogue being snappy, the speeches being affecting, and the whole exploitation angles growing more prescient as each new person decides to turn to an empty online world for fame and acceptance. There just happens to also be a bit about legs being amputated and skin being stretched so that an old wrong can be rectified.

It’s not Smith’s best work, but it’s another example of him trying something which few others would, and being better at it than he has any right to be. Let us know in the comments what you think of Tusk!

Nightman Listens To – I Hear A Symphony – The Supremes (1966 Series)!

I Hear a Symphony (The Supremes album) - Wikipedia

Greetings, Glancers! I have high hopes for this one. To me, the Motown sound comes down to The Supremes and The Jacksons. Of course, it’s more varied, but when I think of Motown, I think of these two groups first and foremost. While I grew up with The Jacksons and Michael, I never owned or heard any albums by The Supremes or Diana Ross. I did hear a bunch of their songs, and in most cases loved all of them. I have quite a few Supremes songs in my car playlist, and some of these appear on this very album. The album seems to be a mixture of covers and Supremes originals, so I’m excepting sweet harmonies and bouncy melodies. Let’s do this.

Stranger In Paradise‘ isn’t one I’m familiar with, but sounds very dated – the pace and the dreary strings – it feels like a song from a few decades earlier. The singers do what they can with it so I can tolerate it, but wouldn’t choose to hear it again.

Yesterday‘ is The Beatles, obvs. I didn’t know The Supremes had covered it, though I suppose everyone has. It’s spruced up in a jangling, twinkling way, and the strings give it a fuller feeling than the original. The main difference is of course the vocals, Diana retains the sadness of The Beatles version and again gives it a meatier boost, but adds some unnecessary little ticks at various points.

I Hear A Symphony’ is on my playlist in the car. It’s pure, fun Motown pop. It does sound similar to some other Supremes songs, but on its own it still hits all its marks. Sunny, lovely.

Unchained Melody‘ is one of my most hated songs ever. Man, it just never goes away. I’m not sure why I have such feelings against it in my heart, definitely the overplaying and success it has had is part of it, but beyond that I find it exceptionally boring and emotionless for what others see as this big heartfelt thing. I just don’t feel it, or get it. I don’t mind the lead lines, the melodies are changed up just enough from what I know to take him them sweeter, but the backing vocals are not great – I’m not sure what they’re going for but those harmonies are not in sync with anything else going on. This is probably the best version I’ve heard of a song I can’t stand, though it does round out of steam towards the end like every other version.

With A Song In My Heart‘ instantly feels dated again – those violins reek of the crappy musicals of ages gone by. The vocals make the song tolerable again, but like many of the songs from those musicals, there isn’t a single interesting melody and they seem designed as background music for slow dances. Just feels a little pointless.

Without A Song’ continues that trend. More slow dance, uneventful music. At least this one has more of a formula than the previous one. There are some bell-like keys and percussion going on, but they don’t help.

My World Is Empty Without You‘ is another one already on my playlist, and it’s such a step above the other songs so far. It’s full-on Motown genius, bouncy, perfectly blending funk and pop in the guise of a ballad. I love the switches from major to minor, all the instruments shouldn’t work together – but do – and the melodies have actual stakes and merit.

A Lover’s Concerto‘ opens with…. is that Bach? It then shifts into another Motown pop song. Why is this familiar to me? The vocal melodies are following the Bach melody, I assume that’s why. It’s a little jarring if I’m honest… I’m not sure if it works, but I think I like it. It’s definitely weird to me, putting words to a piece of classical music I sort of know. It’s not the first time this sort of thing has been done, but it reminds me of when they put lyrics to the Eastenders theme tune.

Any Girl In Love‘ opens with a brief brass parp which leads succinctly into some of the better harmonies and melodies on the album. This is a new one on me, it feels like it bridges the gap effectively between the dreary junk of old, and the more engaging inventive pop of the time. It’s classy and memorable.

‘Wonderful Wonderful‘ doesn’t give me good feelings from the off – instantly returning 40 years into the early years of the 20th Century. Those whining strings, the tame beat. Luckily though, the overall melodies and vocals bring it out of the mire of ye olde music, so it isn’t so distasteful to me. If I had been around in the 1920s, and perhaps I was, I could see myself tolerating a dance or two to this.

Everything Is Good About You‘ starts with a brighter, more familiar Motown beat. Now, I could say it’s samey to some other Supremes hits – it certainly seems to be going that way – but it’s a beat and sound I enjoy. Mostly I’m just glad it’s not another cover of some dismal ancient ballache. It’s hardly close to their best work, not enough edge, not any harmonies to speak of, and lacks a killer hook, but it’s still fine.

He’s All I Got‘ closes the album in what appears to be a more traditional Motown vein. Again it’s bouncy, poppy, sweet verse melodies, and catchy chorus, all supplemented with guitars, clangs, horns, and strings. It’s a step above the previous song, but a step below the ones I’m putting in my playlist. Maybe I’d like it more with more listens, but nothing wrong here.

