Top 10 Scary Rabbits

Okay, I planned to do a Top Ten a few weeks back themed around Easter, namely a list somehow based around bunnies. You know...those cuddly little creatures that young children love so much. But, due to some busy schedules I never got around to it and now I feel like I've missed out on what could have been a decent Top Ten. Yet, when I think about it a simple chart on the best bunny rabbits isn't quite bizarre enough for this site really...

Aah, well better late than never I say, and by allowing such a list to re-emerge during my horror season means that I get to be a little more left field on the subject by combining the fluffy with the frightening by bringing you the top scariest rabbits in movies. Not so cute and loveable now eh!?

The criteria: Some simple benchmarks this time around: these conies have to be nasty, violent, "hare"raising or, at the very least, just proper shit scary! And, if the entire picture isn't based around the mini beasts, there must be a scene based around a rabbit that gives enough of a terrifying fright. No adorable, ground thumping deer befrienders, or hyperactive, babe-bagging movie stars allowed here. More rabid than rabbit. More shock than buck. More foe than doe. Dare you venture down the rabbit hole?

WARNING! Mild spoilers and freaky bunnies await!

10. Harvey (1950)

James Stewart has starred in roles of the mental unchecked before, but there something incredibly creepy about a grown man with an imaginary friend. Not meant as a horror (and doesn't play like one either) Harvey isn't just invisible but in fact a cony derived from Celtic folklore known as a "pooka" (a shape shifter). And that painting always freaked me out as a kid...unnerving!

9. The Killer Rabbit of Caerbannog in Monty Python And The Holy Grail (1975)

Already perturbed by the Enchanter known as...Tim, King Arthur and his bumbling knights from Camelot have a fresh challenge. Arrogantly seeing passed their new companion's warnings of the guardian of Caerbannog ("He'll do you!") they take the fluffy hopper head on, only to befall to a slaughter at his nasty, big, pointy teeth.

8. The boiled bunny in Fatal Attraction (1987)

Not only does this famous scene in Adrian Lyne's chilling thriller hold one of the biggest shock pet deaths in cinematic history, but the slowly paced reveal of the Gallagher family's locally sourced casserole has coined a modern phrase used for every psycho ex-partner we've ever had...watch out for that one, she's a "Bunny Boiler"!

7. Night Of The Lepus (1972)

Actual rabid rabbits! And giant ones at that! These corny conies are the menacing stars of this comical gore-fest that shouldn't really be funny but is. However, there's no disputing the grimness of the close up shots of our killer bunnies; they slaver and drool blood from their flesh soaked mouths following their bouts of bloodshed. Freaky!

6. Hat Trick in Twilight Zone: The Movie (1983)

The third segment in this four-part portmanteau of the famous TV show highlights the unknown of magic through the powers of a young boy. Uncle Walt is urged to do his trick of pulling the rabbit out of the top hat for some guest unwilling to witness it. We see why, when Walt pulls out this ghastly, murderous looking bunny.

5. "Rabbits" in Inland Empire (2006)

David Lynch's dissection of an actress as she ventures in understanding her role at the deepest level has polarised audiences. One scene that clearly disturbs is with the inclusion of these creepy rabbits, taken from the director's Internet shorts of the same name. Slow, eerie, bizarre...totally Lynchian!

4. General Woundwort from Watership Down (1978)

This picture has generated nightmares in hundreds of children over the years, and with the film being predominantly populated by rabbits there's many to choose from. Yet, none are as chilling as this huge, facially decrepit head of an opposing warren. Who'd have thought that such a cute looking creature could be so putrid and ugly, ruling his warren with  dictator-like savagery.

3. Giant rabbit in Akira (1988)

The king of anime enters my lists again. Our psychokinetic threesome of test subjects terrorise Tetsuo with creating cute miniatures of a teddy bear, car and out rabbit, only to then re-emerge a few seconds later as giant equivalents to smother and attack our troubled hero. And that freaky music doesn't help!  

2. Monster bunny guy in Sexy Beast (2000)

If you thought Tetsuo's nightmare scene was bad, then this one will terrify you. Ray Winstone's Gal is fretting in anticipation of Kingsley's Don Logan, and is plagued by a disturbing vision while sleeping of a humanoid creature resembling a rabbit presenting him  with an Uzi.

