Snake Plissken
Possibly the best anti-hero of all time is Kurt Russell's depiction of Snake Plissken in John Carpenters 1981 classic Escape From New York. He is a cigarette smoking, alcohol drinking rebel and only does the things here to serve entirely his own ends. An ex-convict, Plissken shows nothing but contempt for the Government and the scumbags he is sent to infiltrate. He is a true lone wolf. An effective bad-ass throwback to the Westerns of John Ford. It is his simplicity that makes him so effective.
'Mad' Max Rockatansky
We have to get through most of Mad Max, before we truly get to see what an anti-hero the man has become. It is only after losing his wife and child to psychopathic bikers that he is free to throw himself into the murky, questionable and downright despicable ways and means to apprehend the men responsible. Mad Max 2 explored the character even better, with the basis that the apocalypse has destroyed all humanity in men. This is exemplified best in Max. He might do the right thing, but only if it suits him and if he can get something out of it. Of course this was all before they turned him Disney in Beyond Thunderdome and sheparding all those kids to freedom (?)
"Mad Max" Offers a Choice
Leon
An indestructible hitman who kills with no remorse or questions asked? Bad. Protecting a defenseless 12 year old girl from the drug toting psychopathic officers who massacred her family? Good. Teaching said 12 year old to kill like he does? Bad. Harboring questionable feelings for 12 year old? Well how much more 'anti' could the man be? To be fair, I always saw Leon's relationship with Mathilda as purely father and daughter, but it still doesn't excuse the fact that the man is a killing machine! In any other film, Leon would be the bad guy's terrifying henchman. It is a tribute to Jean Reno's acting skills that we are as receptive to the character as we are.
Travis Bickle
Has the line between hero and villain ever been so grey? Taxi Driver features universal themes of loneliness and isolation that many people can relate to. What people don't relate to, is just how unhinged DeNiro's 'Bickle' becomes throughout the film. The film may end with the man saving Jodie Foster from a life of child prostitution by gunning down all those responsible, but it could just as easily be innocent people at the end of his smoking barrel. As a result, the man is proclaimed a hero - the reality couldn't be farther from the truth, Travis killed those people to satiate his thirst for blood.
Withnail
Everybody has met someone like Withnail. Someone so utterly self absorbed and ignorant of most other peoples needs, but his own. Why would anyone hang out with such a character? Because he's bloody good fun and a great drinking buddy.
Richard
Throughout Dead Man's Shoes, Richard navigates some very murky waters indeed. This is a slasher film where we follow the slasher, and it is he who we relate to most. The film is a revenge fantasy. Any brother could imagine doing what Richard does in order to get back at the local small town scum bags who have tortured his brother. The only difference is that most would not go to the lengths he goes, to torment and kill them all. You have to give it to him, the man doesn't play around, as evidenced here:
Tony Montona
Undeniably, the most grandiose character here. Some will argue as to whether or not, Tony should fall into the villain category; surely villains aren't supposed to inspire the cheers that Tony does? The man's bravado and larger than life attitude alone ensure him a place.
Patrick Bateman
No way Bateman is a villain. He may be a psychopathic serial killer with some serious hang ups about business cards, but the fact that he is the lead in the film means we are asked to at least empathize with him. Bale has never been better than here, and is supremely watchable throughout, even through all the more grotesque scenes. Bateman may be a monster, but is a product of his time and surroundings, and whether or not all his crimes were even real is left up to interpretation. It is his sheer enthusiasm for being so despicable, that wins the viewer over, every time.
"American Psycho" Hip To Be Square
Alex
Poor Alex. Through his tortuous and very uncomfortable journey, A Clockwork Orange asks some very tough questions about the meaning of self and expression in todays society. Alex was undoubtedly a monster, but does that still condone the forced moral change that is made to his character? If it is not inherent 'goodness' in a person, then is that not in itself morally duplicitous to use aversion therapy to stop ammoral behaviour? If this is where it begins, then surely all control by the government over everyone is not far behind? Is Alex's forced goodness ever truly real?
