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Joescoundrel
04-13-2009, 05:42 PM
Both TV and the movies have had their fair share of unforgettable / iconic / legendary / generation-defining / influential characters.

These are the characters that made us feel the extremes of humanity and emotion, and they stuck with us long after they were retired, killed off or the movie simply ended.

Who for you guys are the most influential TV / Movie characters and why?

Let me start.

My generation grew up knowing only one movie certainty: Sci Fi = Star Wars. Any other film with robots, spaceships and ray guns would only be compared to Star Wars and forever come up short. While Luke Skywalker and Han Solo may be go down as two of the most adored good guys in cinema of all time, it was definitely the Sith Lord, Darth Vader, who was the most unforgettable character of that franchise.

Think about it: whenever people think of pure evil or badness whether in teachers, bosses, coworkers, school mates, neighbors and whatnot, they will most likely think of folks like those as "the Darth Vader of --- " The dark side apparently had no trouble crossing over into mainstream society.

That Darth eventually turned out to be Luke's daddy was also one of the most kick-ass twists in all filmdom. "Luke, I am your father!" Shit, that line still chills me to the bone. :-X

Emon74
11-12-2010, 12:53 PM
On TV, David Hasselholf playing the role of Michael Knight in Knight Rider was so influential to me, he's like a hero on TV screen driving that Car, that I often hallucinate as a kid having that famous car with a turbo boost.

I would feel bad in those Goliath episodes were Kit got destroyed and turned turtle.

Sam Miguel
12-02-2010, 11:58 AM
"Twilight Zone" spawned a whole generation of fanatics of the sci-fi genre who otherwise probably would not have given much thought to aliens, time travel, alternate histories, etc-etc. Truly the creator, writers and directors of the original "Twilight Zone" were people way ahead of their times. Not to mention that also gave a break to many famous celebrities such as Charles Bronson and William Shatner. Ironically Shatner would go on to immortalize another famous sci-fi icon in Capt James Tiberius Kirk of the USS Enterprise.

MonL
12-02-2010, 02:31 PM
I was a very young kid then in 1968 when my elder brothers took me to Nation Cinerama Theatre in Cubao to watch the movie 2001: A Space Odyssey. It was the height of the US-USSR Space Race (The Eagle won’t land yet on the moon until 1969), and anything that touched on the space travel genre then was red-hot. It was truly a work of cinematic art, with dazzling special effects that would be surpassed in quantity and innovation only by the next big sci-fi movie that would be shown a decade later, Star Wars. In fact, 2001 was the benchmark for cinematic special effects for the said genre.

Some of the scenes were intensely detailed and psychedelic and remained vivid in my memory for years. Yet the only dialogue that I remember was that of the supercomputer Hal9000 pleading to astronaut David Bowman who was lobotomizing him:

“Please stop, Dave. Stop, Dave. I’m…afraid.”

I would only be able to obtain the DVD copy of it in 2003.

However, events in the next 30-50 years would overtake this movie and render it as a futuristic prediction that was not fulfilled, with the supposed Jupiter Mission to have happened in 2001 and the return trip happening ten years later in the sequel 2010: The Year We Make Contact, which was shown in the mid-1980s.

The other legacy this movie left was its theme song, which was adopted later in other diverse fields as radio, advertising, pop music(Eumir Deodato’s version comes to mind), TV and other cinema genre (comedy, etc.), and is still in use today.

bchoter
12-02-2010, 03:23 PM
Mine would be Michael Corleone of the Godfather series. It helped that I was really really taken by the novel and the film adaptation was one of the best. There was a time when I fancied myself as more-cerebral-less-brawn kinda guy (less brawn yes. cerebral? I thought so... until I got my class cards). I thought all the well known guys are the Sonny Corleones of the world. I would snicker in the sidelines while they make their move. "Bah, sige mauna na kayo... pag tapos ng ti-par (para napapanahon :D) I'm sure she's gonna be all over me". I guess I waited too much in the sidelines hehehe... or was it huhuhu? And it just was natural for me to abandon my Godfather persona and moved on to being John Rambo... Yari silang lahat ng mga nangagaw sa mga dapat na akin! But I never developed enough beef in my scrawny frame. Instead, I developed a paunch while tryng to carbo-load. That's when I became Obelix :D