And the winner is...

1. Frank from Donnie Darko (2001)

Was it that obvious? Is there any freakier rabbit in movie history than the portentous, fuzzy-costumed, echo-voiced antagonist of Richard Kelly's phenomenal debut? Then who else was I going to pick?!

The first moment you hear Frank's opening salvo, "Wake Up", your ears prick up faster than Bugs Bunny to the sound of Elma Fudd's footsteps. Donnie's sleepwalk to the centre of the golf course to meet his new time-travelling friend commences the warning and countdown to the end of his world, while he pieces together the science & fantasy in order to comprehend the potential... or the inevitable.

Amongst a film already laced with dark imagery, hallucinatory moments and crazy portal wizardry, Frank still stands out as the icon, the brain-stained image that you recall every time you utter the film's title. There's no denying the greatness of his reveal after the mystery of such an elusive character (look out for the references to that eye!), but his cult status in cinema comes down to his voice, his weirdly slow movement and, probably, still the coolest Halloween mask you can get.

In years to come, people will look back at the movies that defined the 00's and the the pictures that artistically represented the decade - and right up there you can guarantee you'll see Frank's frightening grin and crooked ears glaring back at you...

"Wake Up!"

Just Missed Out: Kottentail, Wallace & Gromit in Curse Of The Were-Rabbit, 

Easter Bunny from Hell (Bill & Ted's Bogus Journey),

Cabin Fever  (hospital scene), Easter Bunny Kill Kill.

If you disagree, and have other suggestions, please post comments at the bottom of the post. Or, email me directly on topten@filmbore.co.uk.

And don't forget, you can tweet me @filmbore or post on my Facebook page here.

filmbore pick of the week - Switchblade Romance

Switchblade Romance/High Tension (Haute Tension)

Director: Alexandre Aja

Screenplay: Alexandre Aja, Grégory Levasseur

Starring: Cécile de France, Maïwenn, Philippe Nahon

Year: 2003

Language: French

UK rental release: January 2005

IMDb

LoveFilm

Rotten Tomatoes

So far in my horror season, we've had an art-house horror and Brit-com (technically Irish) horror, so let's cross the other side of the water to our other European neighbours for a different take on the genre, with the French slasher-thriller, Switchblade Romance.

We open on close up shots of our lead's feet, hands and then her wounded body, as she whispers statements of regret. Suddenly, we cut to her limping through a forest. Bloodied and tortured, her injuries seem fresher. She flags down a car in her peril, screaming for help.

It's then that we're awoken along with our helpless victim, Marie (Cécile de France, The Kid With A Bike, Mesrine) as she realises she was having a nightmare. She remarks on her strange dream to her friend, Alex (Maïwenn, The Fifth Element, Pardonnez-moi), as they drive through the countryside. They are en route to Alex's family farmhouse for a break and to do some much needed studying.

During their journey, we get a disturbing glimpse of a horrific man (Philippe Nahon, Irreversible, Brotherhood Of The Wolf), engaging in a sexual act in his decrepit van. When finished in his putrid activity he takes the woman's head, already decapitated, and drops it out of the vehicle's window, driving off to find his next target.

They arrive at a quiet country home, with no urban life for miles. Alex's family live a simple life, but Marie is worried that she'll be bored being stuck out in the sticks, pressing for any kind of night life in the area. While they settle after their long journey, Alex talks of her new squeeze - a man who is already taken. Marie, who is still single, doesn't agree with the manner of Alex's new relationship thinking her sluttish. Once everyone's gone to bed, while outside the farmhouse catching a sneaky cigarette, Marie espies Alex in the shower but doesn't look away. She gazes for a moment, maybe just out of intrigue or for a secret longing unrealised? It's clear she cares for her friend either way.

Shortly after this, the creepy "man with the van" pulls up to the farmhouse. He rings the doorbell, waking everyone except Marie, who is happily listening to music (and more) in her room. On answering, the man waits for a beat than horrifically begins slaying Alex's father, entering the house to begin his reign of terror. He parades slowly around the family's home, taking them out as he goes. As his onslaught continues, Marie has eludes the killer, having to bear witness to chilling cries of the inhabitants as they fall victim to his bludgeoning. When there is a lull, she flees from her room in search of Alex, who she finds alive, chained up in her room.