This wasn’t quite what I was expecting. Half of it was, but the other half were daft covers of songs from a genre I’m not a fan of – those old-time soulless ballads from an era when music asked no questions and was merely tactless dressing. The other half – the good half – features a number of songs I was already familiar with, and a few I wasn’t. These are mostly where the group shines and allow their energy and joy to come through. It’s a pity there wasn’t a few more tracks on the good half to tip into the majority of the album being enjoyable, but I hope that comes in later releases.

Nightman’s Playlist: Any Girl In Love. I Hear A Symphony. My World Is Empty Without You. Lovers Concerto.

Darlin

Darlin' (Crítica de cine) - Terrorbit

It was a tragic loss to the Horror world when Jack Ketchum passed away, back in 2018, doubly sad because he remains fairly lesser-known outside of the most obsessive fans. Over the course of his career, he penned many a gruesome tale of violence, rarely dipping his toes into the supernatural and instead focusing his witty and unflinching eye over the extreme fringes of the North American family unit. In the 90s, filmmakers saw the untapped potential in his works and began adapting for screen. Viewers and critics were suitably disgusted and delighted and equal measure. Perhaps his biggest hit came in 2011, when long-time fan and friend Lucky McKee directed The Woman, having co-conspired on the book of the same name. The Woman was the Pollyanna McIntosh led sequel to Offspring and continued the story of a cannibal living in the Northeast of the USA. Darlin, concludes (maybe) the story and picks up a number of years after the events of The Woman.

You can probably get away with watching any entry in the trilogy without knowing anything about the other films, or the books. They stand alone fairly well, but knowing the history of the characters and world definitely helps in your potential enjoyment. Pollyanna McIntosh returns as The Woman once again, this time riding shotgun in front of the camera so that she can direct. The first thing that is obvious about the direction and the script is that this is, and I hesitate to use the word ‘lighter’ given the material, but it is a funnier film. There wasn’t much to laugh about in The Woman, but Darlin works well as a comedy in places. When McIntosh is on screen, she is treated, perhaps uncomfortably, as a bit of a Freddy Krueger icon in the Elm Street sequels. She’s still terrifying, she’s still mostly mute, but her interactions with certain characters and the situations she finds herself in, from sitting in a car to leading a ragtag group of homeless people, are all amusing. I was expecting another grim tale with little redemption or light, but I found myself enjoying the character play as much as the gore gags.

We open with some vague nods to events which have transpired since the end of the last movie, before a teenage girl (one of the daughters from The Woman, now grown up) appears at a hospital and is hit by an ambulance. She is messy, dirty, and feral. The hospital cleans her, tries to communicate with her, and eventually sends her to a nearby Catholic Boarding school. At the School, the staff try to turn her into a regular member of society, help her reclaim her speech, and teach her in the ways of the Catholic God (read – sexually abuse her). While she meets some sympathetic staff and kids, there is a history and system of abuse which members have been quiet about. The top dog is horrified when he learns that the girl, now called Darlin, is pregnant.

If you’re familiar with the lore of the world, you’ll know that the cannibal family needs babies to keep their line alive, and they’re not picky with how they get them. We learn in flashbacks that previous attempts to grow the family met with tragedy, leading to The Woman sending Darlin to hospital, so they could ensure her baby was born, and so The Woman could take it. While Darlin has been learning how to become a human again, The Woman has been watching, following, and killing anyone who gets in her way. She strikes up a loose partnership with some other women who think they want to be part of a revolution, and it all comes to a head at Darlin’s (insert weird religious ceremony).

The film is not as grim as the last two, and as mentioned, has an amount of humour that I wasn’t expecting. Also unexpected was the performance of Lauryn Canny as Darlin – an exceptional, and hopefully breakthrough showing where she is perfectly believable as the confused, traumatised girl coming to grips with her past, present, and potential future. She’s the star of the movie, and more than deserves praise, attention, and future hit roles. Elsewhere, fellow Walking Dead alumni Cooper Andrews plays a pivotal part, Nora Jane Noone is as good as always, and Bryan Batt ably fills in as the slimy, hands-on Bishop.

While you can take or leave the social commentary aspects of the movie, it’s worthwhile calling out that Darlin isn’t just a story about a bunch of cannibals clashing with society. Like much of Ketchum’s work, even though this isn’t a Ketchum original, it has something to say about Othering, about civilized society, and about who the bad guys really are or whether or not there’s much difference between civilization and barbarity or good and evil. The blood still flows freely, though it isn’t as bleak or cynical an outlook as what you would typically find coming from Ketchum’s brain, and in McIntosh we have an accomplished actor showing she can be equally interesting as a writer/director, and a breakout star in Canny.

Let us know what you think of Darlin in the comments!

Get Rekt – A recap and future state

Greetings, Glancers! I’ve been publishing quite a lot of Get Rekt movie posts recently, and some of you have been reading and (hopefully) enjoying them. This post is to provide a recap on what Get Rekt is all about, and to present the films I have yet to cover. It’s not a roadmap or publishing schedule by any means, but rather a single place for anyone enjoying this series to check out the full list of films I’m covering, what I’ve done, and what’s to come.

