Top 10: Aliens

A mainstay of all cinema since it's inception, has been it's exploration of science fiction themes. It is only natural for humans to ponder their own place in the Universe and whether or not there are any other forms of life out there. Through the varied forms of extra terrestrials in film, Hollywood has explored almost all sides of what our first contact with life from another world might be like; be they gentle and docile or ferocious invading monsters. Throughout the many genres Hollywood goes through the ages with such as musicals, pirate swashbucklers and epic period films, they inevitably will fall afoul of their time and cease to attract audiences. Sci-fi never goes out of fashion and is always a successful genre to utilise. However, this means it grows ever harder to provide new takes on any visitors from a different world. This Summer alone shows the genre has no signs of dying with Super 8, Cowboys & Aliens, Transformers: Dark of the Moon, Thor, Green Lantern, Attack The Block and even The Tree of Life, each pondering the hows and whys of the Universe, to varying degrees of success. Here is a list of my personal favourites:

E.T. the Extra-Terrestrial

OK, obvious choice here, but he truly is one of the most memorable creations ever to grace the screens. That a creature as ugly as he could elicit genuine emotion and feeling from the audience to such a degree that no matter if they're child, woman or man, will always be left bawling on the floor come that end, is quite an accomplishment. In a genre crowded with terrifying marauders and invading robots, E.T. is a reminder that there are a few nice guys out there in space.





The Thing

Released the same year as E.T., but to far less commercial success, it was only in later years that the cult of John Carpenters classic began to grow and people realised what a terrifying achievement it was. To this day, many of the prosthetics and effects hold up brilliantly and still continue to shock and unnerve. It's terror comes from the fact that this life form could be your best friend and you might never know. That coupled with it's brilliantly utilised and claustrophobic Antarctic setting make it's effect all the greater. While we never actually get to see the original shape of the creature, it's various graphic shape shiftings is enough to imply we never want to. That remake/prequel due for release later this year sure has a lot to live up to.





Predator

Somewhat sullied by those pointless and horrible Alien Vs. Predator mash ups, this guys power remains undiminished. While the film begins as a very standard boys action rescue flick, it quickly morphs into a tense face off between the hunter from another world and Schwarzeneggers lone special ops agent. History has it that one of the creatures most defining physical aspects, it's mandible face actually came from a James Cameron design. While the late great Stan Winston helped create the iconic design, it's original effort was far from the imposing warrior. In fact it more closely resembled a small version of a man in a Godzilla costume mindlessly running about - brief snippets of which can be seen on the DVD. Had that actually been it's final design then you can rest assured, it would be a very different film than the one we are left with.




Alien

Perhaps possibly the monster that comes to your head when you think of aliens on film, HR Giger's unsettling and disturbing design of a phallic, acid blooded and almost indestructible killing machine was the stuff of nightmares for years after that first Alien film. Yet again, those pesky Alien Vs. Predator films, plus it's franchises own turds (Alien Resurrection) have come close to dwindling the immense power of such a classic movie monster, but have failed. A truly unsettling creation; a creature that grows inside it's host before unceremoniously giving 'birth' to itself through it's hosts ribcage would be bad enough, did it not also grow into a two metre tall, unstoppable and incredibly pissed off monster. From the facehugger to it's adult stage, it goes through many incarcerations, each one of them incredibly effective.




District 9

The aliens in District 9 are not part of a hostile planet takeover of Earth. Rather they are a weak species who have crash landed in Johannesburg. Interestingly, we do not treat them as an historical first meeting with inter dimensional beings we could learn something from, rather a burden on our economy in which director Neill Blomkamp makes some not so subtle comparisons with racism in his native country. While they are described as drone workers for a much stronger infrastructure of aliens that have already died by the time they get here, they are nontheless strong and vicious enough to take care of themselves. However, if these prawns are the weaklings, then imagine what the big guns will be like like when they return to Earth in the mooted sequel. Our main guide into their world is Christopher Johnson, whom we discover shares a few parallels with human behaviour and is sometimes more human, than the humans themselves.




