The 10 Greatest Books Adapted Into Movies?

With the week I’m between Irish Orals and college interviews so I don’t have the time to watch the movies I want to review (Its criminal). So I’ve decided to do something different that will hopefully take less time for this week. I have compiled the film adaptations of books according to their worldwide gross profit (Figures can vary from sources but the order is correct) But I couldn’t help notice that I didn’t like it all that much but I understand you might think differently. The list goes like this:

1.       The Lord of the Rings: The Return of the King (2003) - $1,129,219,252

2.      Harry Potter and the Philosopher’s Stone (2001) - $968,657,891

3.      Harry Potter and the Order of the Phoenix ( $938,212,738

4.      Harry Potter and the Half-Blood Prince (2009) - $933,959,197

5.      The Lord of the Rings: The Two Towers (2002) - $921,600,000

6.      Jurassic Park (1993) - $919,700,000

7.      Harry Potter and the Goblet of Fire (2005) - $892,194,397

8.      Harry Potter and the Chamber of Secrets (2002) - $866,300,000

9.      The Lord of the Rings: The Fellowship of the Ring (2001) - $860,700,000

10.  Harry Potter and the Prisoner of Azkaban (2004) - $789,458,727

I was amazed at the fact that all the Harry Potter film made thus far (Only one more to go, book that is, technically two films) holds six out of the available ten places while Lord of the Rings takes three more places. But alone, placed bang in the middle, a three time Oscar winning film, Jurassic Park. That movie that has to be one of my all time favourites  (I remember wearing out the VHS of it we had from watching it too much). I guess the increase in cinema at the turn of the millennium made this list the way it is. I would love to say that all these films deserved there places but think about it, aren’t there films adaptions of books you would rather watch instead…

I am going to give my list of the top ten film adaptions of books I have seen and would recommend anyone. Some of these didn’t make as much money as those but damn they were they good, weren’t they:

1.      Jurassic Park (1993) - $919,700,000

2.       Jaws(1975) - $&0000000470600000.000000470,600,000

3.      The Green Mile (1999) - $286,601,374

4.      Goodfellas (1990) - $637,355,253

5.      The Jungle Book (1967) - $560,704,100

6.      Fight Club (1999) - $497,104,100

7.      Apocalypse Now (1979) - $151,071,511

8.      Forrest Gump (1971) - $679,400,525

9.      Lord of the Rings: Fellowship of the Ring (2001) - $870,761,744

10.  The Shawshank Redemption (1994) - $282,414,69

The lists here as you can clearly see are completely different and I'm aware I can't define the list just host my opinions, but that's what I am also asking you to do, show me your list and it won't be the same I can guarantee it! 

I'm not oblivious as to the fact of how the list has ended up like this, there was a lot more money at the turn of the millennium and leisure time activities surged. But my concern is for the old film adaptations, what will become of them in twenty or forty years will they even be on the late night TV anymore, only to be remembered when there is no 'Lost' or Desperate Housewives to show instead. It even saddens me to think that that's where they'll stay as new generations forget about them, never hearing the songs from the Jungle Book that I simply can't forget or the brilliance of Tom Hanks bringing the character of Forrest Gump alive on front of are very eyes from the pages of a classic. Instead they will simply remain stored in film magazines archives as a simple review that drove the crowds to them in the first place, here's one person who sincerely hopes they read the books only because I fear they will never see the films.


But this isn't what bothers me the most (Although it drives me mental let it be said) What probably bothers me the most is that I could bark all day and it won't change. Even if I decided to bite, If I sent letters to magazines, they would just be published in an editorial for those to laugh or even ignored like the charities we don't feel like contributing to or worse, it could incourage a more ''accurate'' rating system for films. So I best take J.K Rowling's advice and ''Never poke a sleeping dragon in the eye''.

I can't help thinking it’s not going to change any time soon. Of course the old films will never enter this list again, for they have had there shot and must be content with placing in my list. But with hope, in the future, the books that have yet to be written (i.e books by Stephen King are always a winner for adaptations) to become films will immortalise themselves in this ''elite'' list of ten. Well, until the new Harry Potter films come out…

Film Critics Choice

Well it's Friday, the weekend starts here. And as for those of you who still go to the cinema instead of going to the pub (Although I intend to do a little of both to be honest) could well be deciding on what film to see. If you haven't decided I give you a quick run down of all the films worth seeing, when close €15 - €20 is on the line you want to get your moneys worth.