First off, here’s a link to the original post explaining why I’m doing all this, and what the different categories are. The short version is that I don’t usually score whatever I review, but I decided I wanted to explore how good or bad I feel my favourite movies are by removing as much bias as I can, and by giving a score out of five for twenty categories I feel are important in film. I can’t just give 5s across the board, because I have to use real, honest data along with valuable opinion. I can’t give a score of five in a category of Sales to a movie which was a complete flop, as much as you can’t give a score of 1 for Performances to a film where the cast won Oscars for their performances.

The list of films I’m using this system for are my favourite films of each year, going back to 1950. In most cases it’s 10 films per year, but in a few others the total could reach 20. To keep things interesting, I’m starting from the bottom of each year, and moving from the first year in each decade to the next in each post, then back around. That means my 10th favourite film of 1950 would be first, then my 10th favourite of 1960, tenth of 1970, 80, 90, and 2000s, then back around to my 10th favourite of 1951, 61, 71 etc.

Here is the full list, by year, with links to the published posts:

1950

10: Les Enfants Terribles (France)

9: Outrage (USA)

8: Panic In The Streets (USA)

7: Gun Crazy (USA)

6: Winchester 73 (USA)

5: Rio Grande (USA)

4: Stage Fright (GB)

3: Cinderella (USA)

2: All About Eve (USA)

1: Rashomon (Japan)

1951

10: Scrooge (UK)

9: Fourteen Hours (USA)

8: The Prowler (USA)

7: Quo Vadis (USA)

6: The Lavender Hill Mob (UK)

5: The Idiot (Japan)

4: The African Queen (UK/USA)

3: A Streetcar Named Desire (USA)

2: The Thing From Another World (USA)

1: Strangers On A Train (USA)

1952

10: Flesh And Fury (USA)

9: Bend Of The River (USA)

8: Monkey Business (USA)

7: The Steel Trap (USA)

6: Viva Zapata (USA)

5: Forbidden Games (France)

4: The Greatest Show On Earth (USA)

3: The Prisoner Of Zenda (USA)

2: High Noon (USA)

1: Ikiru (Japan)

1953

10: Peter Pan (US)

9: Fear And Desire (US)

8: Stalag 17 (US)

7: Tokyo Story (Japan)

6: I Confess (US/Canada)

5: The Beast From 20,000 Fathoms (US)

4: From Here To Eternity (US)

3: The Hitch-hiker (US)

2: The Big Heat (US)

1: The Wild One (US)

1954

10: Sabrina (USA)

9: The Caine Mutiny (USA)

8: La Strada (Italy)

7: Hell And High Water (USA)

6: 20,000 Leagues Under The Sea (USA)

5: On The Waterfront (USA)

4: Godzilla (Japan)

3: Dial M For Murder (USA)

2: Rear Window (USA)

1: Seven Samurai (Japan)

1955

10: The Ladykillers (UK)

9: I Live In Fear (Japan)

8: Lady And The Tramp (USA)

7: Les Diaboliques (France)

6: The Colditz Story (UK)

5: East Of Eden (USA)

4: Bad Day At Black Rock (USA)

3: The Night Of The Hunter (USA)

2: Marty (USA)

1: Rebel Without A Cause (USA)

1956

10: Crime in The Streets (USA)

9: The Ten Commandments (USA)

8: The Killing (USA)

7: I Vampiri (Italy)

6: The Wrong Man (USA)

5: The Searchers (USA)

4: Giant (USA)

3: The Bad Seed (USA)

2: The Man Who Knew Too Much (USA)

1: Invasion Of The Body Snatchers (USA)

1957

10: Sayonara (USA)

9: 20 Million Miles To Earth (USA)

8: Funny Face (USA)

7: The Lower Depths (Japan)

6: The Bridge On The River Kwai (UK/USA)

5: The Seventh Seal (Sweden)

4: Paths Of Glory (USA)

3: Night Of The Demon (UK)

2: 12 Angry Men (USA)

1: Throne Of Blood (Japan)

1958

10: Thunder Road (USA)

9: The Blob (USA)

8: The Vikings (USA)

7: The Defiant Ones (USA)

6: The Magician (Sweden)

5: The Hidden Fortress (Japan)

4: The 7th Voyage Of Sinbad (USA)

3: Touch Of Evil (USA)

2: Dracula (UK)

1: Vertigo (USA)

1959

10: The Diary Of Anne Frank (USA)

9: The Hound Of The Baskervilles (UK)

8: Anatomy of A Murder (USA)

7: The House On Haunted Hill (USA)

6: On The Beach (USA)

5: The 400 Blows (France)

4: Rio Bravo (USA)

3: Ben Hur (USA)

2: Sleeping Beauty (USA)

1: North By Northwest (USA)

1960

10: Village Of The Damned (UK)

9: Eyes Without A Face (France)

8: The Apartment (USA)

7: Jigoku (Japan)

6: La Dolce Vita (Italy)

5: Breathless (France)

4: Spartacus (USA)

3: Peeping Tom (UK)

2: Psycho (USA)

1: The Magnificent Seven (USA)

1961

10: The Young Ones (UK)

9: Judgement At Nuremberg (USA)

8: One Eyed Jacks (USA)

7: The Day The Earth Caught Fire (UK)