LION
12-02-2010, 05:20 PM
Mine would be Michael Corleone of the Godfather series. It helped that I was really really taken by the novel and the film adaptation was one of the best. There was a time when I fancied myself as more-cerebral-less-brawn kinda guy (less brawn yes. cerebral? I thought so... until I got my class cards). I thought all the well known guys are the Sonny Corleones of the world. I would snicker in the sidelines while they make their move. "Bah, sige mauna na kayo... pag tapos ng ti-par (para napapanahon :D) I'm sure she's gonna be all over me". I guess I waited too much in the sidelines hehehe... or was it huhuhu? And it just was natural for me to abandon my Godfather persona and moved on to being John Rambo... Yari silang lahat ng mga nangagaw sa mga dapat na akin! But I never developed enough beef in my scrawny frame. Instead, I developed a paunch while tryng to carbo-load. That's when I became Obelix :D


Same here pare ko. Michael Corleone. Of all the Corleone sons, he wasn't expected to take over his father's throne. He proved to be the cunning and brave one. And to think that Michael even went to Darthmouth College to run away from the Corleone empire.

Everytime I have enough time to kill, I always watch the Godfather series, and until now, I can't help but be mesmerized by the life of Don Vito and Michael Corleone.

Sam Miguel
12-03-2010, 08:16 AM
^^^ Bchoter, Lion, what did you guys think of "Good Fellas" or "Scarface"? Supposedly those were the films that made finally got the gangster/mafia movie genre full circle. Al Pacino did a wonderful job as Michael in the Godfather series. What did you think of him as Scarface? Or for that matter, how did the Michael character stack up to Ray Liotta's character in Good Fellas?

Sam Miguel
12-03-2010, 08:17 AM
^^^ MonL, did you like any of the other TV sci fi shows like "Battlestar Galactica" and "Logan's Run"?

LION
12-03-2010, 09:14 AM
^^^ Bchoter, Lion, what did you guys think of "Good Fellas" or "Scarface"? Supposedly those were the films that made finally got the gangster/mafia movie genre full circle. Al Pacino did a wonderful job as Michael in the Godfather series. What did you think of him as Scarface? Or for that matter, how did the Michael character stack up to Ray Liotta's character in Good Fellas?


Goodfellas is one heck of a violent movie. I loved Joe Pesci's character in that movie as Tommy DeVito. He'd shoot people at the slightest provocation. Joe Pesci won an Academy Award as Best Supporting Actor. The story was narrated from the point of view of Ray Liotta's character as Henry Hill, a young lad who was charmed by the gangsters' way of life and eventually became one because of the money and the lifestyle. Three lines I remember in this movie:

1. Never rat on your friends.
2. Keep your mouth shut.
3. F _ _ k!


In the end, Henry ratted on his friends because they were also going to hit him.

Michael Corleone vs. Henry Hill? Michael was a dignified gangster. Smart, cunning, brave, a real don. Henry Hill was third rate. Never was a leader. Just a goffer for the mob bosses. His downfall started when he became a drug addict and eventually a drug dealer.

As for Scarface, it's typical Al Pacino. This film is really violent and full of gratuitous graphic language. It's the story of a Cuban (Pacino as Tony Montana) who rose from the ranks as a gangster. Tony Montana is just a gangster who never aimed for redemption. He did all the wrong things that led to his downfall. Like Henry Hill, Tony Montana became addicted to cocaine, which led to paranoia, and which further led to his death in the hands of his enemies.

With the holiday season just around the corner, I might just watch again Goodfellas, The Godfather series and Scarface. Guess it's time to buy that Samsung "46 LCD being sold at a discount now in Abensons. ;D

MonL
12-03-2010, 09:33 AM
The Battlestar Galactica series in the new millenium is somewhat a darker version compared to the original TV series that was spun off the "Sensurround" movie. I haven't seen a lot of episodes of the new series, but I like them better due to the unpredictability of the plots and continuity i.e.: conflicts would continue over the course of several episodes, whereas in the old series, conflicts were solved by the end of an episode, and every one went away happy as they continued on their journey to a planet called.. (dramatic pause)....Earth. :D

I liked the Logan's Run movie which starred Michael York as it was one of those themed on futuristic societies that lived on a lie, and eventually broke down when the truth came out. The TV series, though was forgettable and IIRC was canned shortly.

