Often viewed as a kind of blasphemy, claiming that a film is “better than the book”, is bold to say the least. It is also a rare occurrence. Novels allow for rich world-building and detail that films simply can’t afford to spend time on. However films can convey imagery and unconventional plot structure in a far more fluent and cohesive manner.

There are always exceptions and anomalies that transcend format, but typically, the creator’s chosen medium is superior. For example, while Zack Snyder’s Watchmen 2009, a graphic novel that was once labelled “un-filmable”, is a visually stunning and thought provoking experience, it comes up wanting compared to Alan Moore’s original 12 issues of seminal character creation and moral ambiguity.

Consider the following: These films were all able to surpass the quality of their original source material and deliver an altogether more compelling, visceral and entertaining experience. In almost all of the following examples, character portrayal is the deciding factor, with some of the most iconic film characters in cinematic history, originating from novels.

10. The Graduate 1967 (Novel 1963)

Launching Dustin Hoffman into the late 60’s limelight, The Graduate tapped into the social confusion and unabashed sexual frankness of the time. Charles Webb’s book of aimlessness struck a chord with a generation.

The novel and film follow a young man arriving home from college, unable to pin down what he wants from life and from those around him. Slipping into an affair with a mildly predatory older woman, he spends the summer loving someone he doesn’t love, still pained by the indefinable hole in his heart. The reason for Mike Nichols’ film being superior is simply the portrayal of Ben Braddock.

The Graduate rests on this character, whose apathetic and frustrating exchanges are only made endearing due to his youthful ignorance. A charm that requires Hoffman’s understated expressions, and stuttered line delivery in the face of Mrs. Robinson’s naked body.

The book articulates Ben’s frustration, but doesn’t allow the reader to feel exempt from being frustrated with Ben. In the film, Ben is relatable, giving the audience someone they can invest in. The final iconic bus scene is made all the more exciting by the youthful desire in both Ben and Elaine’s eyes. The novel doesn’t convey this, rendering it a less compelling story.

9. Dr. Strangelove 1964 (Novel ‘Red Alert’ 1958)

“You can’t fight in here, this is the war room!” With a slightly convoluted journey from novel to screen adaptation, Dr. Strangelove benefits from having the author Peter George co-write the screenplay along with director Stanley Kubrick and satirist Terry Southern.

Red Alert features the same plot however the actual character of Dr. Strangelove is absent. The film is able to become fully realised with Kubrick’s direction as he transforms George’s topical tale of impending doom into a masterfully satirical black comedy.

The film features a career defining performance from Peter Sellers in three separate roles, including the titular character. Dr. Strangelove displays the effects of paranoia and propaganda in what is arguably the finest political satire film of all time. The film benefits from the coalition of creativity, which allows Red Alert to provide the foundations that Kubrick so expertly built upon.

8. Starship Troopers 1997 (Novel 1959)

It would be a ludicrous idea to dismiss the source material entirely when creating a screen adaptation. However, Paul Verhoeven’s hyper violent sci-fi action flick was able to deliver an experience the novel could not: pure entertainment.

The book isn’t a great deal of fun and has undertones of racism and fascism, so perhaps it is suitable that Verhoeven decided to parody militarism using ironic depictions of Western society whilst maintaining a tongue-in-cheek approach to storytelling. The cast look like they belong in Saved by the Bell and deliver perfectly hammed up performances. The film looks brilliant and is impossible not to love if you enjoy over-the-top action sci-fi.

7. High Fidelity 2000 (Novel 1995)

High Fidelity is a charming and authentic take on passion. Rob Gordon’s infinite knowledge on all things musical gives him no help navigating his personal relationships.

The book and the film share the same story and were both well received critically and commercially. The only differences with the film were the Chicago setting instead of London and the character’s name change from Rob Fleming to Rob Gordon.

The film prevails simply due to the performance from John Cusack, who effortlessly dances between pretentious snob and hopeless romantic. Nick Hornby, the author of High Fidelity, also enjoyed the film. He was thrilled with Cusack’s portrayal and said that at times it was as if Cusack was reading extracts from his novel.

In this case, the source and adaptation are closer to equals, rather than one being decidedly superior. However the dialogue, particularly within the record store, places the film slightly ahead. The top 5 compilation conversations are prophetic depictions of modern day conceited hipster culture, the accuracy of which, are enjoyably satisfying rather than irritating.

6. One Flew Over the Cuckoo’s Nest 1975 (Novel 1962)

In this case, the author did not appreciate the screen adaptation. Ken Kesey, who penned the successful novel, claimed he never even saw the award winning film. Kesey was involved in the early stages of production, but withdrew his involvement after multiple disagreements regarding narrative perspective and casting.

The film follows the point of view of McMurphy and his bad behaviour is toned down considerably compared with in the book. The book features Chief Bromden as the narrator and ‘hero’ of the story. This character is still important in Milos Forman’s adaptation, but plays a more peripheral role.

The book and film deal with the same themes and deliver the same messages regarding repressed human beings who struggle to meld within society’s boundaries. However the film’s ambiguous yet positive conclusion allows the whole story to feel rounded and worthwhile.