6: Breakfast At Tiffany’s (USA)

5: The Innocents (UK)

4: One Hundred And One Dalmations (US)

3: The Hustler (US)

2: The Guns Of Navarone (UK/US)

1: Yojimbo (Japan)

1962

10: Carnival Of Souls (USA)

9: Lawrence Of Arabia (USA/UK)

8: To Kill A Mockingird (USA)

7: The Man Who Shot Liberty Valance (USA)

6: The Longest Day (USA)

5: What Ever Happened To Baby Jane? (USA)

4: Sanjuro (Japan)

3: Lolita (UK/USA)

2: Cape Fear (USA)

1: Dr No (UK)

1963

10: Dementia 13 (USA)

9: The Pink Panther (USA)

8: 8 1/2 (Italy/France)

7: The Sword In The Stone (USA)

6: Cleopatra (USA)

5: The Haunting (UK)

4: From Russia With Love (UK)

3: Jason And The Argonauts (UK/USA)

2: The Birds (USA)

1: The Great Escape (USA)

1964

10: Marriage, Italian Style (Italy)

9: Woman In The Dunes (Japan)

8: Hush Hush Sweet Charlotte (USA)

7:  A Hard Day’s Night (UK)

6: Seance On A Wet Afternoon (UK)

5: Dr. Strangelove (UK/USA)

4: Kwaidan (Japan)

3: Zulu (UK)

2: A Fistful Of Dollars (Italy/Germany/Spain)

1: Goldfinger (UK)

1965

10: A Patch Of Blue (USA)

9: Faster Pussycat Kill Kill (USA)

8: The Flight Of The Phoenix (USA)

7: Alphaville (France)

6: Von Ryan’s Express (USA)

5: The Cincinnati Kid (USA)

4: The Ipcress File (UK)

3: Thunderball (UK)

2: Repulsion (UK)

1: For A Few Dollars More (Italy/Germany/Spain)

1966

10: Carry On Screaming (UK)

9: Born Free (UK)

8: Alfie (UK)

7: The Professionals (US)

6: Blowup (UK/US/Italy)

5: One Million BC (UK)

4: Dracula, Prince Of Darkness (UK)

3: The Battle of Algiers (Italy/Algeria)

2: Who’s Afraid Of Virginia Woolf? (USA)

1: The Good, The Bad, And The Ugly (Italy/Germany/Spain/US)

1967

10: Guess Who’s Coming To Dinner (USA)

9: The Fearless Vampire Killers (USA)

8: In The Heat of The Night (USA)

7: Bonnie And Clyde (USA)

6: The Graduate (USA)

5: Cool Hand Luke (USA)

4: Wait Until Dark (USA)

3: The Dirty Dozen (USA)

2: The Jungle Book (USA)

1: You Only Live Twice (UK)

1968

10: Barbarella (France/Italy)

9: Hell In The Pacific (USA)

8: If (UK)

7: The Producers (USA)

6: Planet Of The Apes (USA)

5: 2001 A Space Odyssey (UK/USA)

4: Bullitt (USA)

3: Rosemary’s Baby (USA)

2: Once Upon A Time In The West (Italy/USA/Spain)

1: Night Of The Living Dead (USA)

1969

10: Carry On Camping (UK)

9: The Damned (Italy/Germany)

8: They Shoot Horses Don’t They (USA)

7: Marlowe (USA)

6: Easy Rider (USA)

5: Midnight Cowboy (USA)

4: The Italian Job (UK)

3: On Her Majesty’s Secret Service (UK)

2: Butch Cassidy And The Sundance Kid (USA)

1: The Wild Bunch (USA)

1970

10: Woodstock (USA)

9: Zabriskie Point (USA)

8: MASH (USA)

7: Brewster McCloud (USA)

6: The Conformist (Italy/France/Germany)

5: Joe (USA)

4: The Bird With The Crystal Plumage (Italy/Germany)

3: Patton (USA)

2: Five Easy Pieces (USA)

1: Kelly’s Heroes (USA)

1971

10: Vanishing Point (USA)

9: McCabe And Mrs Miller (USA)

8: Walkabout (UK/OZ)

7: Straw Dogs (US/UK)

6: The French Connection (USA)

5: Get Carter (UK)

4: Dirty Harry (USA)

3: Willy Wonka And The Chocolate Factory (USA)

2: The Big Boss (HK/Thailand)

1: A Clockwork Orange (USA/UK)

1972

10: Silent Running (US)

9: Last Tango In Paris (France/Italy)

8: The Getaway (US)

7: Asylum (UK)

6: Deliverance (US)

5: Game Of Death (HK)

4: The Last House On The Left (US)

3: Fist Of Fury (HK)

2: Way Of The Dragon (HK)

1: The Godfather (US)

1973

10: Badlands (US)

9: Robin Hood (US)

8: High Plains Drifter (US)

7: Mean Streets (US)

6: Serpico (US)

5: Don’t Look Now (UK/Italy)

4: The Wicker Man (UK)

3: The Exorcist (US)

2: Enter The Dragon (HK/US)

1: Live And Let Die (UK)

1974

10: Black Christmas (CAN)

