filmbore pick of the week - Amour

Amour

Director: Michael Haneke

Screenplay: Michael Haneke

Starring: Jean-Louis Trintignant, Emmanuelle Riva, Isabelle Huppert

Year: 2012

Language: French

UK rental release: March 2013

IMDb

LoveFilm

Rotten Tomatoes

My awards awareness season has been fun so far, and it's been great trying to raise visibility on some great pictures that are usually ignored, even though awarding bodies are trying to recognise them in some shape or form. To tail off my themed pick of the weeks over the last month or so, it seemed only fitting to review the biggest success for world cinema throughout the last collection of awards festivals - Michael Haneke's Amour.

He came close to winning an Oscar when he received an Academy nomination 3 years previously for The White Ribbon (Palme d'Or winner in 2009), only to lose out to The Secret In Their Eyes (see my review of it here). He turned heads four years previous to that with the astonishingly good Hidden (Caché), of which I chose for one of my picks-of-the-week back in November last year. This time around, Haneke took his turn in the limelight with the emotional Amour winning all manner of gongs, including successes at the Academy Awards (Best Foreign Language Film), the César Awards (numerous, including Best Film), the Golden Globes (Best Foreign Language Film), the BAFTAs (numerous including Best Film not in the English language) and the coveted Palme d'Or at Cannes, to name but a few! So, what's the fuss all about...

We open on some fireman breaking into an apartment. Once in, they open some of the windows to release the smell they're confronted with. But not all were opened by them...in one untouched room, with a breeze entering of it's own accord lies the deceased body of an elderly lady, immaculately dressed and holding a bouquet of flowers.

We're taken straight to a theatre, facing the audience who are still trying to find their seats. Our leading couple are seated near the centre, chatting away happily. They're a couple who've become so comfortable with each other over time and still hopelessly in love with each other. Anne (Emmanuelle Riva, Three Colours: Blue, Hiroshima, mon amour) sits patiently nattering to her husband, awaiting a performance for her old piano pupil, Alexandre (real life pianist Alexandre Tharaud).

The next day, while at breakfast, Georges (Jean-Louis Trintignant, Three Colours: Red, The Conformist) takes his turn to chatter away. They still share mild banter and new stories together after many years in each other's company. Georges continues talking until he notices that something is wrong. Anne suddenly suffers from a mild stroke, as she stares blankly back at an aghast Georges. Minutes later, she snaps out of it, unawares - she doesn't want to believe that it has happened.

Against her own views, she agrees to seek help. She undergoes an operation that isn't fully successful, so further strokes are likely. Now, they are always at the fear of further episodes occurring while Anne defies any more hospital visits. Hearing this disheartens her daughter, Eva (Isabelle Huppert, The Piano Teacher, Violette Nozière), who already feels distant from the situation, even with continuous calls to Georges to find out what's going on. Her presence troubles Anne, as she doesn't want her daughter to see her in the state she's in. 

But Eva needs to help and she questions George's methods, even though they are at the behest of Anne's wishes to stay at home.

The key focus and direction of Amour's tale is of how this couple of many years of marriage deal with the aftermath of Anne's stroke. Behind this plot, however, are layers of emotions and perceptions delivered with such subtlety. A lot of this strength comes from Haneke's screenplay. With such great writing, the film is full of sweet and intelligent dialogue, delicately handled by our leading stars.

This includes the calm and intense portrayal of Eva by Isabelle Huppert. In the few scenes she is in, Huppert is very moving as the couple's daughter. Feeling segregated and hopeless to help, she speaks from the mind of many children craving to aid their parents when in need; wanting to advise from their perspective without insulting the mothers and fathers they will always look up to. It's a difficult manner to put across, and Huppert does so effortlessly, thanks to her controlled delivery and the interesting chemistry between the characters of Eva and Georges.