Paul

The thing about Paul is that while the film may not be a classic by any means, the great animation on the character mixed with Seth Rogans delivery of him means he is one of the first CGI characters to hilariously riff and improv with our main live action characters. I love that thousands of dollars went into a character that moons, curses, smokes weed and quotes various sci-fi films at our heroes. Because of this, it is easy to forget that Paul is entirely CG. Putting so much pressure on the character to succeed was a risky move, but they pull it off; so much so in fact, that most of the films success is down to the little guy.




Close Encounters of the Third Kind
Spielberg's second appearance on the list with yet again, another cuddly pacifist view on what visitors from another world might be like. The true drama in the film comes from Roy Neary's (Richard Dreyfuss) obsession with his first initial and brief encounter with them as it threatens to overtake his life and destroy his family. So come the end, when the little grey guys (the most typical design on this list, but no less effective) turn up, they bring awe inspiring spectacle and dazzling technology shrouded in glorious light. These guys are more curious and insightful than hell bent on enslaving man kind for their own ends. The end result is one of the most incredible climaxes in cinema history, using music as communication to stunning effect.




The Abyss
Again, another variation on more peaceful aliens, this frequently overlooked James Cameron classic, is still an incredibly tense and often claustrophobic thriller, set deep under the oceans. The film supposes that aliens have been here all along, living unbeknownst to man in the deep abysses of our oceans. When they finally appear for the films climax, they appear almost angelic and help save our heroes. Of course they also manage to show mankind the error of their ways and come off more as observers than any life forms willing to make contact with us. This scene is perhaps the most memorable in the film.




Independence Day
OK, so some of it's power may have diminished with director Roland Emmerich deciding to do almost the exact same thing with each disaster film since this films release but the fact remains, that this films has has one of the most epic alien invasion build ups ever and some pretty great set pieces. Thank god that alien technology was compatible with Apple otherwise we would have all been screwed. This one is for the boy inside you.




Signs
Before both M. Night Shyamalan's career went down the pan and found footage movies were overdone, we had this great moment from Signs. Up to this point we know something is happening in the world, but don't know what and this brief but incredibly hair raising moment from the film works wonders in upping the horror stakes. It's cam recorded footage on the TV only adds to it's effect; we could imagine watching the news and reacting much like Joaquin Phoenix character does. It's effect comes from us putting ourselves in that situation and wondering just what the hell we would do? Of course, the film then squanders all this in the third act showing that the only thing that can kill the aliens is water. Good work then on invading a planet that is almost entirely covered with the stuff.

Top 10: Anti-Heroes

Heroes are boring. Sure, they strive for good and always sacrifice everything to get it, but isn't that what you expect off a hero? There is never any surprises with them. A good example is Superman. I have never understood the fascination with such a character. He is indestructible (bar some green rock), always and sickeningly does the right thing and looks utterly daft in his costume. He's like the teacher's pet in school. They may be keeping the class on track but they are ultimately gonna get beat up at lunch time. OK, so maybe you couldn't beat up Superman, but if you caught him as Clark Kent in public, I'd say he'd just lie down and take it. Much more interesting is Batman. He bases his image out of fear, was borne out of violence and flirts with darkness. You always know where Superman stands. He is literally a God on Earth and yet all he seems to do is moan over Lois. Batman on the other hand does the right thing too, but not always through the morally correct ways. In my list here I have compiled a list of characters that are so much more interesting because you don't know if they are going to do the right thing. They usually ultimately serve only their own needs and that will go on to designate why they are taking the measures they are taking. Most actors say that playing the villain is always more fun than the hero. Well by that rationale, surely the anti-hero is going to be the best of all; you get to portray all the nefarious things a villain might, but get to save the day at the end of it all.

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.

