This is a Meme that has been doing the movie blog rounds. Okay, it’s supposed to be drawn out over 31 days but, partially because I don’t have the time and partially because I’m like a kid on Christmas morning who wants to open all his presents right now, I’m going to do this in one swoop. Join in!

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DAY 1: A SEQUEL THAT SHOULDN’T HAVE BEEN MADE

Saw II.

That, and every subsequent Saw movie. The first one was clever, chilling and well executed. The rest have been a steady plopping of tedious, repetitive turds.

DAY 2: A MOVIE MORE PEOPLE SHOULD SEE

The Corporation.

Everyone should see it. A documentary scarier than any horror movie.

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DAY 3: FAVOURITE OSCAR-NOMINATED MOVIE FROM THE MOST RECENT BALLOT

Up in the Air.

One of the best movies of the year.

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DAY 4: A MOVIE THAT MAKES YOU LAUGH EVERY TIME

Withnail and I.

“We’ve gone on holiday by mistake.”

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DAY 5: A MOVIE THAT YOU LOATHE

Van Helsing.

A travesty. Stephen Sommers manages to piss on every classic Universal monster in one movie. Not even Kate Beckinsale in tight leather can save this abomination.

DAY 6: A MOVIE THAT MAKES YOU CRY EVERY TIME

V For Vendetta.

Valerie’s story, written for Natalie Portman to find in her cell, gets me every time.

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DAY 7: LEAST FAVOURITE MOVIE BY A FAVOURITE ACTOR

America’s Sweethearts.

What was John Cusack thinking?

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DAY 8: A MOVIE THAT SHOULD BE REQUIRED HIGH SCHOOL VIEWING

Battle Royale.

This is what we have in mind for you, you little bastards.

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DAY 9: BEST SCENE EVER

Raiders of the Lost Ark.

😛 The opening scene. Spiders, Golden idol, rolling boulder, Alfred Molina and Spielberg doing what he does best.


DAY 10: A MOVIE YOU NEVER EXPECTED TO LIKE BUT LOVED

Sherlock Holmes. I’m a big Sherlock Holmes fan so I was sceptical about Downey Jr. (who looks nothing like the character) and Guy Ritchie (who hadn’t made a movie I liked until this) doing a decent job of this. Kudos to them for making it work and capturing the spirit of stories.

DAY 11: A MOVIE THAT DISAPPOINTED YOU

The Expendables.

Big disappointment, and I wasn’t even expecting that much. Jeez.

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DAY 12: BEST SOUNDTRACK/BACKGROUND MUSIC IN A SCENE

Kick-Ass.

The Banana Splits theme (Tra La La song) playing while 10 year-old Hit Girl slices up a roomful of bad guys. Laughed my ass off!

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DAY 13: FAVOURITE ANIMATED MOVIE

Ratatouille.

I never imagined a story about a rat who loves cooking could be so utterly enjoyable.

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DAY 14: FAVOURITE FILM IN BLACK AND WHITE

Goodnight and Good Luck.

Clooney’s second movie looked to the past to comment on the present. Brilliant.

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DAY 15: BEST MUSICAL

Once.

Not sure if it really qualifies as a musical or not. But I loved it.

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DAY 16: YOUR GUILTY PLEASURE MOVIE

Charlie’s Angels.

Shut up.

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DAY 17: FAVOURITE SERIES OF RELATED MOVIES

The Bourne trilogy.

The only franchise that gets better with each movie.

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DAY 18: FAVOURITE TITLE SEQUENCE

Se7en.

See my last post for more details.

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DAY 19: BEST MOVIE CAST

Wonder Boys.

Michael Douglas, Robert Downey Jr. and Frances McDormand for a start. Yum.

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DAY 20: FAVOURITE KISS

Spider-man.

The upside-down kiss in the rain. Makes me want to pull on my tight spandex.

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DAY 21: FAVOURITE ROMANTIC COUPLE

The Fisher King.

Robin Williams and Amanda Plummer. Awwww.

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DAY 22: FAVOURITE FINAL SCENE/LINE

The Godfather: Part III.

Michael Corleone dies alone and tortured by the life he royally screwed up.

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DAY 23: BEST EXPLOSION/ACTION SEQUENCE

The Matrix.

The lobby shoot-out scene, which probably would have been three minutes shorter in normal speed.

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DAY 24: QUOTE YOU USE MOST OFTEN

The Big Lebowski.

“Lotta strands in ol’ duder’s head.”

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DAY 25: A MOVIE YOU PLAN ON WATCHING

Inception.

Still haven’t seen it and it’s getting harder and harder to avoid the spoilers.