The killer is interested purely in Alex...he desires her. Stealing a photo of her for himself, he keeps her chained up to be taken away. Marie isn't standing for this, and decides to fight back to assist her kidnapped friend. She has to do everything in her power to free Alex and the chase is on, leading to a finale that will surprise and shock you.

It's been noted over the years since Switchblade Romance's release, that is has polarised audiences the world over. There are some, unfortunately, poor reviews available on the film. I feel that some of the public's view may be because of their expectations for a movie that turned out to be something quite different, as it's not your average slasher piece, and  with a climax like it has it may have put most viewers off. I, however, love the ending as it's adds a little extra sparkle to the overall movie. In fact, it holds one of the best song choices you'll find in cinema. Muse's anthemic "New Born" is used twice in the film, but has the best relevance during the crushing finale and I think it's one of the finest song choices made for a scene yet (look out for a top ten of Best Songs For A Scene" in the near future!). 

Alexandre Aja has made some other shrewd choices in the creation of this picture. It's masterfully shot, with patient camera work, some handheld, and paired with the source material it helps the tale do its job in slowly building up the apprehension in your gut. There are subtle lighting choices during the film also, which is mostly set at night, adding a salubrious and chilling tone to the overall story.

On the matter of plot, there are straight forward elements here, but when burying deeper into Switchblade's premise it's hard to talk thematically about it without giving too much away. What I will say is that, on a second watch, it has some small rewards in its plot intricacies that you will appreciate. It also bears an interesting approach, in that it has a French, new wave feel, which is a rare vibe in the genre of horror and could be yet another reason why some people weren't as forgiving of it.

What's not forgiving in this picture however is both the horror and performances. Speaking of the actors first of all, Maïwenn plays the victim at the just the right level of dread. In her jeopardy, she plays off against both her tormentor and her saviour with the horror standard any damsel in distress does, leaving no room for whimsical delivery. She is clearly terrified, and it's fair to see why as a character when her captor is as horrific as he is, thanks to Philippe Nahon's formidable execution of a killer so cold, vile and perverted.

It's all held together by our lead. Holding a large amount of the screen time, Cécile de France is stunning in this movie, expressing all levels of fear, anxiety, terror, sadness and fury. As solid Slasher movies go, we always see the catastrophic outcomes from the perspective of the female lead, but her journey appears all the more richer, and this is fuelled by a great performance from Cécile.

The journey isn't complete without the necessary veins of the horror genre to take us through it. There are good horror beats throughout, including small notes of scares early on to build tension and some decent jump moments thrown in to the mix to ramp up the terror. And who doesn't like a good startle or too in a horror movie?!

It even has the quintessential "hiding in the closet" scene, but one like you've never witnessed before. It makes Blue Velvet look like a pleasant evening viewing in comparison. This is due to one simple fact - this film is brutal & gory, relentless in its acts of bloodshed. It blends together a combination of sensationalised violence paired with realistic and visceral gore. I have to say, the bloodshed is quite heavy and those of you with a queasy disposition, should heed this warning. However, if you can look past the blood, sweat and fears you're in for a creepy and violent ride that ticks all of the genre's boxes and still has room to leave you a little treat at the end. A shocking climax and heavily misunderstood, it's the ultimate French indie horror, with a new wave vibe.

As a critic myself, I have to be open minded to an array of views on cinema in order to justify my own position when writing articles. If you are swayed by some of the negative reviews of this movie then I ask that you be persuaded by the equal amount of positive ones too. 

The only fair way to have an opinion on a film is to view it yourself in order to form your own thoughts - and rarely does this apply more than such a unique shocker as Switchblade Romance. 

Don't forget to leave comments below, tweet me @filmbore or post on my Facebook page here. 

Alternatively, you could contact me directly about this film or my other reviews on pickoftheweek@filmbore.co.uk

filmbore pick of the week - Grabbers

Grabbers

Director: Jon Wright

Screenplay: Kevin Lehane

Starring: Richard Coyle, Ruth Bradley, Russell Tovey, Lalor Roddy

Year: 2012

Language: English

UK rental release: January 2013

 
IMDb
LoveFilm
Rotten Tomatoes

Last week I kicked off a brand new season in filmbore, looking at interesting independent and foreign horror movies, in response to the trite we've been fed over the last decade with poor CGI driven equivalents and terrible remakes.