Turning to the father, there needs to be more discussion of Jean-Louis Trintignant as Georges. Emmanuelle Riva is sensational, deserving all her awards success, (including winning gongs at the BAFTAs & the Césars and a nomination at the Academy Awards) but so is Trintignant. He should have been recognised in the Academy Awards as well as others too in my opinion, but at least he picked up a César Award like Riva. He commands the whole picture from beginning to end, as Riva dances around his pillar of a performance with her emotive and beautiful execution of Anne. It's a wonderful partnership they have in the film as actors: lending extra gravitas and depth to the characters; breathing reality into the relationship in their portrayal of the elderly couple.

Riva's performance is outstanding though. I'm a fan of Jennifer Lawrence, don't get me wrong, and she was bound to pick up at least one Oscar in her career, but Riva's portrayal of Anne was so worthy of the gong that it's a travesty that she didn't take it. With such a hard role to handle, it takes a lot of gumption to be able to play a woman going through Anne's strife. She is so affecting in the lead, and it's not a performance you'll forget in a hurry. At least Riva can be proud to say that she is now the oldest nominee in history up for Best Actress In A Leading Role at the age of 85.

Thankfully, as mentioned at the start of the article, Michael Haneke has finally received the plaudits he so deserves. As expected, he's as patient with his lens as he always is. For example, take the main leading shot in the theatre...Anne and Georges are only just noticeable in their seats as everyone else muffles around for their seats, then he stays on the audience to the receive their initial delight of the pianist's performance...it's true Haneke! 

In fact, besides this scene and another brief sequence, the entire film is staged in the couple's apartment. It's a great set, acting as a supporting character to the leading pair. And with such a small environment to work in, it's surprising how much Haneke draws from it. He always calculates beautiful, drawn-out static shots for effect while at the same time allowing the actor's to exhale such natural performances, and he does so effortlessly here in  a limited amount of shooting space, which is beyond admirable. You never feel claustrophobic either, and there are new angles to take in all the way up until the very end of the picture.

And how do you feel by the end? It's a interesting journey, sure, and it has to be said that it contains some harrowing spells that some of you may find difficult to watch. Yet, the despair is united with some extremely moving moments, while still confidently hanging on to the looming melancholy that cannot be sidelined. Like the earnest scene where Georges tries to help Anne with her speech. It's sad but touching.

What Haneke has so eloquently managed is to build around this small world an affiliating tale that's both heart-warming and tragic, bringing up emotions from the deepest instincts of human nature, quality of life and the strength of true love. This is realised most purely in a brief moment when Anna is calling out in distress - the slightest of Georges' contact in gently stroking her hand eases her swiftly. It passes in a heartbeat, but still manages to highlight the picture's premise and is so naturally felt. I feel that these few seconds sum up Amour in it's entirety - no matter what the complication that may beset you, or the conflicts of views between you, it's the understanding that you are there for each other, through thick and thin, that carries more power and courage than any individual can burden alone.

The small awareness for Riva is one accomplishment in an awards culture usually geared towards the blockbuster realm, but it's Michael Haneke's steps to glory over the previous months that finally puts an extra flag for world cinema in the map of cinematic history. Showing all of his talent in Amour, it's just the right picture to attain such eminence and, in my view, the leader of the pack of my awards awareness season.

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

March Overview

Awards awareness, Top 10 debates and a sad farewell

So, as Easter passes and we all feel guilty for the amount of chocolate we've eaten, gym membership applications have gone through the roof! ;) Yet, in the UK we've only just come out of the other side of this horrendous late Winter and the sun has started beating down on our isle, encouraging us out of our warrens for Spring...and it's about time too!

Activity thrived on filmbore throughout March, as the timing of the calendar meant we had an extra pick of the week than usual, two Top 10s got the social communities chatting and debating and we waved our last goodbye to a British legend. Let's remind ourselves of the snowy month of March...