Top 10: Opening Credit Sequences

Opening credits are incredibly important in setting the look and tone of a film. It disheartens me to see so many films nowadays completely forsake the opening credits and after a brief 'title fade up', they dive straight into the action. I for one love to settle myself into my movie going experience with it's opening titles, and if done right they can be incredibly effective. On rare instances where they do appear, most audiences seem to take it that the film has not yet truly begun, and so carry on noisily chatting or texting. When done right, these opening credits can be the perfect way to set up mood, atmosphere and tension. Some of these choices might not necessarily come from great films, but still convincingly handled their opening titles in original, innovative ways. In no particular order, my list is as follows:

"Se7en"

This credit sequence goes some way in setting the following two hours of unsettling horror that lies in store for the audience. Immediately throwing the audience into it's sick and depraved world is made all the more incredible, by the fact that it ever so subtly gives hints at it's psychopath John Doe; something that is only more noticeable upon a second viewing. Director David Fincher would collaborate again with Trent Reznor to great success in "The Social Network" and the upcoming "The Girl With The Dragon Tattoo", but it is arguably at it's best here, sampling Reznors 'Closer' to chilling results. An impeccably conceived sequence.

"Raging Bull"

It has been said before that "Raging Bull's beauty lies in the fact that you could freeze frame at any point in the film, and it would always be an impeccably framed work of art you would be looking at. Scorsese begins his masterpiece in glorious style, in this gorgeous and saddening slo-mo take, of Jake LaMotta practising in the ring before the big fight. As the film suggests, that while the film may be about boxing, it is, and always was LaMotta who was his own worst enemy. In the film he metaphorically fights with his demons, but here he actually wrestles with them, for the world to see.

"Watchmen"

While the film does have it's detractors, few can argue against director Zack Znyders fantastic introduction to it. Mixing real world with the alternate history presented is fantastically handled, and is the one time in the mans career when he successfully used his 'flo-mo' style for something worthy of it, and not at all gratuitous. There is a lot of exposition to tell befiore the film even starts and the credit sequence does an incredible job of doing so, while immersing it's audience in it's world. The times, they are a' changing indeed.

"Watchmen" Opening Credits

"Catch Me If You Can"

Spielbergs fantastic chase drama is beautifully introduced. Although taking inspiration from Saul Bass' best works, it is nontheless a fantastically fun introduction to the caper; pretty much showing the entire films plot in it's animated glory. Special mention too, to John Williams jazz motifs; something the man never explored previously in his extensive back catalogue.

"The Fall"

Although quite underseen upon it's release "The Fall" must surely go down in history as being one of the most stunningly photographed films of all time. Simply put, there is no other like it. It's opening here tells the important backstory of one of it's lead characters, while also successfully immersing you in it's poetic and gloriously beautiful world.

"Alien"

Here Ridley Scott's haunted house story in space, begins in uneasy style. The slow introduction of lines forming the title leads the audience into the quietly menacing ride they have in front of them. Although very simple, it is still the perfect way to begin proceedings.

"Lord of War"

While the film may be entirely forgettable, it still has a fantastic opening credit sequence, that in of itself, could serve as a nice little short. While the film sometimes gets bogged down in trying to mix it's political sensibilities with it's more crowd pleasing ideals, this sequence here deftly handles both as we follow the life of a bullet.

"Lord of War" Opening Credits

"Psycho"

Hitchcock's classic thriller is begun, in typically stylish fashion. The great Saul Bass created the iconic titles here; as the each credit revealed becomes fractured and dislodged from itself, reflecting Norman Bates mental state. Bass is the grandfather of classic movie titles.

"Psycho" Opening Credits

"Reservoir Dogs"

Quentin Tarantino's career truly begun with his intro to his debut feature. Here was announcing his own arrival in the coolest, hippest way possible. This signified a new voice in cinema, and here he was, in all his bravado. The slow motion mixed with that now iconic use of 'Little Green Bag' perfectly introduces us into his skewered yet achingly assured view of the world. This is his invitation to us, to enter into it and view these no good scum bags as heroes that we could idolize. And because of this, it worked.