Kick-Ass:

Director Matthew Vaughn has made the regular super hero something more real. It's worth watching again and again till the projector breaks or you go insane. Seriously, it’s the film of the year so far for any teenager and even an open minded adult setting a pretty good benchmark for the next 8 months. It’s quite frankly ‘’Kick Ass’’

Cemetery Junction:  Gervais has pulled off something that’s more than just watchable using an overused and predictable story; he manages to make it his own. A winning combination of new actors graced with more experienced ones, manages to engage the audience effectively even if the laughs are rare it will still have you leaving the cinema with a smile on your face guaranteed

Clash of the Titans: It’s easy to spot the flaws in such a heavily CGI film but it holds its rickety supports upright throughout. If you pay for the non-3D experience you’ll enjoy it more for you money. Fans of action and swords-and-sandals epics should get a bang out of it if nothing else, but Clash of the Titans is sadly forgettable.

How to train your dragon: While certainly not on the same level as Pixar in terms of character, this is nonetheless a genuinely fun and enjoyable adventure film, with subtext galore for more receptive kids (and parents). The 3D glasses may cost a few quid more if you're taking the whole family, but it’s certainly worth it for a more engaging experience.

Perrier's Bounty:

The quirky hitmen, and violent main gangster with a fondness for long-winded monologues, will charm you for the most part until Broadbent’s accent spoils the mood , but Perrier's Bounty is sharp enough for long enough to, just about, hold its own.

Critics Choice: Kick-Ass is a clear winner this week and although the selection of films is so varied from animation, to action to satirical comedy Kick-Ass just seems to combine all of these different aspects into one film you can't help but love. I liked it so much I am going again tonight.

Cemetery Junction Review

It’s Ricky Gervais’ third cinematic outing and for me he has thankfully slide out of the lead role and beginning to firmly place himself behind the camera where he works best (In my Opinion). Ricky Gervais and his Office co-creator Stephen Merchant move into more character orientated path, with a trip down memory lane to the 1970s. Although Merchant refrained from any creative input into The Invention of Lying, he has certainly dived straight in on this one. Even still with this winning combination of two of the funniest men to ever grace British television it’s not the stomach tensing laughfest you might have expected, Cemetery Junction is more reflective; Even overcoming it’s clichéd script.

Christian Cooke stars as Freddie, a hardworking twenty something with ambitions from the forgotten town of Cemetery Junction in Reading, 1970s. Freddie doesn't want to spend his best days working in the local factory like his father (played by Gervais - appearing sparingly, a wise choice for this particular film) and his best mate, so goes to work for Mr. Kendrick’s (Ralph Fiennes) insurance company. Soon he becomes infatuated with his free-spirited daughter, who's engaged to Ramsay, (Matthew Goode) top company salesman, In short the script reads like this; Boy stuck in a rut, ambitious but held back. In love with the girl next door who is in love with the guy he can’t stand throw in a laugh or two and ride off into the sunset, got it?.

Cemetery Junction Trailer

America, when it does something it does it bigger and better than anyone (Although I’ll admit they’re not the brightest bunch at times, they still get shit done) and what American cinema does so much better than British cinema is to show their youth as being……happy. Whether it’s because US teens have more money or a car culture that exceeds a new stereo and a £100 spoiler compared to ‘’Pimping their rides’’ that makes The American youth a more dynamic and quite frankly, more interesting group of people to watch, I don’t know, but when British filmmakers make films, it’s much more about the gritty reality than the shiny myth of fame and fortune. From That’ll Be The Day to Quadrophenia to Trainspotting to This Is England, British cinema has always seemed to prefer dwelling on the shit-out-of-luck teens that never stood a chance. As if they can’t help but think ‘fuck it, now or in eighties years I’ll still be dead...

This situation actually benefits the clichéd story of Cemetery Junction, combining the teenaged American dream with the British feel of the 70s. Ricky Gervais and Stephen Merchant’s Cemetery Junction becomes all the more refreshing because of this. Echoing the likes of Saturday Night Fever, Diner and, more recently, Adventureland, Gervais and Merchant’s first feature together emerges as with a bluster and appeal of the traditional American youth picture and applying it to a small-town British setting. Gervais and Merchant have gone for a more conventional American idealised endless summer where the sun always shines in which to race through those important rituals of manhood: job interviews, first loves, and realising you’re too old to watch cartoons anymore (I still do though).

Ricky Gervais & Stephen Merchant Interview

In this respect, the film struggles to take any kind of surprising turn throughout. The impression of being trapped in a small town (It looks rather nice to me though) a young boy becoming a man who is growing apart from his friends, and a girl who links him and the outside world is a story that’s like water off a duck's back and the movie doesn’t really deviate from it — but somehow comes up trumps at the end of the day.