Pick of the week - Recap

 
Starting the month on St.David's Day meant only one thing...I had to pick a welsh film! Clearly, one of the greatest and most misunderstood of these is the hilariously brilliant Twin Town. Julian and Jeremy (Llyr & Rhys Ifans) begin a retaliation against rugby club owner Bryn Cartwright (William Thomas) after he fails to pay compensation for their injured father, with disastrous consequences.

Commencing my "Awards Awareness" season was Jacques Audiard's beautifully shot Rust And Bone, which stood well at the Cannes Film Festival, the BAFTAs and the César Awards. Marion Cotillard plays Stéphanie, a recently disabled whale trainer trying to re-establish herself in the world. Ali (Matthias Schoenaerts), a reborn street fighter, could hold the life she needs.

Beasts Of The Southern Wild was one of the bigger independent successes this time around, especially with it's visibility in this year's Academy Awards. Even though it didn't pick up any Oscars, you cannot dispute the originality of the piece. It still picked up awards in other events, and Quvenzhané Wallis became the youngest Best Actress nominee in history at just aged 9 for her astounding performance as Hushpuppy.

A break from the awards based films, Tales Of The Night was brutally missed out at the major ceremonies. With such individual animation techniques and plenty of intriguing, warm stories within, Michel Ocelot's portmanteau of fables deserves more recognition for it's vibrancy, visuals and veracity.

Shortly after the 2013 Empire Movie Awards there was only one film that I could pick from their successes...Ben Wheatley's Sightseers. Taking Best British Film at the event, it harks back to Wheatley's debut, Down Terrace, for it's humour but brings it's own level of black comedy. Tina (Alice Lowe) and Chris (Steve Oram) take the caravan experience to a whole new level with murder, kidnapping dogs and a pencil museum.

New Top 10s

I promised you more Top 10s, so I gave you more Top 10s...
 

With the "cinematic pop sensation" of Les Miserables dominating the scene, I had to do something musical based. Three attempts at this (comedy musicals, coolest musicals, darkest musicals) were good but I always felt something missed out. Mixing them altogether, I compiled the Top 10 Musicals With A Difference. Including the three original lists, as mentioned, this topic generated lots of debate and chat amongst you all, on both this blog and in Facebook. In fact, such activity was generated that I even altered the "Just Missed Out" section and one of the sub lists to include Ken Russell's Tommy following the suggestions you all made, proving the power of the people's opinion. All of this discussion spread the word amongst social communities, making this post one of the most viewed that I've ever had, so I want to thank all of you who got involved and got the debate going.

This success meant I had to give you another list straight off the bat. The Walking Dead Season 3 has finished/ is finishing (depending on which country you're in) and we're still riding the wave of successful comic book adaptions since the success of The Avengers and The Dark Knight Rises last year. To take the usual left field, filmbore route, however, I opted to look at the adaptations that didn't include superheroes or caped crusaders in my Top 10 "Non-Spandex" Comic Book Conversions. Again, this has generated some rapid activity, proving that no matter who you are, or what you're into, we all love a good top ten list!

But were this lists wacky enough? Have any better ideas yourself? Post in the comments section below or post onto the timeline of filmbore's facebook page with your suggestions.

In memory of Richard Griffiths OBE

At the end of March we were told of the sad news that Richard Griffiths had passed away due to a complication after heart surgery. At 65, Griffiths had garnered such a rich, wonderful roster of performances both on stage and on screen that he'll be stamped on our memory forever.

In honour of the great man, I have chosen a selection of his exuberant characters, discussing his approach and reminding us of his incredible ability as a character actor, along with quotes, pictures and a couple of videos for you all to enjoy.

Please pop by and take in the brilliance of the man, and leave your own comments and feelings at the bottom of the article.

Richard Griffiths OBE (1947 - 2013) R.I.P.

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

Or, you can email me directly at overview@filmbore.co.uk.