9: Stone (OZ)

8: Blazing Saddles (US)

7: Death Wish (US)

6: Chinatown (US)

5: Young Frankenstein (US)

4: The Golden Voyage Of Sinbad (UK)

3: The Man With The Golden Gun (UK)

2: The Godfather Part 2 (US)

1: The Texas Chainsaw Massacre (US)

1975

10: Nashville (US)

9: Barry Lyndon (UK/US)

8: Picnic At Hanging Rock (OZ)

7: Hard Times (US)

6: Deep Red (Italy)

5: The Land That Time Forgot (UK/US)

4: Monty Python And The Holy Grail (UK)

3: Dog Day Afternoon (US)

2: One Flew Over The Cuckoo’s Nest (US)

1: Jaws (US)

1976

10: All The President’s Men (USA)

9: Network (USA)

8: Silver Streak (USA)

7: The Outlaw Josey Wales (USA)

6: Logan’s Run (USA)

5: Carrie (USA)

4: Taxi Driver (USA)

3: The Omen (USA)

2: Rocky (USA)

1: Assault On Precinct 13 (USA)

1977

10: Hausu (Japan)

9: Rabid (Canada/USA)

8: Sorcerer (USA)

7: Soldier Of Orange (Netherlands)

6: Close Encounters Of The Third Kind (USA)

5: Martin (USA)

4: Eraserhead (USA)

3: Suspiria (Italy)

2: The Spy Who Loved Me (UK)

1: Star Wars Episode IV (USA)

1978

10: Eyes of Laura Mars (USA)

9: Midnight Express (USA)

8: Big Wednesday (USA)

7: Jaws 2 (USA)

6: Invasion Of The Body Snatchers (USA)

5: The Deer Hunter (USA)

4: Superman (USA/UK/Switz/Panama)

3: The Driver (USA)

2: Halloween (USA)

1: Dawn Of The Dead (USA)

1979

10: Escape From Alcatraz (US)

9: Escape To Athena (UK)

8: Life Of Brian (UK)

7: Zombie Flesh Eaters (Italy)

6: Quadrophenia (UK)

5: Rocky II (US)

4: Apocalypse Now (US)

3: The Warriors (US)

2: Mad Max (AUS)

1: Alien (UK/US)

1980

10: The Big Red One (US) Sam Fuller

9: Cannibal Holocaust (Italy)

8: Kagemusha (Japan)

7: The Watcher In The Woods (US/UK)

6: The Elephant Man (US)

5: Raging Bull (US)

4: The Blues Brothers (US)

3: The Shining (US)

2: The Fog (US)

1: The Empire Strikes Back (US)

1981

10: Escape To Victory (UK/US)

9: The Entity (US)

8: Scanners (Canada)

7: Clash Of The Titans (UK/US)

6: The Evil Dead (US)

5: Escape From New York (US)

4: An American Werewolf In London (UK/US)

3: For Your Eyes Only (UK)

2: Raiders Of The Lost Ark (US)

1: The Road Warrior (AUS)

1982

10: Q (US)

9: The Wall (UK)

8: Poltergeist (US)

7: Creepshow (US)

6: 48 Hours (US)

5: Blade Runner (US)

4: Rocky 3 (US)

3: First Blood (US)

2: The Thing (US)

1: Conan The Barbarian (US)

1983

10: Project A (HK)

9: The Hunger (UK/US)

8: The Dead Zone (US)

7: Le Dernier Combat (France)

6: Blue Thunder (US)

5: Rumble Fish (US)

4: The Outsiders (US)

3: Videodrome (Canada)

2: Scarface (US)

1: Return Of The Jedi (US)

1984

10: Ghostbusters (US)

9: This Is Spinal Tap (US)

8: Starman (US)

7: Beverly Hills Cop (US)

6: The Karate Kid (US)

5: Gremlins (US)

4: Temple Of Doom (US)

3: Police Academy (US)

2: A Nightmare On Elm Street (US)

1: The Terminator (US)

1985

10: A View To A Kill (UK)

9: Return To Oz (US/UK)

8: Brewster’s Millions (US)

7: Rocky IV (US)

6: Police Academy 2 (US)

5: First Blood Part 2 (US)

4: Day Of The Dead (US)

3: The Goonies (US)

2: Back To The Future (US)

1:  Commando (US)

1986

10: Highlander (UK/US)

9: Stand By Me (US)

8: A Better Tomorrow (HK)

7: Blue Velvet (US)

6: Platoon (US)

5: Police Academy 3 (US)

4: The Fly (US)

3: The Hitcher (US)

2: Big Trouble In Little China (US)

1: Aliens (US)

1987

20: A Chinese Ghost Story (HK)

19: Withnail And I (UK)

18: City On Fire (HK)

17: Planes, Trains, And Automobiles (US)

16: Good Morning, Vietnam (US)

15: The Princess Bride (US)

14: The Living Daylights (UK)

13: Lethal Weapon (US)

12: Full Metal Jacket (US/UK)

11: Evil Dead 2 (US)

10: The Untouchables (US)

9: Hellraiser (UK)

8: The Running Man (US)

7: Dream Warriors (US)