If Cooke gets the job and the girl, it is Hughes’ Bruce who drives home the dramatic element within this, as he speaks out to his father for not putting up a fight after his mother left, and a confrontation between Bruce and Sgt. Davies (Steve Speirs) in a prison cell crackles with electricity. But on the other hand, Jack Doolan’s Snork fails to escape the comical plus one to the trio with nothing more than a timid relationship with his train station co-worker.

A brilliant, simple piece of emotive writing, it’s a poignant counterpoint to the broad teen antics sits comfortably at the centre of the film as a suited Freddie takes Bruce and Snork to a work dinner in pursuit of free booze and single women as only young men can do. Gervais and Merchant cleverly use there Office days to mimic the grimness of the work social function. Within one scene, we get embarrassing small talk, broad comedy (a cleverly placed Stephen Merchant cameo), a musical interlude, and, best of all, a sublime golden handshake speech from Fiennes’ creepy self-made man. This scene shimmers like a diamond in the rough and makes you wonder how superb a film it could have been if the same care and creativity had been giving from the start.

Gervais has pulled off something that’s more than just watchable using an overused and predictable story; he manages to make it his own. A winning combination of new actors graced with more experienced ones, manages to engage the audience effectively even if the laughs are rare it will still have you leaving the cinema with a smile on your face guaranteed.

''Quote Me This'' - The Mid-Week Quiz

Mid-Week Quiz
As it’s Wednesday and I don’t review on a Wednesday (As I have just decided) I am instead going to give a film quiz for those who consider themselves film buffs. This week’s quiz is ‘Quote Me This’’ and as its name suggests, its quotes from various famous and not so famous (Although still very good and popular in their time) films you would’ve and should have seen when you were growing up. Here’s a list of ten quotes starting easy and becoming relatively difficult, I want the film and the Character name from the film (Actor is also excepted but will be omitted in the answers below) and if you wish, the year for the extra good feeling inside. Here they are:


1) "I'm going to make him an offer he can't refuse."

2) "We're gonna need a bigger boat."

3) "You've got to ask yourself one question: 'Do I feel lucky?' Well, do ya, punk?"

4) "Gentlemen. You can't fight in here. This is the War Room!"

5) "So tell me, Eddie, is that a rabbit in your pocket, or are you just happy to see me?"

6) "Of all the gin joints in all the towns in all the world, she walks into mine."

7) "I'd hate to take a bite out of you. You're a cookie full of arsenic."

8) "Can I borrow your underpants for ten minutes?"

9) "What we've got here is failure to communicate."

10) "One morning I shot an elephant in my pyjamas. How he got in my pyjamas, I don't know."

Google search is not allowed and no aids of any kind, and although I obviously can’t stop you, you will be lying to yourself (I couldn’t care less) and a film buff you are not. The answers are at the bottom for those who didn’t cheat, I must admit they’re all famous quotes but the films may not be:



1. The Godfather, Marlon Brando, 1972      2. Jaws, Chief Martin Brody, 1975      3. Dirty Harry, Harry Callahan, 1971      4. Dr. Strangelove, Merkin Muffley, 1964       5. Who Framed Roger Rabbit, Dolores, 1988       6. Casablanca, Rick Blaine, 1942         7. Sweet Smell of Success, J.J Hunsecker, 1957       8. Sixteen Candles, Samantha, 1984       9. Cool Hand Luke, Captain Luke, 1967       10. Animal Crackers, Capt. Jeffrey T. Spaulding, 1930

A Comic spin on Ireland most dangerous mob bosses with a procrastinating good guy, Perrier's Bounty may not be nearly as smart as it likes to make out and you have to hand it to Cillian Murphy. Although he's not a giant of actors in the film industry, for 88 minutes he manages to lug this rambling, fickle plot pretty much by himself and remain mildly entertaining while he does it. Written by Mark O'Rowe, with the always watchable Brendan Gleeson also headlining, there is every chance it might even eclipse the success of O’Rowe’s previous hit film, ‘Intermission’.

Extremely sharp in points, an appalling attempt at an Irish accent by Jim Broadbent, and a plot that climaxes with an ending that feels rather anti-climactic (And you can’t help feel it was intended), eluding us somewhat. Still, it has a charm you can’t help warm to, and with the exception of Broadbent (Get Irish actors for Irish roles, duh!) the acting is top notch.

Michael McCrea (Murphy) is a ‘’bad boy’’, but the likeable kind, who runs up some loans and finds himself in debt to Dublin gangster Darren Perrier (Gleeson). Perrier is more of a bad ass than bad boy, but in a not-so-likeable way, and when Michael fails to come up with the cash, two of Perrier's gang call round to rough him up. 

