Tag Archives: Battle Royale

Best films on TV – week commencing 25th March 2013

Here is my selection of the best films showing on UK free-to-air television this week. Yes, these are the ‘best’ ones in my opinion, not some kind of universal truth. Tweet me about how wrong I am if you like but I’m hardly going to change my mind!

The Battle Royale of 'Battle Royales'Monday 25th March – The Godfather: Part II  (Film4, 9pm)

You watched The Godfather on Sunday at 9 right? We did tell you in last week’s article before you start claiming ignorance. Just like 24 hours earlier, it’s an unusual day when this film isn’t the best film on TV. Pacino is outstanding, the story is phenomenal, it’s a classic of cinema. I don’t really need to say anything else. You will be up to nigh on 1am though, which isn’t great if like me you are boring and like to get 8 hours a night, every night.

Tuesday 26th March – Spirited Away (Film4, 6.30pm)

Today marks the start of Film4’s Studio Ghibli season, which everyone should be taking advantage of. Like a Japanese Pixar/Disney, Studio Ghibli is a byword for top-notch animation. Spirited Away found fame in the West by winning the Best Animated Film Oscar in 2003 and, slightly more prestigiously, being recognised as one of the year’s best films by yours truly on a site not a million miles from here. The film tells the story of a young girl who, on the way to moving to a new house, finds herself in a magical spirit world trying to save her parents who have been turned into pigs (happens to me all the time). It encapsulates childhood, fantasy and the sense of magical wonder we all unfortunately seem to lose when we hit puberty; frankly, if you don’t like this film you and I are probably not going to get on. A masterpiece.

Wednesday 27th March – Copycat (More4, 10pm)

On a truly magnificent day for films, I’m avoiding the two obvious choices quite simply because otherwise this will look like a Film4-sponsored piece). Nonetheless, an evening of Princess Mononoke (6.05pm) followed by The Lord Of The Rings: The Fellowship Of The Ring (9pm) might be bum-numbing but it sounds bloody fantastic to me. Assuming people have lives, though, set those to record and watch Copycat, the 1995 tale of Sigourney Weaver’s agorophobic criminal psychologist trying to catch a serial killer who seems to be a fan of a whole bunch of other serial killers. It’s not as good as The Silence of the Lambs or Se7en, films it clearly draws heavily upon, but if you like either of those you will find a lot to enjoy here. Sigourney reckons this is the performance she’s most proud of, which should be enough to sell it to you, and it’s a shame this got lost amongst a deluge of serial killer thrillers in this period.

Thursday 28th March – Doubt (BBC4, 10pm)

Yes, the 2nd LOTR film is on tonight. Watch that if you haven’t seen it already. I think pretty much everyone who wants to has, though, which makes Doubt today’s best film. Quite simply, if you like good acting, you will like this film. Meryl Streep and Philip Seymour Hoffman do battle in mesmerising fashion, supported by an astonishing Amy Adams (who showed the world she should be taken seriously with this performance) and future Oscar nominee Viola Davis. In fact, all four got Oscar nods – PSH for best supporting actor, Streep for best leading actress and Adams and Davis competing for the supporting actress gong – along with writer/director John Patrick Shanley for best adapted screenplay. Unfortunately, it just wasn’t to be – a combination of Heath Ledger, Slumdog Millionaire, Kate Winslet and, most bizarrely, Penelope Cruz (in forgettable Woody Allen Spaniard vehicle Vicky Cristina Barcelona) denying this excellent film success.

Friday 29th March – Battle Royale (Film4, 12:55am)

I don’t care what anyone says, The Hunger Games is a poor man’s Battle Royale. And I liked The Hunger Games quite a lot. Which means, beloved reader, Battle Royale is bloody outstanding. It’s as shocking today as it was on release (which I’ve written about previously) yet despite the copious amounts of gore, communicates a deeper message. Like the best of all art, it tells us something about society as well as entertaining. ‘Like Tarantino, but they’re Japanese’ as a mate once said.

