Lou Ford, the protagonist of “The Killer Inside Me,” cuts a violent swath through his home town while we ride with him the whole way down. Inspired by the film, this week’s IFC News podcast takes on antiheroes at the movies, looking at how they’ve become so prevalent that it’s rarer to see a classic hero and dividing them up into different categories, from reluctant leaders to criminals who follow their own code to charismatic psychopaths.
Spend Valentine's Day weekend with IFC's Underworld movie marathon.
Posted by Emmy Potter on Photo Credit: Screen Gems/courtesy Everett Collection
Romance takes many forms, and that is especially true when you have a thirst for blood or laser beams coming out of your eyes. It doesn’t matter if you’re a werewolf, a superhero, a clone, a time-traveler, or a vampire, love is the one thing that infects us all. Read on to find out why Romeo and Juliet have nothing on these supernatural star-crossed lovers, and be sure to catch IFC’s Underworld movie marathon this Valentine’s Day weekend.
1. Cyclops/Jean Grey/Wolverine, X-Men series
The X-Men franchise is rife with romance, but the steamiest “ménage à mutant” may just be the one between Jean Grey (Famke Janssen), Cyclops (James Marsden), and Wolverine (Hugh Jackman). Their triangle is a complicated one as Jean finds herself torn between the two very different men while also trying to control her darker side, the Phoenix. This leads to Jean killing Cyclops and eventually getting stabbed through her heart by Wolverine in X-Men: The Last Stand. Yikes! Maybe they should change the name to Ex-Men instead?
2. Willow/Tara, Buffy the Vampire Slayer
Joss Whedon gave audiences some great romances on Buffy the Vampire Slayer — including the central triangle of Buffy, Angel, and Spike — but it was the love between witches Willow (Alyson Hannigan) and Tara (Amber Benson) that broke new ground for its sensitive and nuanced portrayal of a LGBT relationship.
Willow is smart and confident and isn’t even sure of her sexuality when she first meets Tara at college in a Wiccan campus group. As the two begin experimenting with spells, they realize they’re also falling for one another and become the show’s most enduring, happy couple. At least until Tara’s death in season six, a moment that still brings on the feels.
3. Selene/Michael, Underworld series
The Twilight gang pales in comparison (both literally and metaphorically) to the Lycans and Vampires of the stylish Underworld franchise. If you’re looking for an epic vampire/werewolf romance set amidst an epic vampire/werewolf war, Underworld handily delivers in the form of leather catsuited Selene (Kate Beckinsale) and shaggy blonde hunk Michael (a post-Felicity Scott Speedman). As they work together to stop the Vampire/Lycan war, they give into their passions while also kicking butt in skintight leather. Love at first bite indeed.
4. Spider-man/Mary Jane Watson, Spider-man
After rushing to the aid of beautiful girl-next-door Mary Jane Watson (Kirsten Dunst), the Amazing Spider-man is rewarded with an upside-down kiss that is still one of the most romantic moments in comic book movie history. For Peter Parker (Tobey Maguire), the shy, lovable dork beneath the mask, his rain-soaked makeout session is the culmination of years of unrequited love and one very powerful spider bite. As the films progress, Peter tries pushing MJ away in an attempt to protect her from his enemies, but their web of love is just too powerful. And you know, with great power, comes great responsibility.
5. Molly/Sam, Ghost
When it comes to supernatural romance, you really can’t beat Molly and Sam from the 1990 hit film Ghost. Demi Moore goes crazy for Swayze like the rest of us, and the pair make pottery sexier than it’s ever been.
When Sam is murdered, he’s forced to communicate through con artist turned real psychic, Oda Mae Brown (Whoopi Goldberg in her Academy Award-winning role) to warn Molly she is still in danger from his co-worker, Carl (a pre-Scandal Tony Goldwyn). Molly doesn’t believe Oda is telling the truth, so Sam proves it by sliding a penny up the wall and then possessing Oda so he and Molly can share one last romantic dance together (but not the dirty kind). We’d pay a penny for a dance with Patrick Swayze ANY day.
6. Cosima/Delphine, Orphan Black
It stands to reason there would be at least one complicated romance on a show about clones, and none more complicated than the one between clone Cosima (Tatiana Maslany) and Dr. Delphine Cormier (Evelyne Brochu) on BBC America’s hit drama Orphan Black.