"A Clockwork Orange" Alex Takes Back His Gang
Officer Bud White
The man has questionable police skills, but shows nothing but results when he goes after those involved with violent crimes against women. White always gets his man, but not always through the official means. Where he not a cop, he'd be a mindless thug and bully.
'Mad' Max Rockatansky
We have to get through most of Mad Max, before we truly get to see what an anti-hero the man has become. It is only after losing his wife and child to psychopathic bikers that he is free to throw himself into the murky, questionable and downright despicable ways and means to apprehend the men responsible. Mad Max 2 explored the character even better, with the basis that the apocalypse has destroyed all humanity in men. This is exemplified best in Max. He might do the right thing, but only if it suits him and if he can get something out of it. Of course this was all before they turned him Disney in Beyond Thunderdome and sheparding all those kids to freedom (?)
"Mad Max" Offers a Choice
Leon
An indestructible hitman who kills with no remorse or questions asked? Bad. Protecting a defenseless 12 year old girl from the drug toting psychopathic officers who massacred her family? Good. Teaching said 12 year old to kill like he does? Bad. Harboring questionable feelings for 12 year old? Well how much more 'anti' could the man be? To be fair, I always saw Leon's relationship with Mathilda as purely father and daughter, but it still doesn't excuse the fact that the man is a killing machine! In any other film, Leon would be the bad guy's terrifying henchman. It is a tribute to Jean Reno's acting skills that we are as receptive to the character as we are.
Travis Bickle
Has the line between hero and villain ever been so grey? Taxi Driver features universal themes of loneliness and isolation that many people can relate to. What people don't relate to, is just how unhinged DeNiro's 'Bickle' becomes throughout the film. The film may end with the man saving Jodie Foster from a life of child prostitution by gunning down all those responsible, but it could just as easily be innocent people at the end of his smoking barrel. As a result, the man is proclaimed a hero - the reality couldn't be farther from the truth, Travis killed those people to satiate his thirst for blood.
Withnail
Everybody has met someone like Withnail. Someone so utterly self absorbed and ignorant of most other peoples needs, but his own. Why would anyone hang out with such a character? Because he's bloody good fun and a great drinking buddy.
Richard
Throughout Dead Man's Shoes, Richard navigates some very murky waters indeed. This is a slasher film where we follow the slasher, and it is he who we relate to most. The film is a revenge fantasy. Any brother could imagine doing what Richard does in order to get back at the local small town scum bags who have tortured his brother. The only difference is that most would not go to the lengths he goes, to torment and kill them all. You have to give it to him, the man doesn't play around, as evidenced here:
Tony Montona
Undeniably, the most grandiose character here. Some will argue as to whether or not, Tony should fall into the villain category; surely villains aren't supposed to inspire the cheers that Tony does? The man's bravado and larger than life attitude alone ensure him a place.
Patrick Bateman
No way Bateman is a villain. He may be a psychopathic serial killer with some serious hang ups about business cards, but the fact that he is the lead in the film means we are asked to at least empathize with him. Bale has never been better than here, and is supremely watchable throughout, even through all the more grotesque scenes. Bateman may be a monster, but is a product of his time and surroundings, and whether or not all his crimes were even real is left up to interpretation. It is his sheer enthusiasm for being so despicable, that wins the viewer over, every time.
"American Psycho" Hip To Be Square
Alex
Poor Alex. Through his tortuous and very uncomfortable journey, A Clockwork Orange asks some very tough questions about the meaning of self and expression in todays society. Alex was undoubtedly a monster, but does that still condone the forced moral change that is made to his character? If it is not inherent 'goodness' in a person, then is that not in itself morally duplicitous to use aversion therapy to stop ammoral behaviour? If this is where it begins, then surely all control by the government over everyone is not far behind? Is Alex's forced goodness ever truly real?
"A Clockwork Orange" Alex Takes Back His Gang
Officer Bud White
The man has questionable police skills, but shows nothing but results when he goes after those involved with violent crimes against women. White always gets his man, but not always through the official means. Where he not a cop, he'd be a mindless thug and bully.
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