Saturday 30th March – My Neighbour Totoro (Film4, 4:55pm)

Possibly the animated film that has filled me with joy more than any other (and I really do like animated films), My Neighbour Totoro is Studio Ghibli at its finest. Of course, you’ll have already watched Spirited Away on Tuesday so by now you will have an idea of the sheer magic that is a Hayao Miyazaki film. This 1988 masterpiece tells the story of two young girls who discover that the woods around their new home are inhabited by magical creatures. All I can say is that on its initial release in Japan this was only available as a double-bill with Grave of the Fireflies, which sounds like the most perfect combination imaginable if one wanted to represent all the aspects of childhood on screen. Watch it. Love it. Worship it. Rave about it to all your friends and family. Wish you had a real Totoro as a constant companion. Remember how bloody amazing being a kid was. Yes, it really is that good.

Honourable mention today for The Secret in their Eyes (BBC4, 9.50pm), the quite brilliant Argentinian film that took home Best Foreign Language Oscar 2010 and currently sits ahead of Rocky, The Exorcist and others at #155 on the IMDB 250 [in fact, it’s rated 8.1 – the same as Mary and Max which we discussed on a recent podcast]. Totoro followed by this would make an excellent evening’s viewing, most certainly.

Sunday 31st March – The Girl Who Played With Fire (Film4, 11pm)

On an Easter Sunday packed with cinematic choice, this was a hard one. There’s such a feast of films, you could go for a theme. Family films or Westerns for instance. The Goonies or True Grit (the original) might occupy your afternoon from 1.30 and 1:45pm respectively. Then you could move on to Arrietty (5.15pm) or the best Western ever Wild Wild West (5.55pm). That last one was a joke before you start tweeting me.

This Scandinavian powerhouse of a film is rather good though. There may or may not be an American remake but proper cinema fans will want to see the (superior) Swedish trilogy, with the excellent Noomi Rapace as Lisbeth. Violent, thrilling and with a powerful storyline – what’s not to like? 

A Decade In Film: The Noughties – 2000

The first in a new series of articles where  Failed Critics contributors look back on a particular decade in the world of cinema, choose their favoruite films from each year of that decade, and give us a little insight into the legacy those years have left us.

As this is Gerry’s (from the Failed Critics podcasts) own idea, he’s nabbed the noughties. Today he counts down his favourite films from 2000.

5. Meet the Parents

A remake of an independent film from 1992 and essentially little more than a comedy about families, Meet the Parents is somehow greater than the sum of its parts. Ben Stiller is his usual self and brings some good laughs, but it’s Robert De Niro who is the real star here with a wonderful comedic performance. It hasn’t aged as well perhaps as the likes of American Pie and Zoolander but these are situations we can all empathise with and it is this universality that makes it so consistently funny.

It’s more slapstick and slightly less gross-out than the other comedies of that era, making it more of a family-friendly and arguably complete film than most of its ilk. The sequels which followed it never quite reached these heights but it’s always worth a watch and at the very least helped inspire American Dad, Family Guy’s sister show.

4. Battle Royale

Brutal, violent and shocking, Battle Royale somehow manages to be genuinely thought-provoking despite its subject matter. Now a cult classic, it tells the tale of a class of high-schoolers who are forced to battle it out to the death on a remote island by their sadistic teacher, the iconic Takeshi Kitano.

The obvious inspiration for The Hunger Games, the film and the novel it was adapted from sparked massive controversies both in Japan and worldwide, with the Japanese Parliament trying to ban both. They succeeded only in generating more interest and the film has become one of the most successful in Japanese cinema history. Tarantino counts it as the only of the films released since the beginning of his career that he wishes he had made, and there is certainly a Tarantino-esque flair for combining violence with social commentary.

The Hunger Games made a big splash this year and James talked about this genre here. In my opinion this is basically a far superior original that was copied and made for Western consumption by Suzanne Collins 9 years after the Japanese novel’s release (Collins denies copying Battle Royale, for the record). If you’ve seen the Hunger Games and not this, go and rectify this immediately. Harrowing but brilliant, Battle Royale is that rarest of things – a violent action thriller with a deeper message that’s well communicated.

3. Snatch

Building on the success of Lock, Stock, and Two Smoking Barrels, Guy Ritchie’s frantic cockney gangster film managed to combine comedy and brutal violence so perfectly that he practically spawned a new sub-genre. The cast is large and features the likes of Brad Pitt as an Irish-gypsy boxer and everyone’s favourite platform diver Jason Statham (seriously, look it up – he doesn’t just bang hot models you know) among many others. Ritchie’s supreme ability to manage such a large cast and juggle so many sub-plots is what makes the film so outstanding – all the characters end up being well developed and the world created is utterly believable.