Cosima is a PhD student focusing on evolutionary developmental biology at the University of Minnesota when she meets Delphine, a research associate from the nefarious Dyad Institute, posing as a fellow immunology student. The two fall in love, but their happiness is brief once Dyad and the other members of Clone Club get involved. Here’s hoping Cosima finds love in season four of Orphan Black. Girlfriend could use a break.
7. Aragorn/Arwen, Lord of the Rings
On a picturesque bridge in Rivendell amidst some stellar mood-lighting and dreamy Elvish language with English subtitles for us non-Middle Earthlings, Arwen (Liv Tyler) and Aragorn (Viggo Mortensen) bind their souls to one another, pledging to love each other no matter what befalls them.
Their courtship is a matter of contention with Arwen’s father, Elrond (Hugo Weaving), who doesn’t wish to see his daughter suffer over Aragorn’s future death. The two marry after the conclusion of the War of the Ring, with Aragorn assuming his throne as King of Gondor, and Arwen forgoing her immortality to become his Queen. Is it too much to assume they asked Frodo to be their wedding ring-bearer?
8. Lafayette/Jesus, True Blood
True Blood quickly became the go-to show for supernatural sex scenes featuring future Magic Mike strippers (Joe Manganiello) and pale Nordic men with washboard abs (Hi Alexander Skarsgård!), but honestly, there was a little something for everyone, including fan favorite Bon Temps medium, Lafayette Reynolds (Nelsan Ellis).
In season three, Lafayette met his mother’s nurse, Jesus, and the two began a relationship. As they spend more time together and start doing V (short for Vampire Blood), they learn Jesus is descended from a long line of witches and that Lafayette himself has magical abilities. However, supernatural love is anything but simple, and after the pair join a coven, Lafayette becomes possessed by the dead spirit of its former leader. This relationship certainly puts a whole new spin on possessive love.
9. Nymphadora Tonks/Remus Lupin, Harry Potter series
There are lots of sad characters in the Harry Potter series, but Remus Lupin ranks among the saddest. He was bitten by a werewolf as a child, his best friend was murdered and his other best friend was wrongly imprisoned in Azkaban for it, then THAT best friend was killed by a Death Eater at the Ministry of Magic as Remus looked on. So when Lupin unexpectedly found himself in love with badass Auror and Metamorphmagus Nymphadora Tonks (she prefers to be called by her surname ONLY, thank you very much), pretty much everyone, including Lupin himself, was both elated and cautiously hopeful about their romance and eventual marriage.
Sadly, the pair met a tragic ending when both were killed by Death Eaters during the Battle of Hogwarts, leaving their son, Teddy, orphaned much like his godfather Harry Potter. Accio hankies!
10. The Doctor/Rose Tyler, Doctor Who
Speaking of wolves, Rose “Bad Wolf” Tyler (Billie Piper) captured the Doctor’s hearts from the moment he told her to “Run!” in the very first episode of the re-booted Doctor Who series. Their affection for one another grew steadily deeper during their travels in the TARDIS, whether they were stuck in 1950s London, facing down pure evil in the Satan Pit, or battling Cybermen.
But their relationship took a tragic turn during the season two finale episode, “Doomsday,” when the Tenth Doctor (David Tennant) and Rose found themselves separated in parallel universes with no way of being reunited (lest two universes collapse as a result of a paradox). A sobbing Rose told a holographic transmission of the Doctor she loved him, but before he could reply, the transmission cut out, leaving our beloved Time Lord (and most of the audience) with a tear-stained face and two broken hearts all alone in the TARDIS.
In the new film “The Human Centipede (First Sequence),” an insane German doctor sews three people together to fulfill his dream of making a, well, human centipede. Is it the most extreme thing we’ve ever seen in a movie? What’s the appeal of seeking out images that push boundaries like this? This week on the IFC News podcast, we discuss shock cinema, its power, and why everyone’s seeking out the place where extreme arthouse and extreme genre meet.
This week’s keyword game giveaway is a pair of Criterion DVDs: “Sólo Con Tu Pareja,” the directorial debut of Alfonso Cuarón, and Erik Skjoldbjærg’s “Insomnia,” which was later remade by Christopher Nolan.