6: Citizens On Patrol (US)

5: Prince Of Darkness (US)

4: Near Dark (US)

3: The Lost Boys (US)

2: Predator (US)

1: Robocop (US)

1988

10: They Live (US)

9: Hellraiser 2 (US/UK)

8: Bloodsport (US)

7: Akira (Japan)

6: Twins (US)

5: Young Guns (US)

4: Heathers (US)

3: Willow (US)

2: Die Hard (US)

1: Beetlejuice. (US)

1989

10: The Killer (HK)

9: Uncle Buck (US)

8: Born On The Fourth Of July (US)

7: Kiki’s Delivery Service (Japan)

6: See No Evil, Hear No Evil (US)

5: Licence To Kill (US/UK)

4: Pet Sematary (US)

3: Back To The Future Part II  (US)

2: Bill And Ted’s Excellent Adventure (US)

1: Batman (US)

1990

20: Boiling Point (Japan) Takeshi Kitano

19: La Femme Nikita (France) Luc Besson

18: The Witches (UK/US) Nicholas Roeg

17: Dances With Wolves (US) Kevin Costner

16: Awakenings (US) Penny Marshall

15: The Godfather Part 3 (US) Francis Ford Coppolla

14: Ghost (US) Jerry Zucker

13: Another 48 Hours (US) Walter Hill

12: Misery (US) Rob Reiner

11: Arachnophobia (US) Frank Marshall

10: Kindergarten Cop (US) Ivan Reitman

9: Young Guns II (US) Geoff Murphy

8: Mermaids (US) Richard Benjamin

7: Tremors (US) Ron Underwood

6: Wild At Heart (US) David Lynch

5: Total Recall (US) Paul Verhoeven

4: Home Alone (US) Chris Columbus

3: Goodfellas (US) Martin Scorsese

2: Problem Child (US) Dennis Dugan

1: Edward Scissorhands (US) Tim Burton

1991

10: Drop Dead Fred (US/UK) Ate De Jong

9: Double Impact (US) Sheldon Lettich

8: The Doors (US) Oliver Stone

7: Bill And Ted’s Bogus Journey (US) Pete Hewitt

6: Thelma And Louise (US) Ridley Scott

5: Robin Hood Prince Of Thieves (US) Kevin Reynolds

4: Don’t Tell Mom The Babysitter’s Dead (US) Stephen Herek

3: The Last Boy Scout (US) Tony Scott

2: Beauty And The Beast (US) Disney

1: Terminator 2 (Top Ten Of All Time) (US) James Cameron

1992

10: Aladdin (US) Disney

9: Universal Soldier (US) Roland Emmerich

8: Bram Stoker’s Dracula (US) Francis Ford Coppola

7: Candyman (US) Bernard Rose

6: My Cousin Vinny (US) Jonathan Lynn

5: Wayne’s World (US) Penelope Spheeris

4: Braindead (NZ) Peter Jackson

3: Reservoir Dogs (US) Quentin Tarantino

2: Fire Walk With Me (US) David Lynch

1: Hard Boiled (HK) John Woo

1993

17: Falling Down (US/France/UK) Joel Schumacher

16: Mrs Doubtfire (US) Chris Columbus

15: Schindler’s List (US) Steven Spielberg

14: What’s Eating Gilbert Grape (US) Lasse Hallstrom

13: Cliffhanger (US/France/Italy) Renny Harlin

12: Benny And Joon (US) Jeremiah S Chechik

11: Dazed And Confused (US) Richard Linklater

10: The Vanishing (US) George Sluizer

9: Carlito’s Way (US) Brian De Palma

8: The Nightmare Before Christmas (US) Henry Selick

7: A Perfect World (US) Clint Eastwood

6: Demolition Man (US) Marco Brambilla

5: Last Action Hero (US) John McTiernan

4: Body Snatchers (US) Abel Ferrara

3: True Romance (US) Tony Scott

2: Tombstone (US) George P Cosmatos

1: Jurassic Park (US) Steven Spielberg

1994

20: Little Women (US) Gilliam Armstrong

19: Ace Ventura (US) Tom Shadyac

18: The Mask (US) Charles Russell

17: Stargate (US/France) Roland Emmerich

16: Forrest Gump (US) Robert Zemeckis

15: The Lion King (US Disney)

14: Mary Shelly’s Frankenstein (US/Japan) Kenneth Branagh

13: Timecop (US) Peter Hyams

12: The Shawshank Redemption (US) Frank Darabont

11: Ed Wood (US) Tim Burton

10: Natural Born Killers (US) Oliver Stone

9: Wes Craven’s New Nightmare (US) Wes Craven

8: Clerks (US) Kevin Smith

7: True Lies (US) James Cameron

6: Speed (US) Jan de Bont

5: Pulp Fiction (US) Quentin Tarantino

4: Interview With The Vampire (US) Neil Jordan

3: Leon (France) Luc Besson

2: The Crow (US) Alex Proyas

1: Dumb And Dumber (US)