The novel is a great read, but lands in far bleaker territory. Jack Nicholson’s performance, which secured him an Oscar, also contributes to One Flew Over the Cuckoo’s Nest’s preservation as a cinematic masterpiece.

Mainstream comedy is in a good place right now, provided that you work in the marketing department. The trailer construction process is probably something like this: slow motion party sequence, tedious improv, and shouting, all set to a forgettable electro pop soundtrack. Job done. But what happens when you’re handed a project like “Being John Malkovich”? How do you sell that to an audience?

Marketing is so vital to a film’s success that it can make or break the picture. Dramatically placed posters don’t always stir up that all-important public anticipation, especially if you’re dealing with an original film with no built-in fan base.

Marketing executives are constantly channelling their efforts toward targeting the right demographic and what angle to spin when promoting a film, ensuring the maximum possible audience for their project. So it is odd when we note the films below, all of which are good, but which unfortunately received poor, nonexistent, or extremely misleading marketing campaigns that gave these pictures an uphill battle.

10. Pandorum (2009)

Netflix is like a foster home for underappreciated sci-fi. “Europa Report” in 2013 managed to find its audience through the Internet platform and fortunately, so did “Pandorum”. This engrossing space horror film is for fans of “Event Horizon” (1997) and “Alien” (1979); in fact, with the latter, some scenes walk the line between homage and rip-off.

The film does a terrific job of maintaining mystery throughout whilst simultaneously providing some wonderful visuals. The set designs are gorgeous and the only reason “Pandorum” passed by viewers without them noticing was because Overture Pictures, who distributed the film, went bankrupt several months after its release. They weren’t able to fund any advertising so many people didn’t even know the film existed. “Pandorum” is a hugely entertaining horror sci-fi flick that will satisfy any fan of the genre.

9. Observe and Report (2009)

Given the nature of comedy (perhaps the most subjective genre of all), it’s difficult to simply praise or slate this film. “Observe and Report” is a very dark comedy with a consistently grim tone. It is sharply written and suitable for anyone with a sense of gallows humour.

At the time of this film’s release, “Paul Blart: Mall Cop” had just hit cinemas and became a huge financial success. As families across the world split their sides at the befuddled Kevin James, studios saw dollar signs and decided to cash in on the success.

The problems with “Observe and Report” stemmed from the direction of the marketing. The two films have very little in common, yet “Observe and Report” was marketed to the same audience. The overt cynicism didn’t play very well with those fans and “Observe and Report” was simply disregarded as a poorly made rip-off. The truth is that “Observe and Report” shares more in common with “Taxi Driver” than Paul Blart, and takes a miserable yet funny look at how power corrupts, no matter how small.

8. The Village (2004)

This polarising film fought the battle of the misleading trailer, and it lost. “The Village” was positioned as a horror film and enticed a largely teenage audience into theatres. In reality, Shyamalan’s 2004 outing was a psychological thriller that focused on a love story within a strict community. The film deals with control, trust, and fear of the unknown.

The cinematography is stunning and it is arguably Shyamalan’s best looking picture. The slow building tension amongst the community is pitched exquisitely and the performances are a joy to watch. “The Village” is a clear example of poor marketing. With a mature film that centres on relationships being shown to horror-hungry teens, boredom inevitably ensued.

The film also arrived around the time that audiences had come to predict the miraculous twist endings in Shyamalan films, leading to an underwhelming reaction. The twists were by far the weakest elements of this film. They were believable in theory, but the execution was very poor. Upon multiple viewings, the film’s visual and metaphorical imagery can be fully appreciated. Although it’s not without flaws, “The Village” is a stylish and enjoyable watch.

7. V for Vendetta (2006)

“V for Vendetta” was portrayed in the trailers as the British version of “The Matrix”. This is probably due to the Wachowskis writing the screenplay and producing the film. Fans of the graphic novel knew what they were in for, but audiences looking for bullet-time and watered-down existentialist philosophy were instead treated to a political thriller. Alan Moore’s novel, on a whole, was far stronger and it benefitted from being morally ambiguous, allowing the reader to draw their own conclusions.

However, the film does have a wealth of positives. Despite bashing viewers over the head with a very obvious socio-political stand point, “V for Vendetta” is a hugely entertaining ride. Hugo Weaving is the highlight of the film as the enigmatic character V. Had the trailers focused more on the story rather than the action, audiences would have felt far less deceived.

“V for Vendetta” was loved and hated by fans of the novel and eventually found an audience through home media, but the misleading trailers confused and disappointed a wide selection of cinema fans.

6. The Rules of Attraction (2002)

This adaptation arrived during the height of teen comedies. “American Pie” had spawned the first of many sequels, and dozens of copycat films were flooding cinemas in the hopes of recreating the coming-of-age magic.

“The Rules of Attraction” is not a teen comedy. The humour is dark and the teenagers are representations of social destruction. Audiences looking for a cheap laugh found themselves immersed in the bleakly satirical world created by Bret Easton Ellis. Much of the film involves good-looking people doing awful things to each other, consistent with many teen drama/comedies.