In memory of the genius actor Richard Griffiths OBE

Only two days ago we lost one of the UK's finest actors. Richard Griffiths, aged 65, was famed for his wonderful TV performances, and continually honoured for his talent on stage in plays such as The History Boys, Equus and The Sunshine Boys, driven from his earlier presences on the boards playing Shakespearean clowns for the RSC.

But it's his character acting in movies that he is truly loved for. A rare achievement to hold such calibre as an actor for the many years in the business, the Yorkshire born thespian has brought all manners of dark and light, paired with both humour and sadness in supporting roles that would have slipped through the consciousness of other performers. He breathed so much life into these personas that they are fixed in cinematic history as a testament to this wonderful man. So, as tribute to Richard Griffiths, here's a selection of some of his prize moments:

Monsieur Frick in Hugo (2011)

In a film full of known actors in supporting character roles, Griffiths was idyllic as Monsieur Frick, the gentleman pining for Madame Emilie (Frances de la Tour). Glancing from his newsstand, at the train station where the movie is set, Monsieur Frick would chance flirtatious look with cafe owner Madame Emilie, but any further encounter would be halted by the jealous growled warnings of her dog. That is until the warming moment that he arrives at the station one morning with a dog of his own - the two hounds make acquaintances, giving room for the two lovebirds to finally be close to each other.

Monsieur Frick and Madam Emilie meet at last!

Douglas Hector in The History Boys (2006)

Alan Bennett's play has received numerous plaudits on stage, and now on film. Griffiths played the boy's General Studies teacher, "Hector", on the boards and then reprising the character in the film. A complicated role, handled with such delicate consideration by Griffiths; he is a companion and favoured by the pupils but holds a dark secret regarding his attraction to some of the boys. A real juxtaposition in character, respected prior to this knowledge by his class for his disposition and words of wisdom, then derided for his actions following rides home on his motorbike.

"The best moments in reading are when you come across something — a thought, a feeling, a way of looking at things — that you'd thought special, particular to you. And here it is, set down by someone else, a person you've never met, maybe even someone long dead. And it's as if a hand has come out and taken yours."

Vogon Jeltz in The Hitchhiker's Guide To The Galaxy (2005)

I'm a huge Douglas Adam's fan, especially Hitchhiker's Guide, and I was always intrigued as to who would play what role in the film version. Awful poetry lover and intergalactic planet demolition expert Prosthetnic Vogon Jeltz was one of my favourite sub-characters of the entire cannon, and I was over the moon when I found out the Richard Griffiths would lend his voice to the general of the belligerent aliens, in a part that was extended to allow more involvement from these hilarious beings.

Griffiths eloquent delivery, paired with his ability to understand the canniest of personas, was a perfect choice for the role...

Vernon Dursley in the Harry Potter film series (2001 - 2010)

Of course, he is most known for playing Vernon Dursley, Harry Potter's begrudged uncle, in one of the biggest movie franchises of all time. Partaking in nearly all of the Potter films, Griffiths was perfect for playing a man who, as cruel as Vernon Dursely was to Harry over the years, was still loved for the humorously unavoidable moments of terror and embarrassment.

There are so many clips to choose from, but this is one of my favourites...

Henry Allardyce the Accountant in A Private Function (1984)

Sometimes forgotten, this is a wonderfully comical small British film starring on of our Monty Python's, Michael Palin, and a host of other great British stars, such as Denholm Elliot, Maggie Smith, Alison Steadman, Liz Smith, Pete Postlethwaite, Jim Carter, and many more, including our post-humorous guest. 

In a post-war Yorkshire town still enduring food rationing, quality meat is a luxury. Griffiths plays Henry Allardyce, an accountant who is arranging a private dinner with some select guests where the main course a young pig. It's a warm and comical role, where he deftly plays a man trying to impress his peers but still at odds with his conscience as he feels connection to the pig that he fondly named Betty.