1995

20: Braveheart (US) Mel Gibson

19: Casino (US) Martin Scorsese

18: Casper (US) Brad Silberling

17: Jumanji (US) Joe Johnston

16: Dangerous Minds (US) John N Smith

15: Strange Days (US) Kathryn Bigelow

14: In The Mouth Of Madness (US) John Carpenter

13: The Last Supper (US) Stacy Title

12: Kids (US) Larry Clark

11: Pocahontas (US) Disney

10: Mortal Kombat (US) Paul W S Anderson

9: Now And Then (US) Lesli Linka Glatter

8: The Doom Generation (US/France) Gregg Araki

7: La Haine (France) Mathieu Kassovitz

6: Die Hard With A Vengeance (US) John McTiernan

5: Heat (US) Michael Mann

4: Mallrats (US) Kevin Smith

3: Desperado (US) Robert Rodriguez

2: Goldeneye (UK) Martin Campbell

1: Things To In Denver When You’re Dead (US)

1996

10: Crash (UK/Canada) David Cronenberg

9: Fly Away Home (Canada/US/NZ) Carroll Ballard

8: Trainspotting (UK) Danny Boyle

7: Breaking The Waves (Denmark) Lars Von Trier

6: The Long Kiss Goodnight (US) Renny Harlin

5: The Craft (US) Andrew Fleming

4: Beavis And Butthead Do America (US) Mike Judge

3: Broken Arrow (US) John Woo

2: From Dusk Till Dawn (US) Robert Rodriguez

1: Scream (US) Wes Craven

1997

20: The Ice Storm (US) Ang Lee

19: Boogie Nights (US) Paul Thomas Anderson

18:  LA Confidential (US) Curtis Hanson

17: Cube (Canada) Vincenzo Natali

16: Princess Mononoke (Japan) Hiyao Miyazaki

15: Grosse Point Blank (US) George Armitage

14: The Postman (US) Kevin Costner

13: Con Air (US) Simon West

12: The Game (US) David Fincher

11: I Know What You Did Last Summer (US) Jim Gillespie

10: Face/Off (US) John Woo

9: Liar Liar (US) Tom Shadyac

8: Life Is Beautiful (Italy) Robert Benigni

7: The Devil’s Advocate (US) Taylor Hackford

6: Donnie Brasco (US) Mike Newell

5: Chasing Amy (US) Kevin Smith

4: Lost Highway (US/France) David Lynch

3: Cop Land (US) James Mangold

2: Starship Troopers (US) Paul Verhoeven

1: The Fifth Element (France) Luc Besson

1998

10: Wild Things (US) John McNaughton

9: The Truman Show (US) Peter Weir

8: Dark City (US/OZ) Alex Proyas

7: Fear And Loathing In Las Vegas (US) Terry Gilliam

6: Saving Private Ryan (US) Steven Spielberg

5: What Dreams May Come (US) Vincent Ward

4: Fallen (US) Gregory Hoblit

3: Blade (US) Stephen Norrington

2: Ronin (US) John Frankenheimer

1: Ringu (Japan) Hideo Nakata

1999

20: The Sixth Sense (US) M Night Shyamalan

19: Girl, Interrupted (US) James Mangold

18: The Green Mile (US) Frank Darabont

17: Shiri (SK) Kang je Gyu

16: The Iron Giant (US) Brad Bird

15: American Pie (US) Paul Weitz, Chris Weitz

14: Existenz (Canada/UK/France) David Cronenberg

13: Ghost Dog (US/France/Germany/Japan) Jim Jarmusch

12: Music Of The Heart (US) Wes Craven

11: Office Space (US) Mike Judge

10: The Mummy (US) Stephen Sommers

9: Fight Club (US/Germany) David Fincher

8: Man On The Moon (US) Milos Forman

7: Dogma (US) Kevin Smith

6: End Of Days (US) Peter Hyams

5: Audition (Japan) Takashi Miike

4: South Park (US) Trey Parker

3: The Matrix (US/OZ) The Wachowski Brothers

2: The Blair Witch Project (US) Daniel Myrick Eduardo Sanchez

1: Bangkok Dangerous (Thailand) The Pang Brothers

2000

10: Almost Famous. (USA) Cameron Crowe.

9: Gladiator (USA/UK). Ridley Scott.

8: Best In Show (USA). Christopher Guest.

7: Dancer in The Dark (Denmark). Lars Von Trier.

6: Unbreakable (USA). M Night Shyamalan

5: Pitch Black (USA). David Twohy

4: X-Men (USA). Bryan Singer

3: Crouching Tiger, Hidden Dragon (China/HK/Taiwan/USA). Ang Lee.