This week, I'm crossing the shores to our neighbour to the west to talk about the Irish horror comedy, Grabbers.

Opening on an astronomical view of a familiar planetary body, you can just make out the trail of a meteorite heading towards terra firma. The maverick satellite lands in the ocean off the coast of an Irish island, witnessed by a nearby trawler. The fishermen on board the ship respond to this in order to investigate this strange occurrence. But a few screams and removed bodies later, it's clear that this a mysterious creature has arrived in the emerald isle.

Lisa (Ruth Bradley, of Plus One and Primeval TV series fame), a work-proud officer from Dublin Central, arrives at this small isle to cover the absence of the local constable who is taking a holiday. Used to the hectic busy streets of the Irish capital, in her eyes spell in this idyllic setting should be a breeze in comparison. Yet, she still believes that the really crazy events occur in out in the sticks.

Her first encounter with one of the inhabitants is her new allocated partner, Ciaran (Richard Coyle, A Good Year and Coupling TV series fame) , a Garda who's so consistently bored he's consistently drunk, or at least recovering from that state. He's not used to such an upstart attitude from another officer, and doesn't take to her straight away.

Their first call out is to meet with Dr. Adam Smith (Russell Tovey, The History Boys and Being Human TV series fame), a marine ecologist brought in to investigate the unusual arrival of some other animals... of some pilot whales that have beached themselves in the local bay. There are several of them, lying dead on the sand but strangely, they are covered in some gory, unidentifiable wounds.

Even more disturbing though is the disappearance of some of the town's locals, who have been served as supper to the town's interstellar visitors. However, answers start to arrive when Paddy (Lalor Roddy, Hunger), another of the bay's trawler man, discovers one of these creatures trapped in one of his lobster cages. Unable to identify it, he decides to take it home to see what he can make of it.

After a brief spell in his bath, his new pet takes to the walls of his home, proceeding to attempt a feed on his own blood. Miraculously, Paddy manages to survive this encounter and takes the remains of the creature, which he names a "Grabber" directly to Dr. Adam to find out more. When they're joined by Ciaran and Lisa, they start to uncover the truth about their new tentacled friends. But can a verbally sparring alcoholic and workaholic keep their wits about them to fend off the oncoming onslaught ahead?

Coming from a relatively unknown director and writer, both have teamed up here to create an enjoyable film to shake up the current trend in horror movie making. It feels both extremely familiar but still holds an identity of it's own, partly thanks to the stunning shots of the Irish coastlines, really taking advantage of the local beauty.

Despite some of the obvious reasons, of which I'll discuss later, one key reason for this affiliation comes from the preference in using a cast probably better known for their TV comedic roles than their attempts on the silver screen. This helps to bring the picture back down to earth, strengthening it's homely feel while giving the performers another platform to step into the realm of movies.

The characters they play are easily recognisable and quick to connect to: the drunk, repressed hero; the uptight, rule-following officer; the weedy, sarcastic scientist; the drunk, abusive seafarer; the disgruntle landlord and his even more disgruntled wife. It's an approachable ensemble of colourful individuals, verging ever so slightly towards caricature while still being centred enough roles for our actors to show their wares.

But what of their adversaries? Fully computer generated, albeit a lifeless one on a table, they're an unusual bunch. All tentacles and maws, they benefit from some great creature design and some fine quality to the visual effects when considering it's modest budget, (approximated at about £3.5 million). It's nice to see a brand new monster design, which is seriously missing from the modern horrors of today.

It still doesn't relinquish itself from it's roots however, honourably throwing the odd nod to horror movies of old, even sneaking in a quick cheeky clip of Night Of The Living Dead to help emphasise this. After decades of all manner of films from this genre it is difficult to fully stand out, so instead it chooses to tastefully reference the odd classic or two along the way. This also meant that it, thankfully, follows the good horror staples you can rely on: reluctant victims foolishly stepping into the brink when they clearly shouldn't, the sleepy town overrun by monsters, shaky camera angles once the action starts, brief reveals of the intruders in the early minutes of the film and some novelty kills - all fillings to an original monster-concept sandwich.