I also liked "Westworld" a movie about a theme park full of androids where guests can live out their fantasies (Western, Roman, Medieval, etc) and they would always win gunfights, jousts, etc., against these robots until they mysteriously malfuctioned and turned against their human masters.
Like 2001, it was themed on advanced technology which went awry.

Sam, what's your take on the U.F.O. TV series by the British ITC?

Sam Miguel
12-03-2010, 09:49 AM
^^^ Sorry MonL, wasn't able to catch that show.

Although my favorite aliens on TV were the characters of Robin Williams (from Mork and Mindy), John Lithgow (from Third Rock From The Sun) and that mouse-eating foxy lady in the V Series (forgot her name, also was in the second generation version of Mission: Impossible)

I loved Williams and Lithgow because of their innate and sometimes edgy humor, which of course made sense for their characters being aliens and such.

MonL
12-03-2010, 10:13 AM
^Nanoo-nanoo, ah yes. :D But they did touch up on serious issues like racism at one time, with Mindy telling Mork "It starts with jokes like 'Did you hear that one about the two Jews?' Pretty soon they were almost the only ones left."

bchoter
12-03-2010, 10:27 AM
^^^ I great list of gangster movie Sam. If The Godfather wasn't in the top 3 favrite movies (and book) of all time, Tony Montana would have been my most influential guy. To an ipressionable provinciano, it's easy to relate to a Tony Montana. New kid in town who made it to the top with a great looking girl on the side. Who doesn't wanna be like Tony? Although Goodfellas is another great adaptation (Pillegi's Wiseguys), I find the lead character too opportunistic and lacking in reedeming qualities to want to be like him.

bchoter
12-03-2010, 10:39 AM
Nanooo Nanoo with the hand signal! Brings back memories.... of my uncles hehehe.

Sam, ranks among the top most underrated sci-fi TV series (maybe because it was a mini-series) for me. It has a plausible plot and good enough effects.

How about another sci-fi series the Greatest American Hero (whose soundtrack is more famous than the show)?

The 80s was an underrated era for sitcoms. Before US sitcomes became hip in the Philippines there was Mork and MIndy, Golden Girls, Alf (another alien), etc. Even the series were top rate like Depp's 21 Jumpstreet.

MonL
12-03-2010, 10:53 AM
Same here pare ko. Michael Corleone. Of all the Corleone sons, he wasn't expected to take over his father's throne. He proved to be the cunning and brave one. And to think that Michael even went to Darthmouth College to run away from the Corleone empire.

Everytime I have enough time to kill, I always watch the Godfather series, and until now, I can't help but be mesmerized by the life of Don Vito and Michael Corleone.



Mad Magazine had a spoof on the Godfather called "The Oddfather." ;D
Micrin (Michael) was described as: "An All-American college boy, a decorated war hero...and a disgrace to the Family Name." :D

bchoter
12-03-2010, 10:56 AM
^ MAD was funnier back then! Stupid answer to stupid questions! Spy vs. Spy. Of course the spoofs...

LION
12-03-2010, 11:09 AM
Ni walang nagsabi na idol nila si FPJ a bwahhahaha.

Yung isa dyan obviously si George Estregan ang all-time idol nya bwahahahaha!

bchoter
12-03-2010, 11:36 AM
HEHEHEHEHEHE in classic papa goerge ngising aso :D

danny
12-05-2010, 03:56 AM
Documentary films that shaped my current point of view would include the following:

1. Manufacturing Consent by Noam Chomsky
2. The Corporation
3. Food Inc.
4. The Fogs of War
5. The World According to Monsanto
6. Enron
7. The Ascent of Money

...to name a few.

Just search for these films and watch them online. No explanation needed. Just an open mind.

The characters would be "The Powers That Be" .

danny
12-05-2010, 03:59 AM
For pop culture, that would be Luke Skywalker and Han Solo. ;D

danny
12-07-2010, 01:20 AM
I was a very young kid then in 1968 when my elder brothers took me to Nation Cinerama Theatre in Cubao to watch the movie 2001: A Space Odyssey. It was the height of the US-USSR Space Race (The Eagle won’t land yet on the moon until 1969), and anything that touched on the space travel genre then was red-hot. It was truly a work of cinematic art, with dazzling special effects that would be surpassed in quantity and innovation only by the next big sci-fi movie that would be shown a decade later, Star Wars. In fact, 2001 was the benchmark for cinematic special effects for the said genre.