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DAY 26: FREAKISHLY WEIRD MOVIE ENDING

Memento.

The ending is at the beginning. But…but…but….

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DAY 27: BEST VILLAIN

The Joker.

Heath Ledger nails the iconic character.  And, no, it’s not a sympathy vote.

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DAY 28: MOST OVER-HYPED MOVIE

Avatar.

Dances with Pixels. In 3D. Yay.

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DAY 29: MOVIE YOU HAVE WATCHED MORE THAN TEN TIMES

Jaws.

Never gets boring. Never. Not ever. And never will. Amen.

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DAY 30: SADDEST DEATH SCENE

Million Dollar Baby.

So utterly, uncompromisingly sad that even Clint Eastwood cries. I don’t stand a chance.

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DAY 31: SCENE THAT MADE YOU STAND UP AND CHEER

The Contender.

Joan Allen’s courageous Senator Hanson finally sticks it to Republican puritan Shelley Runyon (Gary Oldman) and becomes Vice President. Yay!


They say the best movie soundtracks are the ones that you don’t notice are there. They feature music that enhances a film but never tries to compete for your attention. That’s all well and good, but personally I like the soundtracks that do both; the music that you find yourself humming later on and then buy because it is good enough to survive on its own.

I’ve been listening to soundtracks for as long as I’ve been watching movies, and that’s a long time. Sometimes I’ll listen because the music is excellent in its own right, sometimes because it’s just great music to daydream to, and sometimes because a particular score is the perfect inspiration for the writing of a screenplay. I once wrote an entire script around the music to a single scene in Aliens. Thanks for that, Mr James Horner.

Selecting a paltry five soundtracks from the plethora I admire was no easy task but eventually, after much hand-wringing and begging for forgiveness from the aforementioned James Horner, I settled on my Top Five. These are the soundtracks which I believe best represent the art in all its forms; as beautiful music in its own right, as the perfect enhancement to the story and visuals, and as examples of craftsmen at the top of their game.

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Alien – Jerry Goldsmith

1979

Long considered one of the most successful and enduring movie composers of all time, Jerry Goldsmith has been around since the Fifties and continues to work sporadically today. The story of his music for Ridley Scott’s Alien is one of disagreements and disappointments, but there is no denying the beauty of his work for the classic Sci-Fi/Horror movie. Hired by Scott at the ‘suggestion’ of 20th Century Fox, Goldsmith and the director clearly had differing ideas about how the movie should be scored. As a result, much of the music Goldsmith wrote was omitted from the final cut of Alien. The romantic, sweeping and eerie theme originally written was rejected by Scott and replaced by the composer’s second effort; a simple series of unnerving sounds which, it must be said, are extremely effective. Scott also chose to use a pre-existing piece of classical music for the end credits, further alienating Goldsmith. The original score is available in its entirety, but what remains within the film is deeply unsettling, beautiful and dark. Elements of his original opening theme survive in scenes where the Nostromo lands and takes off, making the process of landing a spaceship seem like an adventure in itself. And, taking the title of the movie to heart, Goldsmith creates ugly, unnatural sounds whenever the creature appears. Don’t ask me what they are, I prefer not knowing.

See also: Chinatown, Star Trek: The Motion Picture and The Omen.

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Edward Scissorhands – Danny Elfman

1990

The fourth collaboration between composer Elfman and director Tim Burton, Edward Scissorhands remains one of the most influential scores of the last twenty years. Elfman began his career in film by scoring his older brother Richard’s movie, Forbidden Zone, and soon after began his creative relationship with Burton working on Pee-Wee’s Big Adventure. Utilising a 79 piece orchestra and a choir, the music for Edward Scissorhands is rich, dreamlike and perfectly encapsulates the bittersweet themes of Burton’s most personal film to date. In addition, Elfman creates a hilarious tick-tock theme for the bland suburbia into which Edward appears, and a signature bombastic march which touches on the near insanity of the inventor (Vincent Price) and his bizarre machines. Elfman and Burton represent a perfect understanding between director and composer, and even if Burton’s work isn’t always accomplished, Elfman’s usually is. They say that imitation is the highest form of flattery, and it is a measure of this soundtrack’s success that its music-box chimes and soulful choral voices have become the signature sound for fairy tales and Chanel advertisements ever since. It has even been adapted into a ballet.

See also: Midnight Run, Batman Returns and Big Fish.