One confident choice against all of this though is that, even though (as stated) we only catch glimpses of the creature during the first act, we actually get to see one of the Grabbers upfront and personal only 25 minutes into the picture - a refreshing decision, unleashing the best itself and bypassing any more salubrious views of these aliens. It's a cocky way of dealing with the elephant in the room, leaving room to fill some of the movie's air with more comedy.

The humour grows throughout too, calmly and confidently, ramping up a little further when our heroes discover how to defend themselves against their unwanted visitors, leading to some funny scenarios. This isn't a constant laugh-out-loud affair mind you, instead keeping its comedy smooth and frequent, creating a smile through all of the terror. Still, I can't help but point out what I consider to be the funniest laugh in the whole film, which is a salute to my favourite film, Aliens (you'll know it when you see and hear it!), so we still get some belly laugh moments at points.

In fact, with all it's humour, frights, monsters and characters, this picture does exactly what it says on the tin...it's a funny romp, great for a Saturday night movie, and just goes to show you that you don't need a Hollywood cast, relentless promotion and a gut-busting budget to achieve this.

 Grabbers knows exactly what it is. Harking back to comedic, carefree horrors like Tremors and Critters, it doesn't take itself too seriously. And, with its unique monster and premise, it's all about the fun. Or as they say in Ireland, it's all about the great craic!

Don't forget to leave comments below, tweet me @filmbore or post on my Facebook page here. 

Alternatively, you could contact me directly about this film or my other reviews on pickoftheweek@filmbore.co.uk

filmbore pick of the week - Berberian Sound Studio

Berberian Sound Studio

Director: Peter Strickland

Screenplay: Peter Strickland

Starring: Toby Jones, Cosimo Fusco, Fatma Mohamed, Antonio Mancino

Year: 2012

Languages: English, Italian

UK rental release: December 2012

IMDb
LoveFilm
Rotten Tomatoes

My awards season proved popular so I thought I'd begin another. With the recent confirmation of the speculated prequel to The Shining (what!?) and the pending remakes of Carrie and The Evil Dead (new version dropping the "The" from the title) it seemed fitting to start my next blog festival on the genre of horror.

In true filmbore style, however, I won't be partaking in any of these remakes (see my article on the subject here and you'll see why). Instead I'll be looking at some independent and non-English speaking pictures of recent release and previous. There is a severe lack of decent horror out at present, and has been the case for some time, so I hope to remedy that by reviewing some alternative horror pieces that may intrigue you...starting with Peter Strickland's reality busting Berberian Sound Studio.

Gilderoy (Toby Jones, Tinker Tailor Soldier Spy, Infamous), a timid, reserved sound specialist, starts his first day at the Berberian Studios. He awaits at the door of Berberian Studio 4, the "Silence" light pulsing to the sound of a heartbeat, unifying anticipation and audio. He's been brought in by an Italian film company for his expertise in mixing sound. Yet, he's presented with a different type of film to what he was expecting - not an equestrian film, as promised, but a Giallo horror.

He is not a sociable man, a vibe picked by his new boss, producer Francesco (Cosimo Fusco, Angels & Demons and Italian TV star). An abrupt man, Francesco is feared by some of the crew. During the start of his employment, Gilderoy has to argue constantly with the producer just to get his flight expenses reimbursed. He also struggles initially to get a meeting with the movie's director, Santini (Antonio Mancino), who is far more charismatic. He's proud of what's he's created thus far, which we assume is horror about a witch's curse. Santini believes it is not a horror though, but instead a movie that reveals the brutal truth behind some historical events.

There is strange relationship between both Santini and Francesco. In fact there's a feeling of the untoward between the entire crew; something is underlying, tangible but untouchable. This is felt most with the animosity for Gilderoy felt by the studio staff. By distancing himself however, he starts to notice the unease between them all, as he watches them patiently to the sounds he's recorded, accentuating a possible terror amidst them. Is he paranoid? Or does the soundscape assist in revealing the truth behind his new habitat?

Within all of this he finds a mild companionship with one of the artists, Silvia (Fatma Mohamed), who also feels the air of mistrust within the crew. She starts confiding in Gilderoy, but is she playing a game with him? Or does she bear some truth in what's happening around them?

Something is definitely amiss here. Why hire a man who doesn't engineer audio for horror? As Gilderoy questions his right for involvement on such a project, the haunting sounds start to plague him, causing detriment to his mind and he begins to break down as reality bends on a film he can't bear to work on.