Some of the scenes were intensely detailed and psychedelic and remained vivid in my memory for years. Yet the only dialogue that I remember was that of the supercomputer Hal9000 pleading to astronaut David Bowman who was lobotomizing him:

“Please stop, Dave. Stop, Dave. I’m…afraid.”

I would only be able to obtain the DVD copy of it in 2003.

However, events in the next 30-50 years would overtake this movie and render it as a futuristic prediction that was not fulfilled, with the supposed Jupiter Mission to have happened in 2001 and the return trip happening ten years later in the sequel 2010: The Year We Make Contact, which was shown in the mid-1980s.

The other legacy this movie left was its theme song, which was adopted later in other diverse fields as radio, advertising, pop music(Eumir Deodato’s version comes to mind), TV and other cinema genre (comedy, etc.), and is still in use today.




This film by Kubrik was speculating on the possibility that a machine will leapfrog and try to gain humanity, feelings and all. The scene when Hal9000 pleaded for "life" can be compared to the part when the humanoids learned how to use a weapon for self defense and aggression. From bones used for war to orbital satellites in Kubriks vision. Reagan's "Star Wars Program" anyone? Well the militarization of Space is now complete and AI is part of the war in Afghanistan.

Still, that realization of the humanoids together with the accompanying musical score made a huge impression on me. I watched this when I was young in a Betamax. No impact, just another sci-fi.

It gave me a different perspective though when I watched it on DVD. Darn, so that's what this movie is all about. Wow!

Tannnnn.....tannnnnn...tannnnnnn.... tannnnaaannnnn.... dum dum... dum dum... dum dum.

danny
12-07-2010, 04:34 AM
Ferris Beuller. He defined the preppy side of Generation X. ;D

Joescoundrel
12-10-2010, 08:14 AM
^^^ Danny, I'm torn between Ferris Bueller and Tom Cruise's character in "Risky Business"... ;D Those two characters practically defined the 80's generation.

Joescoundrel
12-10-2010, 08:17 AM
How influential was the Michael Douglas character Gordon Gecko in the real Wall Street? I think every young and ambitious banker / stockbroker / corporate lawyer / con man of that era made Gecko their personal idol. Of course having the slicked back hair and the sharp Italian (or was it Savile Row) suits also influenced how corporate comers and up-and-comers of the age dressed. "Get yourself some new suits..." best advice Gecko gave in that movie, and it felt like he was speaking to the the world at large and not just to Charlie Sheen's character.

Joescoundrel
12-10-2010, 08:19 AM
Did Rod Tidwell really steal the thunder from Jerry Maguire...? 8)

Joescoundrel
10-28-2016, 02:33 PM
https://www.theguardian.com/film/2016/oct/27/tom-cruise-hanks-from-golden-boys-to-wasted-talents

The two Toms.

Joescoundrel
10-07-2019, 11:00 AM
From Esquire ...

Joker Explores Mental Illness and Abuse, Delusion and Violent Behavior

The film is a condemnation of a system that reinforces and widens the divide between rich and poor, explaining but never exonerating the turn to anarchy.

By Hugo Zacarias Yonzon IV | 3 days ago

“Comedy,” the late, great George Carlin once told Larry King, “has traditionally picked on people in power, people who abuse that power.” Few people utilized comedy as effectively as a means of social commentary than Carlin, and he understood that for comedy to be truly meaningful, it needs to punch up, not down.

Todd Phillips's impressive filmography, from Old School to the Hangover trilogy, is a testament to his mastery of comedy. He takes that sentiment and holds it up as a broken mirror against today’s broken society and punches all the way up in the decidedly un-comedic, cinematic tour de force Joker.

Based on one of the most iconic comic book villains of all time, Joker reimagines the origin of the Batman’s archnemesis as a product of an increasingly hostile and alienating society where the divide between the rich and poor ever widens. Who needs a vat of toxic chemicals when the city has gotten so toxic, so oppressive it can break men to the point of criminal insanity? In some ways, the fears of Joker inciting or inspiring disaffected, angry white males to violence is valid and real. But Phillips adeptly and deliberately frames Joker’s turn to violence and crime not merely as a result of cruelty, bullying, and social inequity, but as the disproportionate response of a mentally unstable and dangerous man.