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The Fog – John Carpenter

1980

John Carpenter has always been a curious rarity as a filmmaker. Not only does he direct and, more often than not, write his movies but he also composes and performs the soundtracks. Not even Spielberg can do that (all praise His name). So, as sole creator of every component, Carpenter’s synth-based scores have always been the perfect accompaniments to the action on the screen. Often using a heartbeat thump as the base, Carpenter’s soundtracks heighten the tension considerably. His most famous is probably Halloween, but my personal favourite has always been The Fog. Carpenter uses very little in enhancing the eerie atmosphere of his coastal ghost story, but every fog horn sound and every light stoke of piano key burrows deep under the skin, priming the viewer for the experience. The thumping sound as the fog rolls into Antonio Bay mimics the pounding on doors, the noise which announces the spectres before they strike. It is one of the greatest horror movie scores of all time, by a composer who fully understands the genre. Carpenter’s band, The Coup De Villes, also provided the somewhat cheesy tunes which play on the radio, or serve as jingles for the KAB Radio station.

See also: Halloween, Escape From New York and Big Trouble in Little China.

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Jaws – John Williams

1975

If you mention Jaws in conversation, one of the first things that will come to mind is the theme tune. Dum dum dum dum, etc and so forth. Effective and iconic as that theme is, it sometimes results in the rest of the soundtrack being overlooked. This is a shame because, beyond the ominous strings which more than compensate for the killer shark’s rather rubbery presence, Jaws enjoys one of the most accomplished scores in cinema history. John Williams has been working in the industry for half a century, and is responsible for some of cinema’s most recognisable theme tunes, including Star Wars and Indiana Jones. Jaws marked Williams’ first collaboration with Spielberg, a collaboration that has now spanned 35 years and 19 movies. By turns haunting, joyous, foreboding and terrifying, Jaws is a master class in writing music to accentuate the moving image. Williams’ strings make the ocean seem filled with dread, he quietly adds atmosphere to Quint’s tale of the USS Indianapolis, and the cheerful sea shanty which accompanies the Orca’s doomed pursuit of the Great White strikes a gloriously upbeat note in the midst of the peril. It was the perfect start to such a successful collaboration.

See also: Raiders of the Lost Ark, Star Wars and Schindler’s List.

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The Mission – Ennio Morricone

1986

The chances are there is at least one Ennio Morricone score that you love, and probably more. Morricone has been producing music for film for over 50 years, across a diverse range of genre and language. He gained wide acclaim for his work with Sergio Leone on the Spaghetti Westerns of the Sixties and managed to write a score for John Carpenter’s The Thing which sounded like a Carpenter score. However, when I hear the name Morricone I immediately think of one movie: The Mission. Roland Joffé’s story of Spanish Jesuit missionaries in 18th century South America, and their struggles with the Spanish and Portuguese colonial governments, was graced with some of the most beautiful music ever composed for film. Morricone mixes classical Baroque orchestra, South American Guaraní instruments, Spanish guitars and haunting choirs to magnificent and often heartbreaking effect. The emotional punch of Morricone’s work even filters down to the simple tune which Father Gabriel (Jeremy Irons) plays on his oboe, a tune later reprised with full orchestra for the track On Earth As It Is In Heaven, which is breathtaking.

See also: The Good, the Bad and the Ugly, The Untouchables and Once Upon a Time in America.

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The Also Rans:  Star Trek II: The Wrath of Khan – James Horner, The Bourne Identity – John Powell, The Assassination of Jesse James by the Coward Robert Ford – Warren Ellis and Nick Cave, Psycho – Bernard Herrmann, Solaris – Cliff Martinez.

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Note: Click on all the images to see them full size.

If you love movies as much as I do, there’s a good chance that you love movie posters too. You probably have them on your walls, use one as your desktop wallpaper, and perhaps even collect movie posters like some people collect Picassos. I have a few myself, and why not? Some movie posters truly are works of art. Or at least, they used to be. Perhaps I’m wrong, perhaps I’ve got another case of that rose-tinted nostalgia-vision, but it seems that the hand-crafted movie poster has become an endangered species.

Growing up in the eighties, I spent my childhood in awe of the great movie poster illustrators, the artists whose work embellished the films I worshipped. I was a budding artist as well as a movie fanatic, and the eighties may have been the heyday of the movie poster artisan. It was, I see now, the perfect time for me to grow up in. Part of the excitement of any new movie, particularly those by the likes of George Lucas and Steven Spielberg, was that first glimpse of the new artwork by Drew Struzan or Richard Amsel. These were artists who created posters upon which their signature was redundant. You knew who had created it simply by the style of the illustrations. They were in a league of their own, and in my opinion will remain so.