In this funny scene, Griffiths as Henry Allardyce tries to tempt Betty the pig with a biscuit

Uncle Monty in Withnail & I (1987)

"My boys...my boys!"

He may be most remembered for Harry Potter, but true Griffith's fans will always remember him as dear Uncle Monty in one of the UK's finest comedies, Withnail & I. This is one of my favourite pictures of all time, and is known as one of the most quotable, mainly thanks to some incredible writing and performances from Richard E Grant, Paul McGann and Richard Griffiths.

With so many brilliant moments, I can't bring them down to one easy choice, so instead I've uploaded the entire scene where we first encounter him for you all to enjoy. If you've never seen Withnail & I, I urge you to. If you have, I urge you again. If you've seen it a million times (like myself) I should not have to convince you to press play on that DVD player, so you can quote along with Monty to your hearts content. But for the moment, enjoy this wonderful moment...

Effervescent, charismatic, direct and overtly camp, Uncle Monty is one of the best supporting characters of any British film, and this is thanks to the genius that is Richard Griffiths OBE. 

British cinema is already lost without you, but will never forget you along with your fans.

Richard Griffiths OBE (1947 - 2013) R.I.P.

Please feel free to share your favourite moments from Richard Griffiths career or add your thoughts on the man by posting in the comments section below.

filmbore pick of the week - Sightseers

Sightseers

Director: Ben Wheatley

Screenplay: Alice Lowe, Steve Oram, Amy Jump

Starring: Alice Lowe, Steve Oram, Eileen Davies, Richard Glover

Year: 2012

Language: English

UK rental release: March 2013

IMDb

LoveFilm

Rotten Tomatoes

Were returning to the awards based features this week, and will do with a few more week's to come. And with the most recent event being the 2013 Empire Movie Awards, I thought I'd cherry pick one from the successes of the night to talk about. One fits my, as always, fussy criteria - the piece which won Best British Film, Sightseers.

Tina (Alice Lowe, of Garth Merenghi's TV series fame) is 34 and lonely. She lives at home with her smothering mother, Carol (Eileen Davies) -  an isolated life. She hasn't travelled much and would like some adventure.

She's finally found her match in Chris (Steve Oram, It's All Gone Pete Tong) who has a love for caravans, nature reserves and museums. He's a nice chap on the whole, but feels disrespected by everyone he meets and angry of other people's lack of consideration to nature and the countryside he loves so dearly. Together, they're a sweet couple, who seem to have found each other through the realms of their unique, quirky little world. Carol doesn't trust Chris though, and on the knowledge that they're about to go on holiday together she's worried for her daughter being away with him. Does she see something we don't or does she covet Alice far too much?

Said trip is a tour around several locations around Yorkshire, taking in museums and camping spots along the way, with their first stop being the Crich Tramway Museum. On a tour around the site on a rare tram, a fellow passenger causes an upset by dropping rubbish on the vehicle's floor. This starts to put Chris on edge, showing a more perturbed side that Alice may not have noticed before; a stressful inner soul clawing its way out.

Ruining their experience of the museum, this leads to Chris reversing over the litterbug with a gruesome outcome. Alice runs round to see and is shocked by the terror before her, unable to tear her eyes away from the dying man. Chris, on the other hand, feigns surprise but seems faintly pleased.

This first "accidental" death opens Alice's world to one of exciting dark adventures. As she slowly works out what Chris is up to she slowly steps into his warped view, a new life to step into to escape from her current imprisoned existence. However, the more Tina understands Chris' bleak, esoteric underside, with a desire to be there with him, the more they begin to drift apart.

For those that have followed filmbore thus far may be aware of my love for Ben Wheatley's work from when I previously reviewed Down Terrace and Kill List. Of the two, it does feel a little closer to his debut Down Terrace, especially through it's altogether improvised feel, with natural conversations playing their own part in the established script. Yet, it's clear that this is his most sincere and upfront black comedy yet, especially when exposing some of the brutality in such a nonchalant manner.