Joaquin Phoenix’s Arthur Fleck may be a white incel, but he’s so incredibly ill that he’s unfit to be emulated. Arthur is a middle-aged male who still lives with his mother and struggles to hold down his job as a clown in unforgiving Gotham City. Arthur is afflicted with Pseudobulbar Affect, which causes him to laugh involuntarily and uncontrollably, making it difficult for him to function normally. His bouts of laughter come at such inopportune times that they hamper even his work as a clown and aspiring stand-up comedian.

The irony of a profoundly unhappy clown whose laughter unsettles rather than cheers is core to the film’s theme. When it comes to Joker, the mantra, “put on a happy face,” is less a positive philosophy than it is an insidious method to mask criminal activity, a means to hide the identity of rioters and anarchists.

The iterations of the Joker, both on the comic page and onscreen, are schizophrenically diverse. The actors who have played the character have each brought his own interpretation of the clown prince of crime, adding even more facets to an already multi-faceted villain. Because the Joker is so complex, there is no definitive origin story or interpretation, with every version of the Joker just as valid as the next. Even Jared Leto’s much-maligned tattooed gangster from Suicide Squad added complexity to an endlessly chimeric figure. With Joker, Phoenix humanizes the villain in a way audiences have never seen before.

Phoenix transformed his body into a disconcerting mass of tired skin and bones for the role, moving his oddly jointed limbs in almost alien movements. It’s an incredible and powerful performance, vacillating between hysteria and a feeling of emptiness and loneliness that barely conceals the incredible violence waiting to be unleashed upon the world.

Joker and the Batman have always been opposite sides of the same coin, both products of a cruel, insensitive world that takes more than it gives. Bruce Wayne is born to privilege, orphaned by crime; Arthur is one of the faceless many who fall through the cracks, lonely even in the company of family, reliant on social services and welfare that can disappear at any moment.

As Arthur meets with his social worker, a sign behind her says, “it’s okay to feel trapped,” a guileful establishment message disguised as a motivational quote. This is how Todd Phillips frames the story. The complacent, disconnected rich against the discontented masses, the forgotten poor. The establishment versus the rabble. Comedy picks on the people in power, except that Joker is anything but comedy.

Joker explores mental illness and abuse, delusion and violent behavior. The Joker is a product of a broken system, where people feel disenfranchised and isolated. In one of the film’s turning points, three young Wall Street brokers pick on a dejected Arthur on the train, privilege and entitlement on display. It’s chillingly familiar because it’s all too common, and Arthur is the anti-establishment underdog audiences will want to root for. But Phillips cleverly derails audience sympathy as Arthur’s psychopathic behavior predictably turns increasingly darker until it reaches the point of no return.

Highlighting contrasts between the haves and have nots is Robert De Niro’s Murray Franklin, Arthur’s rich and popular counterpart, a talk show host who ends each show with the fatalistic, “that’s life!” Murray has the kind of success Arthur aspires to achieve but is simply not equipped for. In fact, Arthur is hardly equipped for anything, a barely functioning member of society who’s invisible despite being in full makeup.

Joker is an excellently crafted film. Lawrence Sher’s cinematography is intense and powerful, the neo-noir imagery haunting and lingers long after the credits roll. Sher is Phillips’ longtime collaborator, and the grit and grime of the Hangover films carry over here. Grating violin solos punctuate the film, complementing the deliberately claustrophobic production design based on vintage elements from the ’80s. Desaturated, grainy images play on CRT televisions, the Energizer bunny juxtaposed against the breaking news of chaos descending upon the city. Zorro the Gay Blade, which came out in 1981, plays in a cinema rather than the canonical Mark of Zorro.

Joker is an homage to and modernization of Taxi Driver. De Niro’s casting as a talk show host is a form of passing the baton to Phoenix as an irredeemable, deranged Travis Bickle. Like Travis, Arthur also keeps a journal where he jots down his thoughts and comedic material, which are anything but funny. With lines like, “I hope my death makes more cents than my life,” Arthur’s nihilism is an updated contrast to Travis’ self-centeredness and conceit.

This is a cautionary tale, albeit not without its flaws. Films are always important in context, and the increasing rise of real-life Travis Bickles in today’s world leaves Joker’s context open to criticism. But Phillips is careful to not romanticize the violence; as it escalates, it twists from being cathartic to deplorable.