"Reservoir Dogs" Opening Sequence

"The Shining"

Stanley Kubrick's epic opening shot sets up the themes of isolation and despair that the film goes on to explore. Our hero is a tiny spec compared to the vast openness out before him, a vastness that will later go on to devour him and everything he ever loved. This is our first trip into the mouth of the monster. I don't think I have ever heard music as terrifying and otherworldly since. Taken on their own, and the images are truly stunning enough to stand up isolated from the rest of the film.

Top 10: Jump Scares

Jump scenes are incredibly effective when they land. To make an audience jump at something that is not real or even happening in the same space as them is quite difficult when you think about it. But when jump scenes happen the results can either range from laughter at having been 'got' or adding to the dread or terror on display. I unashamedly let myself get into these types of films and never try and control any shocks I might get throughout; the film is far more fun that way and diluting any effect it is having on you would only take away from it. As a result I am very hardened against them and can spot them a mile off. My choices here were picked based on just how original and effective they were; I certainly was not expecting anything to happen that would make me jump five feet in the air as some of the scenes here have, and yet doing so only added to my enjoyment of proceedings. Also, the dreaded 'fake-scare' will not be present among any of my selections. If there is anything more annoying than the endless cliches of cats jumping out at our heroes then its the figure suddenly appearing behind our characters in a mirror, behind a closed fridge door and most annoyingly, our heroes own friends suddenly grabbing their shoulder. The more unexpected the jump is, the more effective it will be. So in no order, here are my own favourite jump scenes of all time. Needless to say that if you have not seen any of the films in question, their respective scares will hardly work out of context. Spoilers follow.



"The Exorcist III"
A very underrated horror film, most people don't seem to know that while it's first sequel was uniformly terrible, the second almost beat the classic original when it came to the scares. The sheer beauty of this seen is director William Peter Blatty's framing of his hallway. It's first jump, just before that seen here, while a fake-scare, nontheless sets the audience up even further for when the true unexpected threat is suddenly revealed.




"The Eye"
For a few years at the start of the 2000's, it seemed that the only place in the world that knew how to do horror right, was Asia. The first time I saw "The Eye" it was this short moment here that made my blood run cold. While there are creepier moments in the film (that lift scene) this is the moment that will have most clutching at their arm rests. The suddenness mixed with the sheer unnaturalness of the ghost all add to the scare factor.




"The Descent"
OK, so nowadays it has become the norm to use night vision when you want something to be scary. But back in 2005 it was less overused, hence me losing all bowel control when I first saw this scene. Director Neil Marshall effectively and effortlessly spends the first half of the film with the characters, building up tension in the group and in their terrifying situation. There have been glimpses of something always on the edge of frame throughout, but it is in this scene that we finally see what is stalking our heroines in their underground maze. The scene in question begins at 1:10.

"The Descent" Crawlers First Appearance


"Don't Look Now"
For most of Nicholas Roeg's atmospheric exercise in restraint, we have been mostly following recently bereaved parents Donald Sutherland and Julie Christie as they escape to Venice to deal with their childs untimely death. A haunting study of grief follows that relies more on atmospherics than all out shocks to unnerve its audience. That is until the end of the film that features something as unexpected as it is hideous, when Sutherland mistakes what he thinks is the ghost of his daughter, as something altogether more vicious.




"The Devil's Backbone"
Featuring one of the best screen ghosts in recent years, this haunting Guillermo Del Toro directed chiller is one of the classiest horrors ever. The scares take place at an orphanage for children during the Spanish Civil War in 1939. When the kids face a possible threat from a recently missing and presumed dead fellow student, it sets off a chain reaction of events that leads to unforseen and tragic conclusions. Del Toro shows us his ghost almost straight away, so the fact that he continues to make it as scary as it is for the entire running time, is a tribute to his film making. The first time we see the ghost Santi happens near the start, as two of the boys go to fetch water after hours as an initiation test. The scene occurs at 4:55.