However, the surreal elements of the film really set it apart. The trailer promised lighthearted gross-out humour and audiences left the theatres bewildered. “The Rules of Attraction” is totally true to the source material and was greatly appreciated by both the author and fans of the book.

It is more a portrayal of late capitalist excess than a fleshy teen comedy, and is better suited for film school analysis than hormone brimming sleepovers.

We find ourselves in the midst of the most saturated superhero market in film history. The projected titles from Marvel and DC extend all the way into the next decade and show no sign of slowing down. Every other TV series appears to feature the Marvel stamp of approval and some viewers are finding themselves impervious to the powers of entertainment, demanding “no more superheroes please.”

With the craze still so popular, it is unlikely that the polished cast of supermodels that make up the Avengers are going anywhere fast. So why not indulge in the films that regularly get overlooked in the genre. Sure, everyone knows about The Dark Knight (and had that friend who claimed they could ‘identify’ with the Joker), but what about Japan’s Ultraman? Or the director’s cut of Daredevil that is considerably better than what we saw in cinemas?

A few of these films were huge financial and critical successes, but have been somewhat forgotten and retired to the back of people’s minds thanks to the 2008-and-beyond wave of hero movies.

Already the tide is changing, with Deadpool and Guardians of the Galaxy both being hugely successful and slightly alternative comic incarnations, and the trailer for Logan, which looks more like a powerful Daniel Day-Lewis drama than a superhero film. Perhaps the traditional superhero movies have had their day? Probably not just yet though, there’s still another Thor movie to come.

So, if you’re yawning at every other trailer, or currently reside in super-film heaven and just want more, try out some of these titles.  They are seriously worth your time.

10. The Rocketeer (1991)

The 90’s was an interesting decade for superhero films. They were sort of working out the kinks, so to speak. 1997’s Steel starred Shaquille O’Neal and was laughably bad (seriously, go watch it), The Shadow was pretty forgettable and the only major successes were the Tim Burton Batman films.

However, The Rocketeer was able to offer an entertaining love letter to the genre and is a must-see for any comic book fan. Modelling itself on afternoon serials from the 30’s and 40’s, this film is as squeaky clean as they come (even with the Nazi villains). It is great fun and offers an old school portrayal of what superheroes used to be like back in the day.

9. Ultraman: The Next (2004)

Kazuya Konaka’s reimagining of the Ultraman franchise was part of an initiative to redefine the Ultraman character and broaden his appeal to older audiences. Shunichi Maki is an elite jet pilot, with a wife and sick child at home. His aircraft passes through a mysterious red light in the sky and, after a collision, Maki discovers he is receiving telepathic messages from a being within the light.

Despite some uneven pacing, the film shapes up to be loads of fun and Konaka does a great job of maintaining a sense of mystery throughout. The Ultraman suit is awesome and is a great improvement on previous incarnations. The film has all the CGI silliness to match most Hollywood action flicks and is totally worth a watch.

8. Blade 2 (2002)

This is the first of two anti-hero films directed by Guillermo Del Toro to feature on this list, for good reason. His direction clearly lends itself to the genre. Blade 2 is a stylishly bleak journey into an underworld at war. Often forgotten as a superhero, Blade is a human with vampire traits, protecting humans from vampires. He battles his blood thirst whilst attempting to do what’s right in a hellish environment.

This film was a step up from 1998’s Blade and Del Toro’s visionary direction is largely to thank. Blade 2 is packed with phenomenal one-liners and featured a huge amount of practical effects, using CGI sparingly and where necessary.

Occasionally the tone drifts between action and horror, however the solid portrayal of the character keeps the film steady. Blade 2 is fun throughout, but is able to convince the viewer of seriousness at key moments. Wesley Snipes did a fantastic job of portraying Blade’s icy cold manner and brutal skill with, you guessed it, blades.

7. Daredevil (Director’s cut) (2004)

Daredevil is largely remembered for that Evanescence song and Colin Farrell’s bald head. Quite a shame when viewing the director’s cut which is R-Rated and has 30 minutes of extra footage. It becomes crystal clear that Daredevil 2003 was subjected to studio meddling. Meddling that rendered the final product dull and heartless.

How much of a difference can 30 minutes make, you ask? Well in the director’s cut Matt Murdock has a personality and is a truly fleshed out, tortured soul. Present in this version is darkness, much needed darkness for a character like Daredevil. The relationship with Elektra is bypassed and instead, the consequences of Daredevil’s actions are heavier and the fights are longer and nastier.

The most noticeable addition is a subplot featuring a gangster who is framed for murder. Cutting this very well-crafted and conflict-driven plot might have seemed like a good idea (teenagers wanted to see Affleck and Garner get it on), but it leaves a multitude of loose ends in the cinematic version. The director’s cut of Daredevil is the film we should have been given. It’s well-rounded, gritty and is a far better film than the cinematic version.

6. Hellboy (2004)

Who better to direct a film about a demonic-beast-turned-superhero than Guillermo Del Toro? This is a rare example of a comic adaptation that truly feels connected to its source material.

The energy pulsing from each shot is infectious, managing to replicate some exact frames from the graphic novels. Hellboy speaks deeply to our perception of roots; where we are born, who our parents are and what society decides about us based on that information. Hellboy is a bad kid trying to do good. Ron Perlman delivers a brilliant performance, and made Hellboy simultaneously lovable and badass beyond belief.