Joker is a condemnation of a system that reinforces and widens the divide between rich and poor, explaining but never exonerating the turn to anarchy. It is masterful, powerful, and in the context of today’s society where the people in power brazenly, unapologetically abuse their power, a tragedy—not comedy—that is arguably even necessary.

Joescoundrel
10-15-2019, 03:47 PM
From GQ online ...

Every Keanu Reeves Movie, Ranked

Swallow this red pill: the indisputable ranking of the actor’s extensive filmography.

By Iana Murray

July 17, 2019

To call this era of peak Keanu saturation the Keanussaince would be a disservice to a decades-long career featuring quiet, powerhouse performances. To clarify: a lot of the films in this list are… not good, but even in the dredges of his filmography, Reeves remains committed to giving his everything. He’s also incredibly prolific, regularly churning out multiple films a year (to the detriment of this writer who had to watch them all).

Reeves has captured audiences for so long because he’s a singular kind of movie star. He’s chameleonic, and yet, he’s always, firmly himself. His mode of acting is unlike anyone else—and it’s the reason why he is such a formidable force on screen. There are the instantly recognizable films are what launched him to stratospheric heights—testosterone-fueled action flicks like The Matrix and Speed—but the real gems in his repertoire are formed when he’s allowed to be sensitive, empathetic, wounded and open. This is Keanu Reeves’s world, and we’re just living in it.

53. Replicas
No one deserves to be subjected to this.

52. Generation Um…
A mumblecore wannabe with the astute observation that millennials are superficial—never heard that one before.

51. The Night Before
It’s fun to see Reeves play against type as a high school nerd who traverses Los Angeles to figure out what happened on a wild prom night, but its appalling use of racist stereotypes explains why this John Hughes-esque comedy has mostly been forgotten.

50. The Watcher
This thriller is one of the biggest misfires for Reeves, who gets a rare villain role as a sadistic serial killer, but it wasn’t a job he took willingly—he was reportedly forced to star in the film after a friend forged his signature on the contract.

49. Little Buddha
The abhorrent casting of Reeves as Buddha (complete with brownface and an Indian accent) makes Bernardo Bertolucci’s spiritual epic unbearable to watch.

48. 47 Ronin
Keanu Reeves loves a good martial arts movie (see: Man of Tai Chi), but this isn’t one of them.

47. Exposed
There are traces of what Exposed was envisioned to be: an intimate Dominican drama that confronts issues of police brutality and mass incarceration.But after aggressive studio interference (the film was refashioned into a by-the-numbers thriller with Reeves’s small role upgraded to a lead), director Gee Malik Linton sued to have his name removed.

46. Even Cowgirls Get the Blues
Gus Van Sant’s follow-up to My Own Private Idaho is as big of a mess as Uma Thurman’s giant fake thumbs.

45. Knock Knock
At one point, Reeves exasperatedly yells “what the fuck?” to himself. Me too.

44. The Replacements
This sports comedy with a penchant for misogyny has not aged well.

43. Johnny Mnemonic
So quintessentially ‘90s in that no one understands how the Internet works.

42. Feeling Minnesota
With a little bit of True Romance, and a little bit of early Tarantino, this dark gangster romance is wholly derivative.

41. Street Kings
A thriller by David Ayer about corruption in the LAPD? Groundbreaking.

40. Much Ado About Nothing
Reeves is horrifically miscast in Kenneth Branagh’s dull Shakespeare adaptation.

39. Flying
There’s a scene in this gymnastics movie with the aesthetic of Jane Fonda’s workout videos in which a 21-year-old Keanu Reeves rap-sings and I screamed.

38. The Last Time I Committed Suicide
Reeves has a small role as the buddy to Beat Generation author and poet Neal Cassady, and that’s all I can tell you because I forgot this movie five minutes after I watched it.

37. The Prince of Pennsylvania
Reeves’s early career is largely defined by punky bad boy type roles that are indistinguishable from one another, with the exception of The Prince of Pennsylvania, in which he rocks the most outrageous do: flowing shoulder-length locks with one side shaved and dyed silver. SILVER.

36. Chain Reaction
Come for the impressive cast and intriguing premise, feel yourself wanting to quit, then end up staying for Rachel Weisz and Reeves acting like an old married couple.

35. Siberia
Just watch John Wick.

34. Youngblood
In this hockey comedy starring Rob Lowe, keep your eyes peeled for a baby-faced Keanu Reeves and his French-Canadian accent.