Brendan Gleeson & Cillian Murphy Interview

All doesn't go to plan however, as Brenda (Whittaker), Michael's best friend and next-door neighbour, who has stolen Michael's gun with the intention of taking her own life, instead shoots one of the thugs. Perrier is naturally upset about this turn of events, and puts a bounty out on Michael and Brenda's head, go figure.

But for some reason this wasn't confusing enough for Mark O’Rowe, McCrea's father Jim (Broadbent) has just come back into his life, telling Michael that he's dying. With one of Perrier's gang dead, Brenda and McCrea senior and Junior flees to the Dublin Mountains to bury the body and go on the run.

Containing the kind of over-articulated dialogue that seems to feature in independent film all over the world today, O'Rowe certainly knows how to string an entertaining sentence together, which quickly becomes weary in places, what 'Perrier's Bounty' lacks most is credibility when dealing with what we are meant to believe are the hardest of Dublin criminals but despite the ill credibility and over-elaborate dialogue  those sentences coming from the mouths of actors with the capability of Gleeson and Murphy are a delight to hear at points. Murphy is particularly strong, giving another thoroughly natural performance and pulling this film to the 88 minute by the scruff of the neck.

Perrier's Bounty Exclusive Trailer 

It's difficult to convey when and where exactly this movie goes awry, but the oblique storyline; unnecessarily affluent dialogue and wooden characterisation are good places as any to start. What begins as a decent, somewhat bemusing premise for a film descends very quickly into an all-out fantasy, where the audience is expected to leave its scepticism at the door and not ask too many questions. The cinematography helps the film trundle along, with some beautiful shots of Dublin City and the Dublin Mountains. But when you have the flaws unravelled blatantly on front of your face you find it hard to maintain an active interest.

The quirky hitmen, and violent main gangster with a fondness for long-winded monologues, will charm you for the most part until Broadbent’s accent spoils the mood , but Perrier's Bounty is sharp enough for long enough to, just about, hold its own.

Clash of the Titans Review

There have been a lot of pointless remakes and re-imaginings coming out of Hollywood in the last decade most of which are pile on the never ending heap of flops, but if there ever was a movie in need of retooling it's 1981's Clash of the Titans - that epic tale of Perseus' adventures was stilted by the poor acting and flat direction. With today's CGI this was a chance to be the definitive take on the story. This to be the definitive take on the story is debatable but it is certainly action-packed.

Men, whose prayers fuel the Gods' immortality, have turned their back on Mount Olympus, which is the equivalent of ignoring your brother till he clicks his fingers and mum and dad are suddenly beaten you to death. Zeus (Played by Aslan, I mean Liam Neeson) enraged by this, unleashes his brother Hades (Ralph Fiennes), ruler of the Underworld, to exact revenge. Hades, short of dragging the whole city to the Underworld, threatens man with the Kraken, a fearful sea beast who will lay waste to the city unless the King of Argos sacrifices his daughter Andromeda (Davalos). The reluctant Perseus (Sam Worthington, Avatar), a forgotten and mortal son of Zeus, coincidently, sets out on a perilous quest for Medusa's head, the ugly Gorgon whose gaze can turn man to stone...

Synonymous with Greek myths, there's a big backstory to understand here, which the writers do their best to ease the audience into with narration, exposition and flashbacks, but with so many characters, motives, pacts and switcheroos to remember the opening half hour is rather awkward, kind of like your 50 year old dad trying to do his best robot dance. Once it settles down and Clash of the Titans remembers it's an action movie first and foremost it flows much better. Leterrier (Transporter 2) is more at ease directing the action sequences and there are plenty of those; helped by the impressive special effects Leterrier has fun letting loose his monsters but sadly bungles the Medusa scene, where Ray Harryhausen's depiction of the Gorgon’s lair remains tops. The dread, the tension, the unnatural movement of Medusa herself in the original (the only time where stop motion triumphs overs CGI here) are lost in the director's rush to tell the story at lightning pace while continuing to cram as many action scenes in as possible.

Clash of the Titans Trailer

Very much like the original, this remake suffers from a very haphazard plot. Even though Leterrier and co. cram in as much as they can, Clash... forgets all the Gods but Zeus and Hades (There are 12 in case you were wondering), played by the not-as-spooky-as-he-should-be Fiennes, Fiennes merely speaks in sinister whispers the whole time hoping not to be notice and after watching it, he had the right idea. Pegasus, too, is reduced to a bit part to my disappointment, although he is beautifully rendered using CGI. The whole adventure lacks mystery and awe that even the original managed. But the real disappointment was the constant loss of momentum after every fight or big dialogue sequence, as if the actors seemed to have lost their bearings and felt compelled to wander around like headless chickens.