Star Wars reinvigorated the movie poster, accentuating the concept of the one sheet as a collectible piece of artwork. That’s not to say movie posters weren’t collectibles before then but, as it did with so many other things, Star Wars set the bar a little higher. The movie poster was suddenly romantic and energetic again, and the best designs for Star Wars ably captured the film’s wonder, sweep and spectacle. The posters were not just promotional tools, but important artistic creations in their own right. Perhaps, the most famous is the image of heroic Luke Skywalker, complete with accentuated physique, holding his lightsaber aloft, with the giant head of Darth Vader in the stars behind him. Known as Style A, this was a poster design interpreted first by Tom Jung (who would create posters for all three of the original Star Wars trilogy) and then by The Brothers Hildebrandt, with dramatically differing styles.

Drew Struzan’s poster for the film, in collaboration with airbrush artist Charles White III, was a nostalgic piece harkening back to the Saturday morning serials upon which the movie was based. It has a torn poster on plywood effect that only came about because the original design had no room for the movie credits. The romantic design ethic continued with The Empire Strikes Back. Roger Kastel illustrated the classic poster for the Star Wars sequel (see below), having previously created the iconic image for Jaws. Again, it is an evocative illustration encompassing a montage of scenes and characters. The fantasy and romance pours from the poster and the colours beautifully reflect those of the movie. Tom Jung also created his own poster for the movie, featuring a striding Darth Vader holding out his hand, a pose reflecting the movie’s famous and oft-quoted line, ‘I am your father’.

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Richard Amstel produced two wonderful illustrations for Raiders of the Lost Ark, having earlier worked on the poster for Flash Gordon (above). The Indiana Jones series, a natural successor to the romantic nostalgia of Star Wars, followed suit in utilising great artists to render promotional materials. Amsel’s work on Raiders still ranks among my favourites of all time (see his alternative version at the top of this page). The beautifully realised image of Harrison Ford lifting out of the sandstone (a mix of watercolour, acrylic, airbrush and coloured pencils) is not only iconic, but sets the tone and setting of the film perfectly. Again, Drew Struzan was given the chance to create his own design for the film, for its 10th anniversary re-release. Sadly, Richard Amsel died in 1985, only thirty-eight years old. Struzan then became the go-to guy for the Indiana Jones movies, as well as many others connected with the Spielberg/Lucas machine, such as the Back to the Future trilogy and the Star Wars prequels.

It would be remiss of me not to mention that there were many great artists working during this period. John Alvin created the famous poster for E.T. the Extra-Terrestrial which portrays the fingers of the alien and Elliot touching. The idea paid homage to Michelangelo’s The Creation of Adam (suggested by Spielberg). Alvin was also responsible for the paws emerging from a box for Gremlins and the original poster for Blade Runner. Bob Peak created the art for each Star Trek movie poster, throughout the eighties. They, and many more like them, are the reason why movie memorabilia from that period is among the most sought after.

These days things are different. The ease and speed at which a poster can be knocked together using Photoshop means beautifully hand-rendered movie posters are a far rarer beast. To the men signing the cheques, it’s far cheaper to hire someone to sew together a couple of head shots or do a photo montage on the computer. I understand it, this is a business after all, but there was something about those old posters that fired the imagination and stoked the sense of wonder as you awaited your first screening of the next celluloid dream. They produced the kind of artwork that cannot be achieved with a mouse and keyboard, any more than an Impressionist masterpiece can be. The industry no longer seems to need the artists the way it once did, and it is always sad when an art form becomes surplus to requirements.

Struzan is still working, however rarely, and still producing immaculately hand-drawn posters. Hellboy was graced with his work along with, naturally, Indiana Jones and the Kingdom of the Crystal Skull. However, the golden age of he and his peers is long gone. At forty, I may grumble about my age, but I will always be grateful to have spent my formative years during the heyday of these unsung artistic giants. And I will always remember how I was just as influenced and inspired by the artistry they used to promote the movies as I was by the movies themselves. Thank you, guys.

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Drew Struzan’s website

A wonderful site dedicated to the work of Richard Amsel

Tom Jung’s page at IMP Awards

John Alvin’s website



As a confirmed movie fanatic, I naturally like to keep up with cinema’s upcoming features. Man, there’s nothing like having a movie to look forward to. So, last night, I went to some of my favourite movie sites to see what will be hitting the screens in 2010. A few treasures and a lot of shit, as it happened. Same old, same old, to be sure. But what really struck me was the sheer quantity of movies heading this way with numbers in the title. More specifically, movies with numbers after the title.

Here’s what I found. I’ve included the sequel number in brackets for those films that think they can dupe us by using a subtitle instead. Fools!