There are such striking differences between the horror and the normality too, which is key to making a dark comedy work. And in those heavier moments, Wheatley still hides some of the gruesomeness by putting it out of shot, as he has before, allowing our mind to conjure up the horror behind the curtain. Except, this time around he's unafraid to pop in a few blatant reveals of the aftermaths to add further shock. Somehow though, these methods make for more rambunctious laughs, where Wheatley's usual relaxed attitude to violence in his films is used in great effect as a tool for comic timing. Sightseers is gory as hell in these brief slap-in-the-face moments, and is quite happy to carry the humour with it. 

It's important to recognise that there is more depth to the comedy than bloodied slapstick. There's great dry humour, especially between the leading pair. The laughs grow as the film goes on, with the characters slowly embedding themselves into the story, and once Tina starts to understand and buy in to Chris' violent actions it allows for some hilarious domestic arguments during the craziest situations.

This makes it an original spin on a caravan holiday. The best comparison I can muster is that it's like Mike Leigh's Nuts In May cross bred with Oliver Stone's Natural Born Killers. I know...it sounds ridiculous, but it will make sense once you see it. Even though there is a vibe of the familiar, there's no disputing it's originality. This feel is generated by Wheatley's deft hand, but can only be brought to fruition by the tale that binds this all together. The story, created by our stars Alice Lowe and Steve Oram, came from an idea grown between our two stars many years ago combining their experiences on caravanning holidays. The treatment was turned down frequently due to it's dark veins, but Edgar Wright came to the rescue (who Lowe worked with on Hot Fuzz and is an Exec Producer on this feature), injecting some life into the arteries of Sightseers, finally drifting into Ben Wheatley's hands and heart. With Amy Jump, Wheatley's regular collaborator, as a third scribe, the script could be finally be fleshed out. With some great written pieces, with some wonderful one-liners thrown in ('Are you saying "Murder Is Green"?!'), together they've manage to tie this all up in a wonderful tale.

The story takes us to some interesting sites too. The tale's premise means we get the opportunity to see parts of the British countryside that we rarely do in cinema. We're treated to some great shots of the Yorkshire countryside, highlighting its vibrant beauty in the earlier, happier times of the picture, while exposing its eerie mysticality as the movie progresses. 

It's fair to say that Wheatley's films have a very specific look to them. Take the moment where Chris is disgruntledly stalking across the hills after a camper walking his dog: with handheld moving shots and great use of natural light to create long crisp lens flares and moody silhouetting, it's a template that you can clearly identify him by. Tied into some of Ben's trademark handheld close-up shots, and visually it really stands up over more recent outputs.

It helps that those he's getting close to are so absorbing. As is usual in a Wheatley picture, there are strong characters throughout the piece, even down to the smaller roles. The cast is very small, but every persona is embodied perfectly by each actor playing them. They don't detract from the presence of the main characters either, instead emphasising their richness. Tina is immediately likeable. Her idiosyncrasy is endearing, and you feel a little pity for her when you begin to get to know her. But as her identity flourishes you're drawn to her peculiarities.

Chris' character is the most intriguing of all. He craves esteem from his peers, even strangers, and feels cheated somehow. And his care for the countryside, along with his hatred for others who don't feel the same, mirrors his own preservations and lack of self worth. He clearly feels misunderstood but instead of seeking the means to express himself, he takes out his desires through bizarre acts on innocent people, then finding some justification for his outbursts. It's an astonishing combination of attributes, building a man who you feel, no matter how much you peel away, you'll never reach his core.