Hellboy did well at the box office and spawned a sequel; however, perhaps due to the lack of affiliation with Marvel or DC, it is largely forgotten when discussing superhero greats. With a visual master such as Del Toro commanding the project, Hellboy simply cannot go unrecognised.

A film’s brilliance should never be reliant on its budget. Of course, certain ideas aren’t possible to execute without the proper funding, but a great idea will always shine through the humble production lighting. In fact, on many occasions a lack of budget can work to a film’s advantage; found footage horror films benefit from their thrifty productions, and some go on to gross millions at the box office despite being independently financed and filmed using rental equipment (Blair Witch Project 1999 is the obvious example).

While a million dollars sounds like a lot of money, in film production it really isn’t. To some studios, $30,000,000 is still considered a “low” budget. This is partially due to high price-tag actors “selling” a movie to otherwise skeptic audiences; partially to the prevalence and necessity of VFX today, and partially due to the investment value of popular franchises, or opening the door for a new series or franchise with the potential for marketing value much higher than that “low” $30, 000, 000 initial cost.

However, direction is often the difference with independent or low-budget productions; several of the listed films are career-launching projects for some of Hollywood’s current directorial elite. These pictures serve as inspiration for all those with dreams of directing, writing, producing, and acting in film.

Often, when a film is in trouble, studios will just throw money at it and hope it turns out well; usually, this produces unoriginal or plotless drivel. On the other side of the coin, the films below all demonstrate vision, sublime execution and a fantastic final product, all on a shoestring allowance with no backup funds or money-throwing.

20. Evil Dead (1981) – $350,000 estimated

Sam Raimi’s first feature put himself and childhood friend Bruce Campbell into the horror history books. The slightly campy tone of this movie melds so well with the flamboyant gore, that audiences were unsure when they should have been laughing, and when they should have been screaming.

20-year-old Raimi was able to create a genre staple that has been referenced repeatedly in pop culture, and a subject of pastiche ever since its early 80’s release. However, beneath the surface, a wealth of talent was in hiding on Evil Dead; the Coen brothers helped edit the film and, with Stephen King citing it as one of his favourite movies, it was picked up by New Line Cinema.

The young and inexperienced crew that supposedly “bumbled around in the woods trying to shoot a splatter picture” were, in the end, able to create one the genre’s finest cult masterpieces.

19. The Breakfast Club (1985) – $1,000,000 estimated

A decade-defining film, The Breakfast Club took the teenage social paradigm and turned it on its head. With a contained story that was largely reliant on dialogue, The Breakfast Club featured some career-defining performances from Molly Ringwald, Emilio Estevez and Judd Nelson.

It recouped its budget 38 times over and became an instant classic. It is considered by many who grew up during the 80’s to be a profound and youth-defining experience; the type of movie you hold onto for a lifetime.

18. El Mariachi (1992) – $7,000 estimated

The first of Robert Rodriguez’s Mexico Trilogy was made for a meagre 7,000 dollars. That’s about the catering budget at some weddings- and less than one for most film sets! Rodriguez was able to raise roughly half the budget of the film by volunteering as a “patient” in various medical student tests.

Despite the obvious constraints, El Mariachi is incredibly watchable; the humour, the violence and tone all play off of each other wonderfully, and the audience is treated to a gangland tale fit for the big screens.

For a film that no one initially believed in, except the faithful creator, El Mariachi became a surprise success, going on to earn a respectable 2 million. Rodriguez’s passion and obvious dedication courses through every vein of this picture, giving it a crucial sense of edge.

17. Lock Stock and Two Smoking Barrels (1998) – $960,000 estimated

This film not only smashed its budget 28 times over, it also introduced the world to Guy Ritchie (this is probably his best effort though, even after his long career).

It features a plethora of great performances and provides a visceral, sharp and funny perspective on the East London criminal underworld. The pacing, direction, script, and soundtrack all deliver, and create a classic portrayal of Cockney culture. It is a serious contender for the coolest film of the 90’s.

16. Cube (1997) – $365,000 estimated

This Canadian sci-fi/horror is often overlooked. A brilliant premise and a chilling tone that is maintained throughout make Cube a must-see for any serious film fan. Shot entirely on one single soundstage, the band of kidnapped victims navigate a complex cubic prison that has been rigged with grizzly traps.

The film expertly builds tension whilst revealing the true nature of the victims. In a stylish Kafkaesque setting, Cube delivers piles of the grisly terror that horror fans delight in, and enough thematic content that non-genre fans will appreciate it, too.

15. Enter the Dragon (1973) – $850,000 estimated

Robert Clouse’s martial arts classic features the last ever performance from Bruce Lee. The film kicked off the martial arts craze in the 70’s and 80’s and touched on blaxploitation and decolonisation.

Enter the Dragon demonstrates stunning visuals and thrilling cinematography on a very tight budget (the entire picture was filmed without sound; everything was dubbed in during post-production, which is a taxing, trying feat as anyone who’s ever done it will know). It is brutal, and manages that with no firearms- and if you pay attention, you can spot a then-unknown Jackie Chan getting his neck snapped by Bruce Lee.