"[rec]"
Sticking with Spanish horror, this 2007 chiller breathed new life into the zombie sub-genre. It's found footage format does a great service to the story in putting the audience front and center of the terror. In a sense it is a true roller coaster ride of horror. The whole climax of the film features scare after scare, until that genuinely unnerving attic scene. With only two characters left surviving they must look for any way out.



"Suspiria"
Dario Argento's influential supernatural slasher film begins as it means to go. Wasting no time, we are introduced to surreal and hypnotically violent moments of terror. It's elaborate first death scenes only truly work after the shock of that anonymous hand impossibly crashing through the window, many stories off the ground to claim its victims.




"The Texas Chainsaw Massacre"
What really gets me about this film, is the fact that despite its reputation, it features very little blood or gore. Here is it's first major death scene and reveal of the great 'Leatherface'. What always got me however, was that after the initial shock of Kirk's murder hits, it lands a sickly feeling seeing his dead body squirm and convulse like a stuck pig. When Leatherface loudly slums shut a heavy metal door, you see it was actually the entrance to his kitchen, where he prepares his other victims for supper later, which gives the biggest shock.




"Carrie"
After the stunning bloodbath of the high school massacre sequence we assume Carrie is dead. The only survivor of the night goes to visit the rubble of Carrie's old house. In other words, that ending. In a nice bit of trivia, actress Sissy Spacek actually buried herself underneath that rubble so the hand would indeed belong to her, and not a stunt double as director Brian DePalma originally wanted.





"Jaws"
The beauty of this scene, is Spielberg's timing is so incredibly perfect, that it will get you nearly every time. Upon viewing an initial cut, Spielberg felt his film needed another shock and so shot that scene of Ben Gardners head in his own swimming pool at home. Quite possibly, the best jump in cinema history.

"Jaws" Ben Gardner's Boat

Top 10: Extended Takes

The extended take is something that I always take great pleasure in watching in cinema. When I see one, the film immediately earns a bit more respect from me. Some see it as flashy and showy film making which it could be argued that it is, to a certain extent. I however, see it as one of the most fluid and natural forms of cinema. It is something in which all facets of film making are all in evidence, working in complete tandem at once. Great acting, cinematography, directing, set design, lighting, choreography (to name but a few) must all be at the top of their game if they expect to pull off something as difficult as an extended take. It is a means of wholly transporting you into its world, of seeing things through the characters eyes, and when it is pulled off, the results can be stunning. The best ones are those that most don't even realise actually is an extended take, so enveloping are they. For my choices here, I tried to cover a range of different films and shots, to cover a broad spectrum of films they have been used to fantastic effect in. Surprisingly, there were a lot of personal faves of mine that simply couldn't make the cut. So, in no particular order, here are my favourite extended shots of all time. Some spoilers follow.

"Children of Men"

To start things off here is one of the most recent and stunning extended takes in cinematic history. For his sci-fi classic, director Alfonso Cuoron filled "Children of Men" with plenty of extended take sequences; each one of them worthy of this list. However, I had to pick its climactic street battle, which stands out for me as one the most dynamic and all consuming action sequences I have ever seen. For those eagle eyed viewers, there actually is an invisible cut in this clip, but that makes it a no less impressive sequence.

"Children of Men" Street Battle (Extended Take)

"Goodfellas"

One of the most influential long takes; this stands as one of Martin Scorsese's iconic scenes, in a career full of them. What works especially well, is that it offers a very idolised view of the mafia. In it, Scorsese invites the audience to experience life through their eyes and it is presented very seductively. It is one of the films many strengths, by mixing quite romantic scenes as evidenced here, before the violence erupts and the bodies start piling up later on.