Piranha 3D, Hatchet 2, Cabin Fever 2, The Descent Part 2, Rec 2 & 3, Mirrors 2, Puppet Master: Axis Of Evil (10), Zombieland 2, Saw 7, 30 Days Of Night: Dark Days (2), Blair Witch 3, Cloverfield 2, Silent Hill 2, Friday The 13th Part 2 (technically Part 13), Jeepers Creepers 3, The Strangers 2, Hostel 3, Iron Man 2, Toy Story 3, Sex and the City 2, Shrek Forever After (4), Predators (5), Hairspray 2, Step Up 3D, Nanny McPhee 2, Wall Street: Money Never Sleeps (2), The Howling: Reborn (8), Paranormal Activity 2, Tron Legacy (2), Hoodwinked 2, Free Willy: Escape From Pirates Cove (4), Little Fockers (3).

That’s an awful lot of digits, folks. The winning lottery numbers for this week are probably in there somewhere.

Now, I’m not going to sit here and rage about sequels. Not really. Well, maybe a little bit. I have nothing against sequels as a concept, okay? In fact, a few of those sequels are on my list of movies to see. Of course, the rest of them simply pull a weary sigh from me. I mean, do we really need a thirteenth Friday 13th movie, for fuck’s sake? The truth is, I can’t help but feel a pang when I remember that every single one of those movies represents an original idea that didn’t get made. And that’s sad, isn’t it?

The sequel is hardly a new phenomenon. The first movie sequel goes back to 1916 and Fall of a Nation, the film made to cash in on the success of D.W. Griffith’s Birth of a Nation. And cashing in has usually been the single reason for the existence of the sequel. Although there are those which are presented more as instalments than sequels, such as the James Bond, or Indiana Jones movies, these franchises would never have made it past the first episode if they hadn’t made piles of money.

It’s simple maths for the people holding the purse strings. This made money, so it will make money again, and again, and again. Ba da bing, ba da boom. The problem is that, more often than not, it leads to an increasingly dreadful string of repetitive drivel, which gradually sheds whatever magic made the original such a success in the first place. Steven Spielberg, only too aware how awful the Jaws sequels were, made damn sure that no E.T. sequel was ever, or will ever be made.

There doesn’t even seem to be a time limit on the cash-in philosophy. 46 years elapsed between The Wizard of Oz (1939) and Return to Oz (1985), 25 years between The Hustler (1961) and The Color of Money (1986), and 23 years between Psycho and Psycho II. And then there’s the Disney factor. Not content with making sequels to their own ideas, Disney takes it upon itself to create sequels to movies which were based on classic literature; The Jungle Book II, The Little Mermaid II, 101 Dalmatians II, even The Hunchback of Notre Dame II! One can only imagine that Disney would make The Bible II, if they thought it could get away with it. Perhaps it’s no accident that Spielberg’s worst movie was Hook, an attempt to make a sequel to Peter Pan.

Sequels have a place in our viewing pleasure. Some of my favourite movies are sequels. But while you’re enjoying Iron Man 2, or (if you have no discernment at all) Saw VII, spare a thought for what could have been a great, original, movie made in its place, if only some producer out there had decided to take a risk.

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Five First Sequels That Worked

Aliens

Seven years after Ridley Scott’s original Alien, and fresh from the success of The Terminator, James Cameron decided, for the second time in his career, to make a sequel to someone else’s movie. Fortunately, this time he did a far better job than he had done on Piranha 2: Flying Killers. But let’s be honest, he had slightly better material to work with this time around. Fucking flying piranhas, I ask you.

Cameron’s masterstroke was to take the basis of Alien, which was to all intents and purposes a horror movie, and switch genres to an action movie. Rather than retread the monster-stalks-humans set-up that made Alien so scary, Cameron introduced soldiers, multiplied the monsters, and gave us humans-stalk-monsters-stalk-humans instead. In addition, he took the character of Ripley and, with Sigourney Weaver, evolved her into one of cinema’s most iconic female characters. I defy anyone not to hoot with joy when Ripley marches up to the alien queen in the power loader and barks, ‘Get away from her, you bitch!’ Yay Ripley!

Debate rages over which movie is the better, Alien or Aliens, but since they are such different movies it’s really a moot point. But Aliens is that rare beast, a sequel that can stand on its own as a great movie in its own right.

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The Bourne Supremacy

In 2002, Doug Liman’s The Bourne Identity came out of nowhere and single-handedly managed to revolutionise the espionage movie, leaving the James Bond franchise to play catch-up. Taking the title of Robert Ludlum’s book, a few characters, but little else, The Bourne Identity introduced an amnesiac government agent as far removed from 007 as possible. Where Bond was all swagger, playboy looks and total lack of remorse, Matt Damon’s Jason Bourne (same initials) was a dressed down blank page who could blend into a crowd, and felt shame and guilt as he came to realise who he was. The movie was a hit and we wanted more.