33. Hardball
Hardball is the other generic, but slightly better, sports comedy in Reeves’s oeuvre, but a lovely highlight is a pre-teen Michael B. Jordan.

32. Sweet November
This is a John Green novel before John Green novels existed.

31. The Gift
This supernatural thriller from Sam Raimi never quite takes off, but it’s always exciting to see Reeves explore new roles. Here, he’s an abusive husband accused of murder.

30. To The Bone
As a therapist helping a young woman suffering from anorexia, Reeves doesn’t have much to do and he’s done this role before in a better movie.

29. The Bad Batch
Reeves, sporting an impressive ‘70s stache, plays a charismatic cult leader called The Dream, and well, yeah, fair enough.

28. The Neon Demon
With the rare chance to be a massive sleaze, Reeves chews up every brief moment he has in Nicolas Winding Refn’s divisive take on the L.A. modelling scene.

27. A Walk in the Clouds
Strangers pretending to be married only to fall in love with each other is one of the dumbest romantic tropes. Inject it into my veins.

26. The Day the Earth Stood Still
Sure, this sci-fi remake has lived on in infamy, but no one can question the casting of Reeves as a mysterious extraterrestrial.

Joescoundrel
10-15-2019, 03:48 PM
^ (Continued from above)

25. The Lake House
Try not to question the logic of this high concept romance which reunites Reeves with his Speed co-star Sandra Bullock.

24. The Whole Truth
It’s pretty admirable that a film that takes place almost entirely in a courtroom doesn’t get boring.

23. Henry’s Crime
Mmm, yes Keanu, read Chekhov to me.

22. I Love You to Death
In what is perhaps the perfect antithesis to John Wick, Reeves plays a stoner hitman too incompetent to complete the job in Lawrence Kasdan’s slapstick farce.

21. Bram Stoker’s Dracula
Francis Ford Coppola’s period horror is infamous for Reeves’s British accent (which is really not as bad as everyone makes it out to be), but it gets bonus points for technically being Reeves and Winona Ryder’s wedding video.

20. The Devil’s Advocate
Al Pacino is Satan—what else is there to say?

19. Dangerous Liaisons
To fit in alongside such powerhouses as Glenn Close and John Malkovich is an unenviable task, and yet Reeves’s vulnerability makes him a great dupe in the power struggle between scheming aristocrats.

18. The Private Lives of Pippa Lee
It’s a crime that Reeves hasn’t played more romantic leads, and Reeves is on top heartthrob form as a cashier who woos over Robin Wright.

17. Destination Wedding
This romantic comedy with a sardonic edge received most of its press off that aforementioned wedding rumor, but it’s a joy to watch Reeves and Winona Ryder as a pair of ill-mannered cynics bicker for 90 minutes.

16. Thumbsucker
In Mike Mills’s debut feature, Reeves pairs wisdom with his calming presence as an orthodontist guiding a teen suffering from the titular habit, topping a hopeful monologue with the ad-libbed cherry: “The trick is living without an answer...I think.”

15. Toy Story 4
Who other than the world’s greatest Canadian could provide the voice for Canada’s greatest stuntman?

14. Point Break
Johnny Utah: he fights crime and surfs with Patrick Swayze—usually with homoerotic undertones.

13. River’s Edge
A disturbing account of troubled youth, River’s Edge shocked and disturbed audiences back in 1987, while Reeves, in his first major role, showcases a terrifying amorality that has become a rarity in his lengthy career.

12. Something’s Gotta Give
Contrary to popular belief, Something’s Gotta Give is, in fact, a horror and not a romantic comedy, which is the only reason I can think of to explain why Diane Keaton leaves hot doctor Keanu Reeves for Jack Nicholson.

11. Permanent Record
Like River’s Edge, Permanent Record is a glimmering exception in the actor’s career—he pulls off an understated but emotional performance as a teen grappling with the death of his best friend.

10. Always Be My Maybe
Always Be My Maybe, the Netflix romantic comedy the Internet conjured into existence, presents us with a nightmarish vision: Keanu Reeves is an asshole. The actor’s 15-minute cameo as a heightened version of himself is so memorable and hilarious because it toys with our perception of who the actor is—wholesome and pure, but totally unknowable. Most importantly, his appearance in a film with an all Asian-American cast means that Reeves is able to reclaim his own Asian-American identity.