14. Bronson (2008) – $230,000 estimated

One of the most perplexing humans in history, Michael “Mickey” Gordon, later named Charles Bronson and now named Charles Salvador, made a gripping character to explore through the metaphorical mind of Nicolas Winding-Refn.

Tom Hardy’s performance is stunningly accurate, thanks to numerous meetings with the man himself in prison- Charles even shaved off his moustache so Hardy could use it as a prop. Bronson is a journey into the mind of an insane person.

The audience is left to decipher their own thoughts on the man and are, thankfully, not spoon-fed an opinion. Often viewed accidently by those looking for work-out inspiration, Bronson is a profoundly artistic film. The budget is negligible and the final product is mesmerising.

13. Swingers (1996) – $200,000 estimated

Another candidate for coolest film of the 90’s, Swingers tapped into the social scene of Hollywood like nothing else. Jon Favreau’s stylish film benefits from some supreme performances- particularly from Vince Vaughn- and a clinical eye on the pacing and direction.

The film went on to spawn modern day terminologies like ‘wingman’ and launched the careers of both Favreau and Vaughn. Once again, the talent from the director allowed this project to shine through its tight budget.

12. Duel (1971) – $450,000 estimated

The greatest TV-movie ever made, directed by Steven Spielberg, shares a clear similarity with his 1975 classic Jaws. Duel follows a mechanical leviathan in the form of an 18-wheeler truck and its relentless driver as he torments and chases down an ordinary man.

The small budget lends itself to the wonderfully simple plot and exhibits Spielberg’s early abilities in visually stunning scene construction. The film has been referenced numerous times in other works and still causes chills when viewed today.

11. Brick (2005) – $475,000 estimated

Brick is an expertly shot neo-noir detective story surrounding a group of high school kids. Rian Johnson achieved some absolutely breathtaking shots and built a hardboiled mystery that holds up against even some of legendary craftsman David Fincher’s work.

The use of “problem solving” special effects allowed audiences to believe they were partaking in a pricier feature, while practical and in-camera effects were utilised as much as possible and helped keep the budget under half a million. The film achieved universal acclaim and allowed Rian Johnson to become one of Hollywood’s directorial bright stars.

Despite some critics’ dismissal of the craft, claiming it doesn’t constitute “real acting”, motion capture performances have become an increasingly common feature in modern big budget blockbusters. The craft has also been tipped to explode in future years, creating a booming market for mo-cap work.

With soaring budgets and audience expectations for more and more visually stunning cinematography, it doesn’t look like motion capture acting is going anywhere. A traditional performance’s success is typically down to the actor, their co-stars, and the direction they receive. However in motion capture, the team grows incorporating the competence of the team of animators, working to make every expression and raise of the eyebrow translate onto the screen.

A motion capture actor must develop their skills in a variety of physical activities such as gun play, sword fighting, hand-to-hand combat, and gymnastics, as well as hone their general acting abilities. Despite the new job title, the art form’s pioneering Godfather Andy Serkis takes a far simpler approach to the craft, expressing that it serves to bring non-human characters to life and that it really is just “digital make-up”.

The last decade has borne witness to a resounding boom in animation work. The CGI budgets keep getting larger in order to employ the sheer number of staff required to paint the screenwriter and director’s visions.

The following performances demonstrate the cream of the crop regarding motion capture acting, and with such a young art form, one can only anticipate joyfully what the future holds for motion capture cinema.

10. Mark Rylance as “BFG” in the BFG (2016)

With such an ambitious story, generations of children’s imaginations to live up to and a beloved 24 foot high character, Spielberg and his talented cast had their work cut out for them. The BFG is a family film that sustains awe with some impressive visuals. Mark Rylance does a spectacular job and pulls a terrific performance out of the bag.

Weta Digital nailed the motion capture work in this film. Each physical nuance to Rylance’s performance is captured superbly, allowing the BFG to truly come to life. He blends sentimentality, humour and tension wonderfully (a classic calling card of Spielberg) and Rylance leads this film brilliantly against the young Ruby Barnhill. His performance has garnered the praise it most certainly deserved.

9. Lupita Nnong’O as “Mas” in Star Wars: The Force Awakens (2015)

Huge budgets are required to create CGI on the scale we’re dealing with, and The Force Awakens certainly had plenty to play with. From the day it opened in the summer of 1977, Star Wars was synonymous with groundbreaking visuals. Despite Mas minimal screen time, she proves to be a wonderful addition.

Nnong’O’s character provided an early challenge, with Mas standing three feet off the ground. However, the final product is seamless. The dry, wise demeanour of Mas was exhibited particularly well during her scene with Rey, discussing the Force and removing her peculiar goggles.

The animators gave her Yoda-like wrinkles (originally inspired by Albert Einstein) and allowed for the close ups to expose such detail, hugging every micro expression the young actress made. The minor screen time meant that every scene counted for the new character, and Lupita Nnong’O’s brilliant performance demonstrated that Mas was far more than just E.T. with an orange fake tan.