Liman, disinterested in making a sequel, stayed on as producer and handed the reins to British director, and one-time documentary maker, Paul Greengrass. The Bourne Supremacy surpassed its progenitor in every way, emerging as far more than simply a rerun of the same story. Ruthlessly killing off a major character in the first 10 minutes, introducing the excellent Joan Allen as CIA Deputy Director Pamela Landy into the mix, and culminating in one of the best car chase sequences put on film, The Bourne Supremacy is a thrilling piece of cinema which never forgets it has a heart. Greengrass uses handheld cinematography expertly, putting us right in the middle of events, and Matt Damon anchors the movie with very human hero. It’s a credit to all concerned that the franchise ended on such a high note, with the equally accomplished The Bourne Ultimatum. Talk of a fourth instalment persists but it’s hard to see where it could go, The Bourne Ultimatum ending as perfectly as it did.

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The Empire Strikes Back

1980, and Star Wars 2 (or 5, whatever) is due for release. We were excited, but apprehensive. There was no way Star Wars could be bettered, right? The movie had been a phenomenon, had launched a thousand space ships. How could you top that?

Well, if you’re George Lucas, you simply step back and let someone else do the hard work. Having written and directed Star Wars, Lucas came up with the story, handed over scriptwriting duties to Leigh Brackett and (in the wake of Brackett’s death) Lawrence Kasdan, and gave the helm to veteran Director Irvin Kershner. As a result, The Empire Strikes Back is the most mature and accomplished movie of the series. For all his ideas and creativity, George Lucas simply cannot write dialogue. So why he didn’t repeat this method for his recent prequels is a mystery, especially since the dialogue is one of the latter trilogy’s greatest weaknesses. In the words of Harrison Ford, ‘You can write this shit, George, but you sure can’t say it’.

However, there is no such weakness in The Empire Strikes Back. And this is the film that gave us Yoda, Boba Fett, our first glance of the Emperor, and the immortal line, ‘I am your father’. And the AT-AT walkers are super cool.

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The Godfather Part II

The success of The Godfather in 1972 practically guaranteed a sequel. Ka-ching! However, Francis Ford Coppola and Mario Puzo clearly took the task seriously, and rather than churn out a rerun of the original, they built upon it. What they delivered was a rich, layered epic, which contrasted Michael Corleone’s rise as Don of the family with his father’s rise, a generation earlier. Taking unused parts of the original novel, together with new material weaved around historical events in Cuba, The Godfather Part II is a masterpiece. Al Pacino and Robert De Niro are mesmerising, and carry their respective stories completely. Every bit the celebration of the Italian American family, and ruthless deconstruction of the American dream, as the original, The Godfather Part II is required viewing for any student of the cinematic arts.

The much maligned Godfather Part III followed 16 years later and, while not as good as the previous two films, is certainly a lot better than its reputation suggests.

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Star Trek II: The Wrath of Khan

In the wake of the success of Star Wars, and with a huge following built up from re-runs of the TV show, Star Trek finally returned in 1979 with The Motion Picture. It received a critically lukewarm response because, while it carried the series’ themes of exploration and discovery, it had none of the humour and fun of the original show. As a result, series creator Gene Roddenberry was ousted from production of the follow-up, and Nicholas Meyer was brought on board to finish the script and direct.

Star Trek II: The Wrath of Khan was not only a sequel to the first movie, but a sequel to one of the original episodes, Space Seed. Ricardo Montalban returned as the deliciously hammy superhuman, Khan, seeking revenge on Admiral Kirk. Exploration was abandoned in preference to military engagement, which made for a far more exciting picture, and the chemistry between the lead characters was restored. To top it all off, a major character death at the end, although he was revived in the subsequent sequel, still stands as one of the most moving scenes in any of the Trek movies to date. With J.J. Abrams rebooted Star Trek movie counting as number 11 in the series, it still never got better than this.

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And Five That Really Didn’t

Blues Brothers 2000

Why, oh why, oh why? The Blues Brothers was one of the greatest comedies of all time, successfully mixing music, action and laughs in a way that few others have ever managed. Its success hinged on many things, but one of the most important aspects was the presence of John Belushi. His death in 1982, two years after the release of The Blues Brothers, should have ruled out any thoughts of a sequel. It would be like making a sequel to Lethal Weapon without Mel Gibson. Worse, in fact. It just couldn’t work, right?