British director Peter Strickland has delivered a near unclassifiable picture. It does belong to the horror genre, but does stand individually amongst it's brethren. Some of this applaudable segregation is due to some alternative filming techniques, almost alien sounds and interesting storytelling methods.

The film does present itself in a number of acts: timetables segment each chapter of sound that Gilderoy works on as we see his mental being unfold through his medium.  Stockpiles of used food from Foley recording build up as the tale moves forward, rotting away in their heaped state, as they are segued into mirrored shots of the studio equipment, which on occasion start withering itself. There are startling but welcomed interludes with the ADR  (Additional Dialogue Recording) scenes, where we view the artists from outside the vocal booth in soundproofed space. There is total silence, with just the expressions and oral contortions as the performers lay down their tracks.

The technique that brings the most impact amongst all of this is in that the Giallo movie's scenes are described instead of visualised. We never see what's on screen, which is a brave but, luckily, genius approach, allowing us to concentrate on the characters and the audible universe we are presented with. 

And what sound there is to appreciate! As we enter the world of Foley (recording the manipulation of household objects and degradable substances for sound effects - a dream job for many, including myself!) there are highlights of some captivating recording techniques. For example, we see how a blender and some Pasata can be used to great effect to generate the sound of a chainsaw cutting through flesh. Yet, beyond all of this the sound department on this film had to be of a standard worthy of the source material. I'm pleased to say that, in this area, Berberian Sound Studio is a triumph. There is some incredible sound design here, sometimes marrying with the recordings that our characters are manipulating, while at the same time drawing us away from normality with some absorbing and provocative audio. 

Strickland pairs the aural with the visual perfectly. From the off, we open on wonderful close-up shots on recording equipment - a motif that he perpetuates throughout the picture. It's shot very atmospherically, with slow pans and uncomfortable close-ups to breed anxiety in the audience. There's also some good use of side lighting to add to the claustrophobia.

This apprehension is thrived upon by the actors. The relatively unknown cast (Cosimo Fusco is probably more recognised as Rachel's Italian squeeze, Paolo in the US TV comedy behemoth, Friends) do a great job at crafting a bewildering sensation of discomfort through their disconnecting personas. They're a rich collection of characters that gently meld to create the necessary environment to throw curve balls at Gilderoy. 

Standing above all of this is the victimised lead. English born Toby Jones is a great casting choice for our troubled sound engineer. He's had some strong roles over the years, only really receiving big opportunities more recently. Here, his subtle performance holds together a film that could appear confusing, as he allows you to buy into this surreal world.

A Lynchian world, if you will. There is no disputing the dream-like sense of awareness in the film that is so intrinsically bound in David Lynch's pictures. Yet, this movie has a personality of it's own thanks to it's simmering, nervous dread. Tension slowly builds throughout, and you're never sure if something's going to happen (and I won't say either way in case I spoil it for you). These hidden expectations; the anguish of the unknown - feelings that hark back to some of the best classic horror around, such as The Wicker Man and Rosemary's Baby. This sense of urgency and unease is generated from the tormenting journey the picture takes you on, experiencing the events through the alienated mind of Gilderoy. It's a unique take on horror - a distant connection to the genre while still completely enveloped by it.

A thoughtful homage to the sound techniques used by 70s British studios, while still nodding to the revered Italian genre of Giallo, there's no ignoring the fact that Berberian Sound Studio has seriously split audiences - this may not be for everyone. But if you're bored of the same, standard horror fare and want to step into the unknown, treat yourself to this and behold one of those rare things...an art-house horror. 

Don't forget to leave comments below, tweet me @filmbore or post on my Facebook page here.

Alternatively, you could contact me directly about this film or my other reviews on pickoftheweek@filmbore.co.uk

In memory of the famed film critic Roger Ebert

And so we must now say farewell to yet another icon of the film industry, as only a week ago we lost the irrepressible film journalist Roger Ebert. I would have written this article closer to his passing, but I've been absent some of this week. However, a delayed tribute cannot deter us from remembering a brilliant man, who was so honest and relentless in his reviewing technique.

In the late 60s, Roger starting critiquing movies for the Chicago Sun-Times, quickly earning a reputation as an artist of the form. Around this time, even the legendary Pauline Kael stated that Roger's columns were "the best film criticism being done in American newspapers today".