Visually, the film is also great – fast paced, brilliantly edited and with an almost constantly moving camera. Whilst the film is very similar to its predecessor, the characters are brilliant enough to distinguish themselves, even if some of the actors are the same. With a whipping 163 usages of the F-word, Snatch’s dialogue could have been crude and boring; instead, it is consistently funny and created a cult following whose only downside is that your mate always quotes the film to you in certain situations. Must-see viewing for all Brits and surprisingly successful across the pond, this film helped put British cinema back on the map. Takings of £12m+ domestically and $30m+ in the US, from a £3m budget, certainly helped make our filmmakers an attractive proposition for studios.

2. Memento

Christopher Nolan’s mind-boggling thriller was made for just $5,000,000 and was only his second feature-length outing. Having garnered a lot of critical acclaim following its premiere at the Venice Film Festival, the film was a major success around Europe when it was released towards the end of the year; however the project struggled to find a US distributor initially and was passed up by the likes of Harvey Weinstein at Miramax. Once the film found a distributor and made its way onto US screens in March 2001, eventually grossing $25,000,000, Weinstein and his pals realised their mistake. Nolan hasn’t struggled for work since and went on to make some brilliant blockbusters.

The plot is complex, as Guy Pearce’s Leonard tries to overcome his amnesia and discover who murdered his wife. Running two strands of the storyline parallel to each other, with one moving in normal chronological order and the other in reverse, was a brave decision which put off the likes of Weinstein. It paid off massively. Memento was a breath of fresh air and managed to find the right balance of complexity, thoughtfulness and thrills.

I’m quite a fan of Nolan, as most of the world seems to be now, but I still think this is one of his finest films. I probably even prefer it to Batman Begins, and as you know I’m a big Batman fan. Accomplished, compelling and innovative, Memento launched the career of one of the biggest figures in the industry today with very good reason.

1. Gladiator

If one film dominated the box office in 2000, it was Ridley Scott’s swords and sandals epic. Russell Crowe is iconic as Maximus, Joaquin Phoenix is brilliantly sinister and scheming as Commodus, and Connie Nielsen is captivating as his sister Lucilla. It’s the casting outside of the three main protagonists where I think Gladiator really excels though – Oliver Reed famously died during filming and some scenes were added using CGI, but he’s absolutely fantastic throughout; Marcus Aurelius is played convincingly by Richard Harris; Djimon Hounsou launched his career off the back of his turn as Juba, Maximus’ companion in the arena. The characters have become so recognisable thanks to the excellent performances of all the cast.

That said, this was not an easy shoot by all accounts. Harris, at 70, could not be bothered to learn new lines when re-writes were made, although he reportedly became good friends with Crowe. Reed, on the other hand, is purported to have offered Crowe out at one stage having taken an instant dislike to the gruff Australian. Similarly, Crowe emulated Harrison Ford in clashing frequently with director Scott and the writers, and criticising the dialogue (as James mentioned on a recent podcast). The schedule was punishing and shoots went on so long that the film was altered significantly by the long days: the blurring in the opening battle sequence was necessitated by the light running out and everyone being too tired to come back again the next day, while the usage of CGI to replace Reed was preferred to going back and shooting scenes again by the now exhausted crew.

Despite all these difficulties, Gladiator is a cinematic triumph. Shying away from the clichés of the genre such as the Emperor languishing in a chair being fed grapes, Scott nevertheless builds on classic elements from films such as Ben Hur and gives them a vibrancy and reality that those productions never achieved. This Rome feels real, gritty, crawling with corruption, greed and malice. The North African setting looks dusty, hot and uncomfortable, the sets look lived-in rather than freshly constructed. The battle scenes are amongst the best I have ever seen and have set a benchmark, in my view, for all that has followed. We’ve probably all seen it, we all know it won 5 Oscars and it’s one of the most quoted and spoofed films in recent history, but we can’t forget just how great Gladiator is. Undoubtedly the best film of 2000.

Honourable mentions:

American Psycho
Amores Perros
Billy Elliot
Crouching Tiger, Hidden Dragon
Road Trip