"The Secret In Their Eyes"

An absolutely cracking Argentinian thriller from last year, this quite deservedly won the Best Foreign Film Oscar. This scene occurs just past its mid point, when we're beginning to think our heroes will never catch the man responsible for the rape and brutal murder of an innocent woman. Cut to a crowded football match, where a breathtaking foot chase occurs; all the while with the camera following the action, through almost impossible means.

"Magnolia"

A far more quieter sequence now. Director PT Anderson favors the extended takes in most of his films (just one of the reasons why he is one of my favourite directors), and so choosing just one is quite difficult indeed. In the end "Magnolia" just barely pipped "Boogie Nights", through it's sheer emotional undercurrent. Although the shot is stunningly lit and photographed, Andersons using it to focus on our introduction to the TV studios where a bulk of the action is set with these characters, adds to the reasons something about it captivates me.

"Touch of Evil"

Only Orson Welles would be so audacious as to attempts something like this sequence back in 1958. With only a few seconds into his film, Welles has the audience on the edge of their seats. The fact that a shot like this would have been far more difficult back then only cements its positioning here; although where this from a film this year it would easily merit inclusion, so masterful is it.

"The Protector"

A incredible take on what could have been a very typical action scene. What makes it special is Muay Thai expert, Tony Jaa, becoming ever more tired as the fight goes on, yet no less a force to be reckoned with as he takes down an entire building of goons. The camera follows his every move. You can see the dedication of the shot in his performance, and the weeks of planning that must have gone into this warrents it's inclusion . It's also really kick ass.

"Shaun of the Dead"

I feel like I'm cheating here by including these, but I always saw it that they are meant to be taken together. For Edgar Wrights first film, he contrasts Shauns slow growing realisation that the world is being enveloped by zombies, with the fact that on first viewing, things aren't really that different from the way they were before. We might all be zombies already. This was the first sign that Wright was going to become a young force to be reckoned with in directing.

"Oldboy"

This shot very famously apes the side to side retro video games of the 90's. Of course the focus here is on brutal violence, as we see the full extent of what Oh Dae-su (Choi Min-sik) is capable of. Here we see the limits his madness is tested to, in a very original take on the action scene. A remake was bounded about Hollywood in the years after this film was released. After scenes like this, it is obvious that any improvements are futile. The film is near perfect, and would only be diluted by Western hands.

"Oldboy" Corridor Fight

"Hard Boiled"

Rumour has it, that John Woo decided to shoot part of his epic hospital shoot out in an uncut sequence was down more to time constraints, than a nessessary reason to include it in the story. It makes no difference and only adds to one of the greatest (and longest) shoot outs in cinema.

"Russian Ark"

Some may lament this films inclusion here, for the sheer fact that it blows all the other choices out of the water, so mind-bogglingly incredible is it. Of course the entire 90 minute film is one long and interrupted shot, a fact that is a huge testament to the astonishing film making on display. It really beggers belief that something like this was executed as flawlessly. It's only fair to point out that the film itself not exactly riveting viewing, but is still is a huge landmark in cinema history. There is simply no other like it. This clip is taken from near its climax.

Top 10: Chase Sequences

The car chase has been a staple of cinema ever since its invention. Most car chases are dull and boring; either offering a worrying fetish obsession with their vehicles, or pointless destruction for destructions sake. Car chases are always simple. But therein lies their beauty when done right. What's more inherently dramatic than a protagonist and antagonist locked in a literal cat and mouse trial? The greatest car chases have some of the greatest stunts ever performed. But more and more recently car chases are relying on CGI to help sell their vehicular mayhem. My choices here tried to offer a satisfying mix of old school chases with the new. Incredible special effects mixed with incredible stunt work. They also had to offer a unique twist on the staple to render worth including here. Honorable mentions include "Death Proof" and Spielbergs 1971 debut classic "Duel", but had to be left out seeing as it is technically, one long 90 minute chase. Other than that, scenes here feature all sorts of different vehicles, but must adhere to one simple rule: they move the plot along in a way that earns its adrenaline fuelled action. Here are my choices in no particular order.