Right. It couldn’t and it didn’t. Writer Dan Aykroyd and director John Landis, unable to replace John Belushi with his brother, James, due to scheduling conflicts, decided to introduce a new character, played by John Goodman. It doesn’t work. There’s a convoluted plot involving a third ‘brother’, the Russian mafia and a new ‘mission from God’. Which doesn’t work. Most of the actors from the first film return. But it is all very desperate stuff, with none of the charm, wit, pace or fun of the original. Simply put, it doesn’t work. And the introduction of a precocious child into the mix doesn’t do it any favours either. Get him out of here! He’s annoying me!

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Jaws 2

According to Richard Dreyfuss in the untouchable Jaws, the great white shark ‘swims and eats and makes little sharks, and that’s all it does’. Well, according to Jaws 2, and the increasingly ludicrous series of sequels that followed, they also come looking for their mates, they hold grudges, and they manage to identify and hunt down family and friends of the people who kill their kids. Rubbish! Boo!

Director Jeannot Szwarc, who is no Spielberg, does the best he can with a lame script, which includes a laughable scene where the shark manages to drag a helicopter under the water, but Jaws 2 is severely lacking the chemistry between characters that so drove the original. With a very similar storyline, only with added annoying teenagers and no Dreyfuss or Robert Shaw, Jaws 2 is basically Jaws without any of the magic of Jaws. It leaves you with a montage of fat people in 70s bathing costumes and a crap looking shark. Funny how you can forgive those things when you watch the original.

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The Matrix Reloaded

When The Matrix arrived, in 1999, it was one of the most fresh and original science fiction movies for years. Like all good sci-fi it had brilliant ideas, which were well executed, and it stirred the brain cells as well as the adrenaline. Then The Matrix Reloaded arrived and the franchise promptly disappeared up its own asshole. And then some. If there was one thing the original suffered from, and apart from Keanu Reeves this was the only complaint, it was an overblown pomposity and a complete lack of humour. Reloaded took that malaise to the nth degree and crafted a triumph of plodding self-importance.

For all its grandeur, The Matrix Reloaded is ultimately a tedious exercise in style over content. Show without the tell. Everyone looks very swish in their long coats and cool sunglasses, but someone forgot to include a coherent plot. By the time the old guy in the white hat turns up to ‘explain’ what’s going on, you just want to put Star Wars on. Matrix Revolutions followed, and was a better stab at continuation, but when you look back at the ending of the original, what else was really needed?

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Ocean’s Twelve

Ocean’s Eleven, a remake of the 1960 Rat Pack movie of the same name, was a star-studded piece of entertaining fluff. It didn’t take itself too seriously, had a great chemistry between the big names onscreen, and remembered to allow the audience to have as much fun watching it as the cast clearly had making it. It was better than the Frank Sinatra original because it avoided the smug, self-indulgence which made that movie simply an exercise in Ol’ Blue Eyes and his mates having a lark.

However, the follow-up, Ocean’s Twelve, somehow manages to repeat the mistake of Sinatra’s movie, leaving us feeling as if we’ve been invited to someone else’s party, and no-one wants to talk to us. It’s like watching Clooney, Pitt, Damon, Roberts and their pals go to Europe for a holiday and send us their snaps. They all have as much fun working together as they did in the first film, but somehow they forget to include us. The story ambles, pretty much going nowhere, with none of the tension that the heist scenes of the original delivered, and the movie ends coming across as cynical, self-satisfied and inaccessible. Ocean’s Thirteen was an improvement, but the spark from the first outing never really returned.

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Speed 2: Cruise Control

Who would have thought that the absence of Keanu Reeves from a movie would be a bad thing? That’s how dreadful Speed 2: Cruise Control is.

There have been some sequels that were never intended as sequels at all, they were merely original scripts reworked as sequels. The ultimate cash-in. Speed 2 comes across as one of those movies. Without the lead character from the excellent Speed, played with wooden abandon by Keanu Reeves, Speed 2 simply has Sandra Bullock’s returning character Annie hitched up with someone else, Jason Patric’s cop. She looks hot, he looks hot, they go on holiday together on a big ship which is taken over by Willem Dafoe (who may or may not look hot) and the big ship goes really fast. That’s about it.

Bullock runs around doing very little, but makes a few referential jokes, to remind you this is a sequel. Poor Jason Patric, who is better than this tripe, is saddled with a dullard of an action role, which could have been filled by just about anyone, even Keanu Reeves. And everyone gets wet in thin clothes, making them all look a bit hotter. Speed 3 never arrived. Can’t imagine why.

