After finishing my countdown we reach the film that inspired it in the first place: Deeadpool! Now in comparison to the usual superhero epics that have been coming – the films where earth-sized stakes are at hand and the universe must join together to defeat a dangerous threat – Deadpool is very… small in scale. And that’s including Ant-Man.
In celebration of Deadpool’s release yesterday, and the oncoming Superhero onslaught, I have been piling together a list of the greatest superhero films (in my humble opinion). With 15-11 and 10-6 out the way, we finally reach the ones that made the final cut: the fearsome five!
It’s only been one full month into 2016, and we’re already getting started on the superhero film onslaught that awaits. Starting with Deadpool, and ending with Doctor Strange, there are a total of eight comic book flicks this year – and the numbers are only increasing over the next few years. Truly it is the golden age of Superhero films. So, as a minor countdown to the first flick of this genre this year (one about a certain merc with a mouth) I have decided to compose my personal top 15 greatest superhero films. I should note that the only requirement for this list is that the films must involve a superhero, regardless if they are a comic book movie or not (sorry Scott Pilgrim and others, you don’t make the cake!). The other day we went through 15-11 (which can be found here), but now we move on to the next five!
It’s only been one full month into 2016, and we’re already getting started on the superhero film onslaught that awaits. Starting with Deadpool, and ending with Doctor Strange, there are a total of eight comic book flicks this year – and the numbers are only increasing till 2020. Truly it is the golden age of Superhero films. So, as a minor countdown to the release of Deadpool in a few days, I have decided to compose my personal top 15 greatest superhero films. I should note that the only requirement for this list is that the films must involve a superhero; regardless if they are a comic book movie or not (sorry Scott Pilgrim and others, you don’t make the cake!). Let’s begin with 15-11!
While audiences love watching Bear Grylls surviving in the wilderness on the TV screen, Alejandro G.Iñárritu shows us the real deal on the cinema screen. Detailing (very loosely) the mythic frontier test of endurance with the wild-west quest for payback, The Revenant strives to blend epic survival with classic revenge thriller.
A meteor hurtles towards prehistoric earth while dinosaurs munch on grass and trees. We expect the inevitable, yet in a twist of fate the comet brushes past our atmosphere, sparing those giant lizards: and so the concept of The Good Dinosaur is introduced – what would happen if humans and dinosaurs coexisted? It’s a simple idea filed with potential just like all the Pixar films before it, as Arlo the apatosaurus and Spot the human trek the western landscape with some bumps along the way.
In 2013 we had Gravity, the ‘realistic’ sci-fi thriller; next we had Interstellar, the ‘realistic’ sci-fi fantasy; and now we arrive in 2015 with the Martian: the feel-good space romp. Based on the bestseller by And Weir, most people have glimpsed the premise either through a Waterstones window or over a fellow commuter on the war to work: astronaut Mark Watney (Matt Damon) is Crusoefied on the red dot in space, and must survive on this desolate planet until supplies, or rescue, can save his skin. But even with such high stakes (and the director who turned space into a hive of chest-bursters on board as well) this film keeps a smile on its face.
It is no debate that Justin Kurzel has crafted something wicked in his Macbeth: this is a savage Scotland where Shakespeare’s words flourish under a camera and cast that mingles cinema with sin. If you wish to know my thoughts on this Macbeth solely as a film, I suggest you read Jack Blackwell’s review as I share his opinion. My observation however, was that for a film so loyal to the setting of the Red King, Kurzel is not always faithful to the Bard himself, and is often open to remaking the plot altogether. This sparked a curiosity in me about this bizarre sub-genre that resides in film and has only continued to grow in popularity: The Shakespeare Adaptation.
In the year 2015 there are five blockbuster spy films vying for the box office zeroes, including such well-established franchises as 007 and Mission Impossible. However, among the Kingsmen and secret services, The Man from U.N.C.L.E takes the cake as the worst titled out of all of them. Perhaps with a better name and more marketing, Guy Ritchie’s new flick could get the numbers it deserves. Yet overall, it stands as a perfectly enjoyable (and soon-to-be obscure) espionage romp.
Having gone through two previous sequels, 14 years of production hell, and a budget of $150 million, Jurassic World certainly feels like a film 65 million years in the making. The effort has seemed to have been quite literally worth it in this case as the flick has stomped on previous box office records with a tremendous $511 million – blockbuster numbers worthy of the kings of lizards. Of course, the wonder of the Jurassic franchise has lost some of its bite over the years, and that Spielberg magic can never truly be revived from the original. Instead, the film it does what all sequels are expected to do: bigger set pieces, better carnage, and longer t-rex arms. The Indominus Rex is a mutant meta-saurus of the film designed to get over the problem that ‘no one’s impressed by a dinosaur these days’.