"Raiders of the Lost Ark"

One thing I always found incredible about Indiana Jones' chase after the Lost Ark, is that Spielberg himself never shot it. Busy on other sequences of the film, he left it to his trustworthy second unit to get all the shots needed. Not that you would know it, the scene is a master class in action and features incredible stunts and hair raising action. My personal favourite chase scene of all time.

"The Rock"

Michael Bay has his detractors but few can argue that at the very least, when he gets action right, the results can be fantastic. Recent years have seen him rely more and more on CGI effects, but as seen here when using real cars and drivers and enough explosives to blow up San Francisco he more than delivers. To set the scene up, ex-convict Sean Connery has just escaped FBI agents to see his daughter after many years. Was it worth it for the huge Bayhem on display?

"The French Connection"

While "The French Connection" is always initially remembered for this stunning and gritty train chase sequence, people tend to forget how brilliant the rest of the film is. Gene Hackman plays the infamous Popeye Doyle, who is resorting to increasingly extreme lengths to catch the drug dealers involved with the titular connection; the biggest drug deal ever on US soil. What makes this scene all the more stunning was director William Friedkin shooting it, without alerting New York City he was doing so, and as a result, the chase being filmed on real streets with real traffic. The intense sound effects and absence of music make this scene all the more effective in its tension.

"The Matrix Reloaded"

The most effects heavy of my choices from the weakest film. For all the Matrix sequels problems, the action scenes were often stunningly exciting. What would happen in a car chase set in the world of The Matrix was gleefully answered by The Wachowskis, setting all their inhibitions loose. If only they had put as much thought into the plot as they did the action scenes...

Freeway Chase

"Ronin"

Director John Frankenheimer was obsessed with race car driving from his youth and it shows in every engine rev and tyre screech of Ronin. The impressive (unsimulated) speed these cars drive is the thing that seperates "Ronin" from most chases. It feels real.

"The Bourne Supremacy"

While each of the Bourne films feature a classic chase scene, I opted for the second one. Director Paul Greengrass crafted a very intelligent plot to go with its tortured, amnesiac hero, so when its action scenes finally do show up, they feel important and crucial to the plot. Here, Bourne must contend with Moscow police, Russian Agents and Karl Urbans fellow assassin all the while tearing through the streets of Moscow self administering first aid, playing a very deadly game of bumper cars.

"The Dark Knight"

A potential controversial choice for some, I feel this scene is the center piece of the entire film. Something about heavily armored vehicles going hell for leather on each other mixed with the sheer awesomeness of the Batpod is what makes this scene. In the film tension is running sky high up to this sequence, mixed with The Jokers unpredictability means this chase could go anywhere. I don't necessarily remember Nolan's Batman films for their action scenes, rather their stunning smarts and twists on an iconic character. This is the one exception.

"We Own The Night"

A very unremarkable film save for its original take on the car chase. Here it is very claustrophobic, filmed from almost entirely inside the car. It's rain sodden atmosphere adds to its uniqueness.

"Terminator 2: Judgement Day"

For his sequel to his original 1984 masterpiece, James Cameron decided to make everything bigger and better. In doing so he crafted one of the best sequels ever made. For all its CG technical achievements there is still something remarkably old school in its real world vehicular mayhem. The fact that most audiences didn't know which was the good or bad Terminator up to a moment before, adds to its excitement. This would have made the top 10 for the way Arnie loads his shotgun alone.

T-1000 Truck Chase

"Mad Max 2: The Road Warrior"

Simply one of the best action scenes ever sustained in cinema. Director George Miller pushed the boundaries in terms of safe stunts performed and the film brims over with testosterone and adrenaline. It's climax with a gang of psychopathic marauders in hot pursuit of a lone Max towing a fuel tanker is a masterclass of tension, from its vehicle design, to Mel Gibsons performance to its bone crushing collisons.