This comes across so well thanks to Steve Oram, who is great in the role of Chris. Seemingly sweet until the foreboding takes over, embodying the frustration through bludgeoning, then dropping it all to whinge about the smaller things in life, apathetic to recent events - it's a very well balanced, subtle performance, that he handles delicately and wisely. And in tandem with Oram, Alice Lowe as Tina is delightful...incredible in fact. It's about time she had a shot on the big screen. This situation feels similar to when Wheatley gave Neil Maskell an opportunity in Kill List. She holds the heart and soul of the entire film, and we experience Sightseers with her. She is a unique character, who follows her own own confused, blind path but you still assimilate with her. It sounds bizarre when considering what happens, but you'll see what I mean when you reflect on the film. This is only possible thanks to such an assured execution from Lowe, and her turn in the limelight is a welcomed one.

Typically British and deserving of the acclaim it starting to amass. I wasn't sure how Wheatley could have continued after his fantastic debut, Down Terrace and against the mighty Kill List, but with Sightseers he's knocked it out of the caravan park!

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

Top 10 "Non-Spandex" Comic Book Conversions

With Season 3 of The Walking Dead drawing to a close, and of the continued & improved success of comic book movies last year, I thought it best to focus my next Top 10 on filmed conversions of inked mythology.

As a friend of mine from Sheffield, UK (Andy "The Epicentre" Stockton) used to say when asked about what comics he liked..."I'm into it as long it's not spandex!". He's referring, of course, to the deluge of super hero based comic books that Marvel and DC are so famous for.

But, what comics are there without caped crusaders, I hear you cry? Actually, there are tonnes! I'm a bit of a late fan to the genre, returning to comic books with more expertise and passion than any of my younger years, thanks to the awareness of the more mature outputs, especially from the DC sub-publisher, Vertigo. And The Walking Dead has recently become one of the more famous series of books thanks to the excellent AMC production.

So, in honour of the zombie-filled impending series finale, here are my Top Ten "Non Spandex" comic book adaptations...

The criteria: Unlike The Walking Dead, these must be conversions into movies not programmes...this is filmbore, after all. These must be adaptations from comic books that have no costumed heroes in them, hence the point of this Top 10. For example, even though satirical and hefty, while not for the younger audiences, I've not permitted Watchmen to be on this list I'm afraid for this very same reason. Plus, Kick Ass and Mystery Men, even as comedies poking fun at the genre, also don't get a mention due to the fact that they are still filled with caped crusaders.

WARNING! Very mild spoilers ahead.

10. The Adventures Of Tintin: The Secret Of The Unicorn (2011)

Even though still aimed at younger audiences, Tintin is probably the most famous of all non superhero comic characters. Spielberg and Jackson's project to bring Hergé's creation to life was satisfyingly successful, incorporating the right level of excitement and comedy. And that chase scene through a Moroccan town while being flooded is sensational!

9. Sin City (2005)

Frank Miller's dark noir was always destined for a movie adaptation with it's dramatic plots and sharp lines & visuals. Not only was Miller's trademark look captured perfectly in the film, the casting of some of Sin City's biggest characters was genius, especially in the cinematic return of Mickey Rourke as the hugely misunderstood Marv.

8. A History Of Violence (2005)

David Cronenberg had already wandered down a different path with 2002's Spider, but it was with his adaptation of John Wagner's grim graphic novel where he reestablished his position in the business. Viggo Mortenson is the perfect actor to play Tom Stall: a simmering local hero type with a bucket full of secrets to bear, but the truth starts to emerge following an attempted robbery at a diner that he prevents, raising a few eyebrows in the process.

7. Coraline (2009)

As a huge Neil Gaiman fan (The Sandman being one of the greatest comics around) I had to include this enigmatically dark children's tale about defiance and desire. In her new family home, Coraline Jones discovers the Other World: an alternative realm similar but more sinister to her own. Henry Selick's stylistic stop-frame adaptation lends an extra personality to this already charming tale.

6. Persepolis (2007) 

Adapted from her autobiographical graphic novel of the same name, Marjane Strapi wrote and directed this movie adaptation of her upbringing during the Iranian Revolution. A rebellious young girl in an oppressive culture, we get to see how her values and responses shape her decisions and future. But this isn't as heavy as it sounds, as it's refreshingly funny in all the right places too.