I love movies. I love them. I’ve always loved them and I always will. I love watching them, I love writing them and I love collecting them. To me, there is no other medium like it. I enjoy music, I enjoy books, but it is in cinema that I find the true spark of passion and joy that can only come from knowing you are where you belong, you are in a place where everyone speaks your language. It’s in the shiver that runs down my spine when the camera slowly moves toward Harrison Ford’s face, as he studies the golden idol he is about to steal in Raiders of the Lost Ark. It’s in the way my heart breaks when Al Pacino opens his mouth and lets a lifetime of regret emerge as an animal howl at the end of The Godfather III. It’s Morgan Freeman’s eyes in Seven, the Orca sailing out to sea through the teeth of a shark in Jaws, or John Hurt starting to cough during dinner in Alien. It’s two hours in another world. It’s magic.

It started with my father. And, no doubt, some genetic predisposition, since my brother did not develop the same passion. From an early age, dad passed to me this love of cinema. I would sit and watch countless movies with him, while he would explain to me why certain shots were set up a certain way. How, for example, Hitchcock would often frame his characters claustrophobically, using stair banisters to simulate bars and signify their entrapment. Through years of viewing, I began to understand the language of cinema, recognising the style of certain directors, the signatures that appeared in their work. I would smile when Spielberg used a shadow because I could name all the other times he had done it. I recognised the way John Carpenter took the basic premise of his favourite movie, Rio Bravo, and made a series of brilliant horror movies from it. I saw the symbolism of oranges in the Godfather movies. No, honestly. Oranges. Oranges signify death. Watch all three movies again and you’ll see.

I’ve accumulated a vast wealth of, let’s face it, potentially useless movie knowledge. I mean, who cares if Scorsese slowed the frame rate of a certain zoom on Robert De Niro in Goodfellas, just ever so slightly, because it made him appear more menacing? Who cares that Hitchcock made Psycho in black and white because he didn’t have enough of a budget to make it in colour? I care. Because this is my passion.

I’m old enough to remember a time when movies were almost a once only experience. It was either a trip to the cinema or catch them on television, three years later. So, I look back very fondly at the early eighties, and the advent of home video. The sense of wonder I felt at the fact that it was now possible to own a movie, in a box with a cover, was absolutely overwhelming. The local video rental store became a holy place for me; thirteen years old and staring, wide-eyed, at the store walls, lined with movies. In boxes, with covers! I could choose one of those movies, take it home and watch it whenever I felt like it. It was incredible. And what a choice! At the cinema it was a choice of three. Here, I had a choice of hundreds. My appetite increased in direct proportion to the nourishment available.

Of course, when I try to convey that sense of awe to my son, himself now thirteen, I’m met with the same kind of amused condescension I used to give my dad when he told me how cool his Davy Crockett hat was when he was thirteen. The wheels keep turning.

Movies have been the one constant in my life. While other loves have come and gone, my love for film has remained, concrete and undiminished. This, I’m afraid, is carried through to my love of movie memorabilia. I’m not an insane collector. I can’t afford to be, but I do have my own little movie shrine set above the fire in my lounge. And on the walls. And a few other places. They say that men never truly put away their toys, they just move up to more expensive ones. For some it’s cars or bikes, for some it’s sports, and for some it’s hi-tech gadgets. For me, it’s movie memorabilia. Posters, books, and yes, toys. You can call them that, if you must. I mean, I don’t run around playing with them. They just sit there, which to my mind puts them under the category of ‘ornaments’, right?

Yeah, that’s what I thought.

I always had aspirations towards working in the movie industry. As a child, I vacillated between all manner of the more whimsical ambitions. Actor, stuntman, special effects, storyboard artist. Each month I moved onto a new career path. In my early thirties, I took the more pragmatic step of running my own video rental store. I hoped I could recapture the magic of those places from my childhood, but by that time the rental industry had become commonplace, corporate and regimented. The magic had gone. I was just a faceless guy in a T-shirt, handing out video cases to an undemanding public.

So, finally, I sat down one night and decided to start writing a movie. I don’t know why it had never occurred to me before, and I couldn’t tell you why I decided, on that particular night, to start. Something in my head just clicked. A few months later, I had my first completed screenplay, Dark Road. I immediately started another, and shortly after that, Dark Road was optioned. The option was dropped a few years later, but my fourth screenplay, Debunking Dad, won the BAFTA/Rocliffe New Writers Forum in 2008. There have been successes and failures, and the ultimate success has not yet been reached, but I’m confident I will get there.

Who knows? Maybe one day, a scene from one of my movies will give someone a shiver down their spine. Maybe one day, something I wrote will inspire someone else to do the same. And maybe, just maybe, there’ll be magic. And toys.

Sorry, I mean ornaments.