Leading into the 70's he also dabbled in books, screenplays and even guest lectured on film, until his first major step as the critic we now know him as today began when he start co-hosting a weekly review show, Sneak Previews. A few years later he would meet his "partner-in-whine" Gene Siskel, and they worked together in the decades that followed on a number of self named shows until up Siskel's death in February 1999. It was in these years that the pair coined their famous "thumbs up/thumbs down" scoring system, which sometimes followed some hefty and comical debates between the two thanks to their natural chemistry and charm (they even trademarked their phrase "Two thumbs up"!).

His forward views have generated some incredibly humorous articles, with memorable phrases, so below I have included some quotes from his work over the years for your amusement. Yet, Ebert's reputation was also held together by so much more than his wit. He has established himself in film critic history with his truism approach to journalism: always being direct with his comments, displaying his own personality through his text, while still writing his articles from the perspective of the audience demographic that a film is targeted to. He has been an influence to many a critic, and as a fledgling reviewer myself I have always been inspired by his method and technique. Roger, I salute you...with two thumbs up!

Quotes from some of Roger Ebert's most memorably scathing reviews...

"Young men: If you attend this crap with friends who admire it, tactfully inform them they are idiots. Young women: If your date likes this movie, tell him you’ve been thinking it over, and you think you should consider spending some time apart"

Battle: Los Angeles (2011)

“Going to see Godzilla at the Palais of the Cannes Film Festival is like attending a satanic ritual in St. Peter’s Basilica…It was the festival’s closing film, coming at the end like the horses in a parade, perhaps for the same reason.”

 Godzilla (1998)

“Here it is at last, the first 150-minute trailer. Armageddon is cut together like its own highlights. Take almost any 30 seconds at random, and you’d have a TV ad. The movie is an assault on the eyes, the ears, the brain, common sense, and the human desire to be entertained. No matter what they’re charging to get in, it’s worth more to get out.”

Armageddon (1998)

“During a rehearsal scene, their director tells them, with such truth that we may be hearing a secret message from the screenwriter, ‘That was absolutely perfect — without being actually any good.’ Spice World is obviously intended as a ripoff of A Hard Day’s Night which gave The Beatles to the movies…the huge difference, of course, is that the Beatles were talented — while, let’s face it, the Spice Girls could be duplicated by any five women under the age of 30 standing in line at Dunkin’ Donuts.”

Spice World (1997)

“Some of the acting is better than the film deserves. Make that all of the acting. Actually, the film stock itself is better than the film deserves. You know when sometimes a film catches fire inside a projector? If it happened with this one, I suspect the audience might cheer.”

Revolver (2005)

“If you want to save yourself the ticket price, go into the kitchen, cue up a male choir singing the music of hell, and get a kid to start banging pots and pans together. Then close your eyes and use your imagination… The movie has been signed by Michael Bay. This is the same man who directed The Rock in 1996. Now he has made Transformers: Revenge of the Fallen. Faust made a better deal.”

Transformers: Revenge Of The Fallen (2010)

“’This sucks on so many levels.’ Dialogue from Jason X; rare for a movie to so frankly describe itself. Jason X sucks on the levels of storytelling, character development, suspense, special effects, originality, punctuation, neatness and aptness of thought.”

Jason X (2001)

 “This movie doesn’t scrape the bottom of the barrel. This movie isn’t the bottom of the barrel. This movie isn’t below the bottom of the barrel. This movie doesn’t deserve to be mentioned in the same sentence with barrels.”

Freddie Got Fingered (2001)

"To call it an anticlimax would be an insult not only to climaxes but to prefixes. It's a crummy secret, about one step up the ladder of narrative originality from It Was All a Dream. It's so witless, in fact, that when we do discover the secret, we want to rewind the film so we don't know the secret anymore.

 "And then keep on rewinding, and rewinding, until we're back at the beginning, and can get up from our seats and walk backward out of the theater and go down the up escalator and watch the money spring from the cash register into our pockets."

The Village (2004)

Simply brilliant! We'll really miss you Roger!

"So on this day of reflection I say again, thank you for going on this journey with me. I'll see you at the movies."

Roger Ebert, final blog post Tuesday 2nd April 2013

 

Roger Ebert (1942 - 2013) R.I.P.

 

 

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