2: Final Destination (USA). James Wong

1: Battle Royale (Japan). Kinji Fukasaku

2001

10: The Majestic (US) Frank Darabont

9: Ichi The Killer (Japan) Takashi Miike

8: Session 9 (US) Brad Anderson

7: The Mummy Returns (US) Stephen Sommers

6: Frailty (US/Germany/Italy) Bill Paxton

5: Bully (US) Larry Clark

4: Visitor Q (Japan) Takashi Miike

3: Mulholland Drive (US/France) David Lynch

2: The Fellowship Of The Ring (NZ/US): Peter Jackson

1: Amelie (France/Germany) Jean Pierre Jeunet

2002

10: City Of God (Brazil) Fernando Meirelles

9: Equilibrium (US) Kurt Wimmer

8: Hero (China) Zhang Yimou

7: Infernal Affairs (HK) Andrew Lau/Alan Mak

6: The Pianist (France/Germany/Poland/UK) Roman Polanski

5: Dark Water (Japan) Hideo Nakata

4: The Eye (HK/Singapore) The Pang Brothers

3: The Twilight Samurai (Japan) Yoji Yamada

2: 28 Days Later (UK) Danny Boyle

1: Sympathy For Mr Vengeance (SK) Chan Wook Park

2003

10: The Dreamers (UK/US/France/Italy) Bernardo Bertolucci

9: Underworld (US/UK/Hungary/Germany) Len Wiseman

8: Kill Bill Vol 1 (US) Quentin Tarantino

7: A Mighty Wind (US) Christopher Guest

6: The Curse of The Black Pearl (US) Gore Verbinski

5: Zatoichi (Japan) Takeshi Kitano

5. Oldboy (SK) Chan Wook Park

4: A Tale Of Two Sisters (SK) Kim Jee Woon

3: Ju On (Japan) Takashi Shimizu

2: The Return Of The King (NZ/US) Peter Jackson

1: X2 (US) Bryan Singer

2004

10: District 13 (France) Pierre Morel

9: A Very Long Engagement (France) Jean Pierre Jeunet

8: R-Point (SK) Kong Su Chang

7: Shaun Of The Dead (UK/US/France) Edgar Wright

6: Spider-Man 2 (US) Sam Raimi

5: House Of Flying Daggers (China/HK) Zhang Yimou

4: Saw (US) James Wan

3: The Grudge (US) Takashi Shimizu

2: Kill Bill Volume 2 (US) Quentin Tarantino

1: Dawn Of The Dead (US) Zach Snyder

2005

10: Land Of The Dead (US) George A Romero

9: Hostel (US) Eli Roth

8: A Bittersweet Life (SK) Kim Jee Woon

7: Sympathy For Lady Vengeance (SK) Chan Wook Park

6: Kiss Kiss Bang Bang (US) Shane Black

5: The Descent (UK) Neil Marshall

4: The 40 Year Old Virgin (US) Judd Apatow

3: Revenge Of The Sith (US) George Lucas

2: Sin City (US) Frank Miller/Robert Rodriguez/Quentin Tarantino

1: Batman Begins (US/UK) Christopher Nolan

2006

10: Paprika (Japan) Satoshi Kon

9: The Host (SK) Joon-ho Bong

8: Death Note (Japan) Shusuke Kaneko

7: Idiocracy (US) Mike Judge

6: Children Of Men (US/UK) Alfonso Cuaron/Pan’s Labyrinth Guillermo Del Toro.

5: The Hills Have Eyes (US) Alexandre Aja

4: The Departed (US) Martin Scorsese

3: Apocalypto (US/Mexico) Mel Gibson

2: Borat (US/UK) Larry Charles

1: Casino Royale (US/UK/Czech/Germany) Martin Campbell

2007

10: Black Snake Moan (US) Craig Brewer

9: Sweeny Todd (US/UK) Tim Burton

8: Grindhouse (US) Robert Rodriguez/Quentin Tarantino

7: Angel-A (France) Luc Besson

6: 30 Days Of Night (US) David Slade

5: Paranormal Activity (US) Oren Peli

4: 28 Weeks Later (UK/Spain) Juan Carlos Fresnadillo

3: The Mist (US) Frank Darabont

2: Enchanted (US) Kevin Lima

1: Rec (Spain) Jaume Balaguero/Paco Plaza

2008

10: Johnny Mad Dog (France/Liberia) Jean-Stephane Sauvaire

9: Pontypool (Canada) Bruce McDonald

8: Cloverfield (US) Matt Reeves

7: Rambo (US/Thailand) Sylvester Stallone

6: Ip Man (HK) Wilson Yip

5: Let The Right One In (Sweden) Tomas Alfredson

4: Departures (Japan) Yojiro Takita

3: Martyrs (France) Pascal Laugier

2: The Dark Knight (US/UK) Christopher Nolan

1: Love Exposure (Japan) Sion Sono

2009

10: Dead Snow (Norway) Tommy Wirkola

9: The Princess And The Frog (US) Disney

8: Micmacs (France) Jean Pierre Jeunet

7: Jennifer’s Body (US) Karyn Kusama

6: Antichrist (Denmark/France/Germany/Italy/Poland/Sweden) Lars Von Trier

5: Trick R Treat (US/Canada) Michael Dougherty

4: Triangle (UK/OZ) Christopher Smith

3: Inglourious Basterds (US/Germany) Quentin Tarantino

2: Drag Me To Hell (US) Sam Raimi

1: Orphan (US/Canada/Germany/France) Jaume Collet Serra

2010

11. Inception

10. Kick-ass

9. The Expendables

8. Kaboom!

7. Tangled

6. Ip Man 2

5. The Last Exorcism

4. Bedevilled

3. Stake Land

2. Paranormal Activity 2

  1. I Saw The Devil

Enjoy!