8. Idris Elba as “Shere Khan” in The Jungle Book (2016)

The Jungle Book is a feat of pure technical prowess. The story is familiar as are the characters, so the decision to approach this classic tale with purely CGI animation and shoot nothing on location was bold, but arguably brilliant. Bringing some incredible animating talent to the forefront, Jon Favreau simply had to direct his stars.

The performances were terrific in this film, particularly the looming terror of Shere Khan played fantastically by Idris Elba. Such a stunning portrayal by Elba meant that the set creation and surrounding jungle designs weren’t just for pretty effect.

It is easy to slate a CGI heavy film before the premier because there have been so many CGI messes in the past, but The Jungle Book demonstrates the possibilities for future cinematic experiences. Idris Elba’s expressive depiction of a sinister predator is the stand out performance in this picture that is full of great performances including Bill Murray and Ben Kingsley.

7. Billy Crudup as “Dr. Manhattan” in Watchmen (2009)

While Crudup can’t take full credit for the role of Dr. Manhattan (his physique was provided by the late Greg Plitt), the serene, detached and overwhelming power of Dr. Manhattan’s portrayal, is down to the performance he delivered.

Fans of the graphic novel (it’s amazing) praised Crudup for portraying such an authentic interpretation of the character. Crudup’s brilliance is fully realised during the scenes on Mars, where his deity-like power is exhibited further and the philosophical psyche of the character is fleshed out.

The film looks stunning to begin with thanks to Zack Snyder’s vision and the aesthetically satisfying blue glow of Dr. Manhattan serves as a stylish highlight. Billy Crudup was able to deliver the complex character that, if read incorrectly, could come across as wooden and emotionless. Instead, the performance is so gripping, so humanly inhuman, and displays a fantastic struggle between a super hero’s power and his link to humanity.

6. Zoe Saldana as “Neytiri” in Avatar (2009)

James Cameron’s record setting CGI-fest set a new standard for what could be achieved by animators. Stunning character creations and an astounding fictional planet meant that audiences were captivated and mesmerised throughout. The stand out performance in Avatar was Zoe Saldana. Her performance as the indigenous native Neytiri was utterly gripping.

When viewing Saldana’s finished motion capture work against the raw sensor footage, one can only be impressed by the actress’ conviction and commitment to the role. Cameron developed a motion capture stage to allow for realistic movement in a virtual world.

Cameron also built a specialised camera that sat on a six inch boom in front of the actor’s faces. The footage was then handed to Weta Digital who broke new ground with their scene of Neytiri holding the human Jake. The premier attention to detail meant that the scene holds up as visual reality.

It is easily forgotten, but without the acting chops to deliver a convincing performance, it really doesn’t matter how good the jungle looks. Saldana gave a stunning performance in Avatar and was a true high point of the film.

The film industry is one of the hardest arenas to break into, let alone be respected in. These actors have gained notoriety for being some of Hollywood’s least praised. Are they bad actors? Or have they just made poor career moves (agents, collaborators, multi film deals etc.), received lacklustre direction, or settled into lazy type-casting roles that serve to secure them financially.

Even the actors revered for being the cream of the crop have had their off pictures. Di Caprio has The Beach, Clooney has Batman and Robin, and Kevin Spacey now has Nine Lives (he voices a cat, it’s just awful). Not every actor is a chameleon like Gary Oldman; some performers are excellent when they just play to their strengths.

Robert De Niro is a well respected actor (despite his recent comedic ventures) however if he was cast as the romantic lead in The Notebook, would he be a bad actor? Or do we just fire the casting agent? Choosing to work with the right directors, producers, and writers sets the groundwork for a great performance.

This is a luxury that most of these massive stars find available to them. An actor’s work ethic is the engine that drives their performance, but often it’s the direction they receive that allows their portrayal to complete the journey.

It is also important to remember that the title of “Bad Actor” is a temporary one. Had this list been compiled a decade earlier then Matthew McConaughey and Ben Affleck would find themselves under creative appraisal.

Were these performances flukes? Or were they perhaps just a sample of what these actors are truly capable of.

1. Adam Sandler in Punch Drunk Love (2002)

This story was delightfully original and with Paul Thomas Anderson writing and directing, the complete vision was heart warming and fully realised. Never have audiences rooted for Sandler like they have in this witty and bleakly gentle love story.

Contrary to the Sandler we’re used to seeing (wise cracking alpha male who holds all the social cards alongside a hot wife), this Sandler was vulnerable and lacking in confidence.

Critics adored the understated performance and praised his bravery in portraying an emotional loser. He clearly was tested as an actor and it was likely Paul Thomas Anderson who brought out the best in him.

Sandler’s problem is his laziness. Strange to imagine a successful film star holding such a description, but when you note his apparent refusal to work outside of director Dennis Dugan (Jack & Jill, Big Daddy, and Grown Ups), and the reoccurring cast of his best buddies (David Spade, Kevin James and Chris Rock) the picture of the slacker comedian becomes crystal clear.

You can imagine him showing up to each familiar set, high fiving the same ten people and then shouting “action!” Whether he fell out of love with comedy, or he just doesn’t get along with other cast and crews, the recent audience withdrawal from Sandler suggests they are catching on to his half-hearted antics.