5. Scott Pilgrim vs. The World (2010)

Like someone's just bred a hybrid of a Commodore 64 and an iPod, Edgar Wright's version of the hugely popular comic series packs a plethora of punches. Scott's in love with Ramona Flowers, but in order to date her he has to defeat her seven evil exes, boss fight style! Full of typical Wright humour, this is a must for gaming fanatics.

4. Akira (1988)

The king of anime! There have been so many conversions from manga to movie over the decades, but this still stands head and shoulders above the rest. Set in the post-nuclear city of Neo Tokyo, many are put off by it's twisting, confusing plot but once you buy into the story it will not let you go. An allegory to bullying and how power can change you, Akira is still one of the finest films of the 80's.

3. The Lone Wolf & Cub Series (1972-74) / Shogun Assassin (1980)

Another manga conversion, the eponymous Lone Wolf & Cub movie series tells the gory tale of a ronin and son, travelling the plains of feudal Japan, taking on assassin assignments on their trail to avenge the death of his wife. Only six films were ever completed from the 12 books, but we were treated to the video nasty Shogun Assassin: an English dubbed remix of the first two chapters with an incredible electronic score from Mark Lindsay.

2. The Crow (1994)

The film that took Brandon Lee's life still has a huge impact. Caliber Comics gave James O'Barr's story a chance back in 1989; of a tale that he wrote to help deal with the death of his girlfriend to a drunk driver. Both the book and film attain cult status, speaking as the voice of a generation. It translates beautifully from comic to celluloid and garners Brandon's best, if final, performance.

And the winner is...

1. Road To Perdition (2002)

Most people don't even realise that Road To Perdition is an adaptation of a comic book story!

Even more intriguing is the fact that the graphic novel itself was loosely based on the premise of our no.3 selection, Lone Wolf & Cub. Known more recently as an author of books, expanding on known TV crime series' (such as Dark Angel and the CSI franchise), Max Allan Collins made a name for himself by taking over the Dick Tracy series in 1990. It wasn't until the late 90's, however, that he would reach his zenith in crafting the absorbing tale of a mobster and his son, on the road during the Great Depression.

Michael Sullivan (Tom Hanks) is an enforcer, who is truly loyal to his boss & adopted father, the malevolent John Rooney (Paul Newman). However, Rooney's natural son, Connor (Daniel Craig), is quite the opposite and is a tyrant crawling under the family's skin. As internal friction grows in amidst the pair, it leads to an unprecedented slaughter of Sullivan's family at the hands of a jealous Connor. This heart-wrenching event forces Sullivan to take action, with his only option being that to take to the road with his surviving son, Michael Jr (Tyler Hoechlin).

Tearing across the US, they forge a plan to crumble Rooney's empire and to take vengeance for the losses they have felt. This won't be so easy, as a loose cannon with a camera, Harlen (an out-of-comfort-zone Jude Law) is hot on their trail to stop them in their tracks. With as much cunning as Sullivan but far more perverse enjoyment out of what he does, both father and son will have to keep an eye on their rear view for this unpredictable assassin.

Sam Mendes is always a trusted pair of hands, and he scatters his own blend of visual delight and canny cool to make an incredibly emotive piece. He takes notes from the tale's original medium, leaving space for those locked off vanity shots that marry so well with the comic book world. Never has this been released so perfectly as the finale...I won't spoil it for you, but it has received compliments over the years purely for it's use of rain (in Blu-ray, this particular scene is one of the best pre-HD shots I have encountered). And, even though the founding tale is influenced by another comic, there's no disputing the clear brilliance of this movie.

With a cast like this, such a brilliant story and a director who is adept at anything, it's a winning combination...with gusto and tommy guns!

Just Missed Out: American Splendor, 300, RED, Death Note, V For Vendetta, Hardware

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.

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