One of the more intriguing items in today’s round of development and production updates is the laconic Twitter update from Production Weekly noting that “Lunatic at Large” — a story written by Jim Thompson and Stanley Kubrick in the ’50s, the manuscript lost for decades, then rediscovered in 1999 — is moving forward into production, with Scarlett Johansson (vamping for her femme fatale role in “Match Point” and now presumably arriving at her logical showcase) and Sam Rockwell, who is, if nothing else, a good default choice for the role of “lunatic,” although the central mystery of the film is determining which one is a former axe murderer recently released from a mental institution. It’s surely the least expensive unrealized Kubrick project to make (less so than, say, the Napoleon movie).
Jim Thompson is commonly slotted as a pulp noir writer, which is slightly off the mark: it’d be fairer to say that he’s the first neo-noir author. Thompson started writing a little later than the writers that defined noir — Dashiell Hammett, James M. Cain, Cornell Woolrich, Raymond Chandler et al. — and his defining moments spread from the ’50s to the ’70s. The great adaptations of those other writers were all done by the early ’50s, henceforth only to be revisited in strikingly revisionist ways — Bob Rafelson’s sexually explicit redux of Cain’s “The Postman Always Rings Twice,” Robert Altman’s faithful-in-spirit but defiantly postmodern subversion of Chandler’s “The Long Goodbye,” Truffaut’s jokey reworking of Cornell Woolrich in “Mississippi Mermaid” and so on. But you could argue that Thompson — who didn’t make it to the screen until his 1956 adaptation of Lionel White’s “The Killing” — is only now being served with the brutality and tenseness his work deserves.
Consider that despite the fact Thompson wrote screenplays and TV episodes through the ’60s, he didn’t get adapted until 1972’s “The Getaway” (which he felt was bowdlerized). The truly major Thompson films followed: Bertrand Tavernier’s 1981 “Coup de Torchon” (a truly mindblowing piece of goods, with Philippe Noiret running around a French Senegalese colony killing people for pragmatic reasons), the 1990 version of “The Grifters” (one of the few plausible retro-noirs, but with non-self-congratulatory female nudity), and the reportedly brutal “The Killer Inside Me.” that’s hitting the U.S. in June. More so than the writers he’s lumped in with, Thompson’s main focus is frequently violence and action rather than paranoia and atmosphere.
That’s not a knock on the other writers (I’m a Chandler partisan myself). But it’s finally Thompson’s time to shine. Other noir writers are so steeped in their time that filming them is a question of revisiting, revising and subversion, while Thompson’s work can be filmed straight-up. Only now are we catching up to the true grimness of his work.
[Photos: “The Killing,” MGM/UA Home Entertainment, 1956; “Coup de torchon,” Criterion Collection, 1981.]
Both “Alien vs. Predator” films were by and large disposable mash-up exercises, undone by plots that couldn’t convincingly meld the two series’ worlds and directors who paled in comparison to the ones behind the creatures’ original solo outings. But in theory, this marriage of H.R. Giger’s acid-blooded beasts and Arnold Schwarzenegger’s camouflage-happy intergalactic nemesis is a solid one.
For the best evidence of that fact, you’ll have to look to the game world — the 1999 PC/Mac title of the same name and its recent remake, which allows you to play as a marine, an alien or a predator. It’s a title that, like its predecessor, cannily plays to the strengths of its chosen properties, recognizing that both James Cameron’s “Aliens” and John McTiernan’s “Predator” feature scenarios and action tailor-made for the gaming realm. And this new game’s success at recreating the visceral excitement of its source materials raises an interesting question — what makes a film ideally suited, or wholly inappropriate, for video game treatment?
Games based on film licenses tend to be pretty wretched. Yet given the arrival of “Aliens vs. Predator,” a film-based game that not only works but, more importantly, makes logical sense as a project to begin with, it’s clear that some films are just a better fit for the interactive realm.
The more you look at the anomalies that have succeeded in both film and games, the more it becomes clear that they share a few common traits. These aren’t hard and fast laws, and there are still countless examples of films that, though seemingly perfect for a game adaptation, wound up with horrific PC or console iterations. Here are some obvious — and yet far too often ignored — truths about the way to go about making games based on films.