Punch Drunk Love was a wonderful example of Adam Sandler’s grounded humour. However, given the recent Netflix efforts (The Do-Over and The Ridiculous 6), Sandler’s return to humility doesn’t seem visible on the horizon.

2. Paul Walker in Hours (2013)

Cynics will claim that Paul Walker made it on to this list due to his tragic death in 2013. Those cynics won’t have seen Hours. This cunningly simple thriller demonstrated in Paul Walker’s last year that he was capable of not only delivering a convincing performance, but also carrying a film. His portrayal of a desperate father was honest and compelling.

In real life Walker was considered a true family man (counter cultural for Hollywood). While Walker might not have deserved accolades for this performance, it was a brilliant example of him playing to his strengths. A similar picture that demonstrated this was 2001’s Joy Ride (or Road Kill depending on where you’re from).

There are many actors like Paul Walker. They aren’t your Christian Bale’s or Sam Rockwell’s. He was a function actor, meaning, he might not have been versatile, but he was fantastic in straight, story driven roles and excelled in thrillers. The Fast and Furious franchise might be what he is known for, but Hours should be remembered as one of his finest performances.

3. Kristen Stewart in Into the Wild (2007)

This beautiful tale of adolescence and survival featured several great performances. One of which, came from the famous moody girl. This film arriving a year before her life was ruined by fang wearing teenage nightmares, Into the Wild showed the softer side of Stewart. She displays a subtle innocence as she tries to entice Emile Hirsch’s character.

Her short role in this felt like a teaser for a stunning career packed with stellar performances. Stewart is no fool on camera; she graced the screen alongside Jodie Foster in David Fincher’s 2002 masterpiece Panic Room at the tender age of 12.

So why is she bad? Kristen Stewart is a classic example of a talented child star whose chops secured her a massive role (the vampire one), then discovered when she reached the top that fame is actually pretty awful. Stewart clearly possesses a love for the craft of acting, but fame might have left her too jaded.

Her performances now feel stiff and uncomfortable (Snow White and The Huntsman). Hopefully, if Stewart can disappear for a few years, she can return as a mature tour de force, with her talent and life experience fully realised.

4. Keanu Reeves in John Wick (2014)

Keanu Reeves has regularly been described as “The Best Worst Actor”. Reeves is similar to Paul Walker in that he serves one particular function excellently. Keanu Reeves’ function is action. This neo-noir action thriller demonstrated Reeves at his best, playing a former assassin and doing all of his own stunts.

The hyper stylised cinematography is reminiscent of The Matrix without ripping it off as so many films do, criminally. The plot is simple and Keanu Reeves’ portrayal is sublime. Thankfully, this is an original action flick that is scheduled a sequel, making that all important first step towards creating original content for this generation.

Keanu Reeves is to be respected as he refuses to sit back and type-cast himself. The adaptation of the 2006 A Scanner Darkly was slightly jumbled, but showed off some great performances and stylish visuals.

He made a decent romantic effort reuniting with Speed cast member Sandra Bullock in The Lake House and remember when he was Diane Keaton’s love interest in Something’s Gotta Give? Reeves has enough respect for the craft to push himself. However, given how awesome John Wick is, audiences will be grateful that he has made a triumphant return to action.

5. Jason Statham in Snatch (2000)

Although this gangster outing feels like a rearrangement of Lock Stock and Two Smoking Barrels, it is brilliant fun. The intertwining storylines are paced brilliantly, showcasing Jason Statham at the helm of the unlicensed boxing plotline.

Statham at this point, was a few years off settling for any old wooden tough guy role. He portrays a slightly more human character in this underworld of mobsters and gypsy crooks. This allows Statham to play a mildly comedic role, which he nails. He is effortlessly authentic and delivers his finest performance to date.

Jason Statham is missing out on the comedy market. He was actually the best bit about that Melissa McCarthy Spy movie. While his dedication to stunt work is admirable, his acting is taking a hit, churning out films like Parker and Homefront (please don’t make him do an American accent). Statham is a dark horse and perhaps when his body finally gives way, he will settle in to some true character driven roles.

Films with the most tantalising synopsis quite often result in disappointment, leaving us frustrated and in some cases, furious. It’s easily done, messing up a good idea.

What if Joel Schumacher had directed Goodfellas? What if Keanu Reeves had played Forrest Gump? What if Se7en wasn’t so immaculately edited and they hadn’t let Fincher keep that bleakly perfect ending? All great films start with a great idea, but the world of cinema is a tightrope and so often the script that sells the picture doesn’t even make it up on the screen.

So why do we fail? Purely because of how many things can go wrong. Editing, pacing, characterisation, set design, sound, actor performances, studio interference and directorial vision all must find equilibrium and cohesion, if you want to end up with a brilliant picture.

The industry seems to be churning out remake after reboot after mediocre sequel at the moment. Perhaps we will enter the “second chance” era of Hollywood cinema; where we go back and try to right the wrongs of the past.