9. Man of Tai Chi
Man of Tai Chi is the first, and so far, only film Reeves has directed—which is a shame because it’s batshit crazy. A megalomaniacal millionnaire (played by Reeves) enlists a fighter skilled in Tai Chi for an underground fighting operation. Reeves has a great respect for martial arts movies—beautifully choreographed sequences filmed in long takes, with authentic representations of the many fighting styles it features. He lets the action (of which there is many) speak for itself.

8. Constantine
The failed DC comic book adaptation starring Reeves as a demon-slaying detective is in dire need of a critical reassessment. Sure, it’s heavy CGI hasn’t aged well, and it isn’t exactly faithful to the source material—but it stands as one of the most trenchant explorations of loneliness in the actor’s career. As he wanders through the blazing wasteland of hell, he almost seems at peace, as if he’s content with his fate.

7. Parenthood
Underneath Ron Howard’s ensemble comedy is a subtle depiction of masculinity. Tod (played by Reeves) is an airhead with seemingly zero ambition, but he defies expectations with his resolute kindness and dedication to his girlfriend and her family. Seeing himself as something of a father figure to the youngest son of the family, he knows all too well what an abusive patriarch can do to a boy: “You need a licence to buy a dog, or drive a car. Hell, you need a licence to catch a fish. But they’ll let any butt-reaming asshole be a father,” he says, before reverting back to dumbass mode.

6. Speed
There’s an uncanny quality to Keanu Reeves. The way his body moves, the cadences in his voice, suggest someone who isn’t completely comfortable in their skin. His character in Speed, however, doesn’t exhibit these behaviours. Jack Traven is the everyman. Thankfully, Speed is silly enough for Reeves, who has never been particularly suited to playing regular people. Nothing brings communities together like a bus jumping over a 50-foot gap in the highway.

5. John Wick, John Wick: Chapter 2 and John Wick: Chapter 3 – Parabellum
Hell hath no fury like a Keanu scorned. The story of a retired hitman who does the absolute most to avenge his murdered canine resonated with many. The first John Wick—directed by Reeves’s stuntmen from The Matrix—was a surprise hit, spawned two sequels and a future TV show, and relaunched Reeves as an action star. In the words of our beloved Baba Yaga: Yeah, I think he’s back.

4. A Scanner Darkly
The future depicted in Richard Linklater’s Phillip K. Dick adaptation doesn’t look so far removed from today. The war on drugs has been lost, an undercover agent (Reeves) infiltrates a community of addicts hooked on the hallucinatory drug Substance D, only to lose his identity as he becomes addicted himself. Reeves is devastating—aided by the rotoscoped animation, he drifts through the frame like a breeze, while his descent into a psychological prison infects the film’s mutable aesthetic. It’s intensely hypnotic, almost addictive.

3. Bill and Ted’s Excellent Adventure and Bill and Ted’s Bogus Journey
Bill S. Preston Esq. and his best bro Ted “Theodore” are two idiots with hearts of gold, and their most excellent adventures through time, the afterlife and hell itself have cemented the two films as cult classics. Reeves has since progressed into darker, more serious films, but Ted has, and will always be, one of his defining characters. That isn’t to say it’s a role he wants to shake off;a third film, Bill and Ted Face the Music, is on the way. Woah, dude.

2. The Matrix, The Matrix Reloaded and The Matrix Revolutions
When we think of Keanu Reeves, we think of Neo. As the Chosen One fated to wake the world up from simulated slavery, Neo was born great, achieves greatness and has greatness thrust upon him. The Matrix is a revolutionary film in many ways,and though its sequels don’t have the same glowing reputation,its shockwaves have been felt through sci-fi and action films ever since.

1. My Own Private Idaho
The restrained performances that make the bulk of Reeves’s career are frequently mischaracterized as wooden or lifeless. But this is all part of the allure—he’s impossible to judge, a puzzle made to decipher. With Gus Van Sant’s bleak and beautiful My Own Private Idaho, Reeves is at the height of his powers as Scott, the unattainable heir that River Phoenix’s narcoleptic hustler Mike desires. Scott is impenetrable, all the more enticing as we try to unravel his motives. We hope that Scott returns Mike’s love, and sometimes Reeves makes us believe so until we’re blindsided. It’s utterly heartbreaking.