If that is the case, these films are ripe for renewal. They all had potential. Some even maintain a cult status. However the enduring consensus is that these attempts missed the mark. Let’s look at why that might be and see if these are just brilliant ideas disguised as bad movies.

1. Waterworld (1995)

Idea: The ice caps have melted, the world has flooded and humanity has descended into piracy.

Famed for being the most expensive film production of that time and rumours of conflict between the two Kevin’s (Costner and the Director Kevin Reynolds) meant the hype for this release was massive.

The set designs were sublime, the concept was cool enough to be a J.G. Ballard novel and Kevin Costner was one of Hollywood’s most bankable stars. So what went wrong?

To put it simply, Waterworld didn’t know what it was. It fell somewhere between Mad Max, Hook and a Universal Studios water show (which it actually is). The campy villains and lukewarm love interest implied that this was a feature for the whole family to enjoy. That implication soon dissolves when someone tries to pay for child sex. With poor acting and tired pacing, this action flick was quickly slated.

The concept alone was crying out for groundbreaking cinematography. They had the very capable Dean Semler (Dances With Wolves, Apocalypto) at the helm, but unfortunately the direction causes the visuals to fall flat.

The film itself feels like it doesn’t believe its own concept. Rather than explaining things constantly to the viewer, just let us hold on for the ride. Make the villain more relatable (as opposed to the cartoonish Dennis Hopper), let Costner be likeable, and keep the pace up so there isn’t time for the viewer to question the accuracy of the watery apocalypse before them.

2. Sucker Punch (2011)

Idea: A girl is committed to a mental asylum, attempts to escape a lobotomy by envisioning her prison as a brothel and advances through her hallucinations utilising warrior combat.

Zack Snyder is divisive; a great quality in an artist. Dawn of the Dead, 300 and Watchmen lead critics to site him as an era defining director. The man has vision, but sadly, as a writer, he comes up wanting. He respectably tried to defy the trend and make an original sci-fi action flick with no other source material to draw from. It’s not Jupiter Ascending bad, but it’s not good.

Snyder should have recruited Alex Garland (28 Days Later, Dredd, Ex Machina) to write him a killer screenplay for this visual spectacular. Avoid the video game storytelling, forget about the acquisition of items for Babydoll’s escape and explore more of her home life with the visions.

The characters are what keep the visions grounded, rather than the impressively silly display we ended up with. He should have cast at least two bankable big name actors (Emma Watson, Scarlet Johansson) in lead roles to lure in the general public and worked a little harder on the coherence of his story.

3. Virus (1999)

Idea: An alien entity infiltrates a ship through a radio signal and wreaks havoc, attempting to convert humans into cyber slaves.

Virus is a terrible film with an awesome concept. This picture could have landed somewhere between Terminator and HAL from 2001: A Space Odyssey.

But sadly the outcome was lacklustre and downright stupid. Donald Sutherland looks like he doesn’t care and Jamie Lee Curtis openly mocked the film. The CGI looked ten years older than it should have, especially considering this was released the same year as The Matrix.

The alien storyline could have commented more on humanity and left the audience feeling horrified as well as profoundly self-assessed. It should have drawn more from the comic source and not cast William Baldwin.

The cinematography is dreary, and with a concept as interesting as this, should have incorporated an unconventional style to represent the intelligence of the villain (perhaps framing the crew as though they were part of an observation).

Another positive could have been having “that scene” – a memorable graphic and bloody human/cyborg transformation rather than the clumsy stick-on-with-glue props we were given.

4. Open Water (2003)

Idea: A couple are stranded in the open ocean after they are left behind on a scuba trip; they battle hypothermia and sharks to survive.

This tense thriller was so nearly a classic. Open Water’s shortcomings boiled down to the absence of characters we care about. The couple might as well have been mannequins floating in a tank. The brilliantly subtle camera placement and bold usage of real sharks was wasted all because little effort was expended establishing the characters.

If the film had fleshed out the characters more efficiently, not necessarily for a longer period of time, but just made us care, then the audience would have been treading water and holding their breath in the cinema along with them. Admittedly this film isn’t anywhere near bad, only dissatisfying when imagining the thrill ride it could have been.

5. Spider Man 3 (2007)

Idea: Spiderman is being seduced by evil and Harry is following his father’s footsteps.

Sadly, this film was a casualty of studio interference. If you ever get a hold of the original script, you will be desperately clutching the pages and asking yourself how we let this happen. Spiderman 3 was set to be the third instalment in the far better Spiderman franchise.

All was lost however when the studio felt that Spiderman needed three villains, bad CGI, horrendous fight banter, and the infamous Peter Parker dance sequences. Sam Raimi did direct this film, however it seemed more like damage control rather than his complete vision. The studio pressure meant that editing the bloated final cut was nightmare.

How to resolve this mess? Don’t rewrite a good script three times. Trust Raimi’s direction given the success he had with Spiderman 1 and 2. Good CGI takes time and detail, Spiderman 3 looks rushed because last-minute characters had to be generated quickly.

They should have paced Harry Osborn’s descent in to his father’s madness and allowed it to be as climactic as viewers had hoped it would be ever since Spiderman 1. This, combined with the temptation of Spiderman’s dark side, would have set up a compelling final act.