3D was tacked on as a late addition in post-production, the 3D aspect isn't essential and viewers can save money by going au natural in some cases. I did not watch this film in 3D but I have the feeling it doesn’t pull off the same mesmerizing show Avatar managed, to distracted everyone from flaws like a magician trying to disappear an Elephant. It can only make the action sequences more disjointed and confusing.

But 3D is not the only element that's an afterthought: surprisingly, its Arterton's Io that's the love interest and not Andromeda, which lessens the urgency of Perseus' personal mission. Sam Worthington's Perseus is a disappointment. Reluctant and a champion of man over the Gods; Perseus ‘’I want to do this as a man’’ He insists, well no worries Perseus, I don’t remember seeing anything ‘hero’ like from you the entire film other than some fancy sword play and a stubborn nature. And I’ll be honest Cunningham's quips are a welcome distraction from the serious tone which suffocates the film throughout.

It’s easy to spot the flaws in such a heavily CGI film but it holds its rickety supports upright throughout. If you pay for the non-3D experience you’ll enjoy it more for you money. Fans of action and swords-and-sandals epics should get a bang out of it if nothing else, but Clash of the Titans is sadly forgettable.

Star Trek - First Contact Review (Special Request)

I think I better start by addressing the common age old myth that is ‘’Star Trek is for geeks!’’. Listen up and listen well, because when it comes to films I know what I’m talking about. Let’s start with the facts, shall we? Star Trek – First Contact directed by Jonathan Frakes in 1996 opened in 2,812 theatres beginning November 22, grossing $30.7 million its first week (It only cost $45 million to make)  and making it the top movie at the US box office, overall, earning a total of $146 million worldwide. That’s a nice return on $45 million don’t you think?

I am not a ‘’trekkie’’ far from it to be honest and am far from an obsessive Star Trek fan but I like my films and I love good films, well written films, films that make you think with the right mix of action and dialogue. First Contact is, for me, a film that combines the best of what makes a film good. The action sequences are not what you’re used to; there are no million dollar studios with Hollywood effects not to say that there aren’t any. Instead it delivers something with a bit more feeling, a raw sense of action we don’t see every day. I was even reminded of the old bond films when it came to the fights scenes, there was something about those fights you couldn’t help but love something about them seemed so…real.

I found myself getting attached to the characters, (Something a good film does to viewers might I remind you)  One in particular, a Klingon called Worf, who’s race were born without fear and had nothing bust lust for war, he even made me laugh, several times in fact (I know Star Trek and comedy eh? Who’d a thunk it) When his weapon would no longer affect the enemy he would simply say:

Lt. Commander Worf

They’ve adapted…

Which basically means when translated ‘’Stand back and hold my gun, I’m going to punch him’’. Ah Worf, you silly bitch. Data an even more lovable character funny and quirky also joins in on the action and damn can he throw a punch and more, snapping necks, breaking faces and simply Kicking ass, but wait this is Star Trek, there can be no humour and action sequences in Star Trek, can there? Yes there is so deal with it because they’re pretty good too. There are even characters you can hate, Sounds strange, but I like if there’s some character or thing you can complain about right? In this case it’s William Riker, an arrogant douche who has the corniest lines known to mankind and you just want Captain Jean-Luc Picard to punch him straight in the face as only Picard can who is played by no one other than Patrick Stewart, who give a brilliant performance as Picard:

Zefram Cochrane

Is that Earth?

Lt. Cmdr. Geordi

That's it!

Zefram Cochrane

It's so small...

Cmdr. William Riker:

It's about to get a whole lot bigger.

Yep that’s just one of many moments I wished Picard would come on screen and punch him in the face but he doesn’t or does he (No he doesn’t, I lied). The entire cast all pull off great performances making the whole experience a joy to watch (Yes, you heard me, I said ‘’Joy’’) and really congeals the story together. Don’t believe me, well watch it yourself and tell me otherwise.

http://www.youtube.com/watch?v=wxyZQR2d6yw

The story pulls together with complete ease and even though they were running with a previous sequel like story from one of their other films or TV series (I’m not entirely sure) it still was easy to follow and I even kept up with the Star Trek Lingo such as warp drive, assimilate and many other words I wouldn’t know and to be honest still don’t. But the beauty is you don’t have to know all these terms and back stories of alien races, with any film you just identify the good guys, then the bad guys and enjoy how the good guys go about beating the bad guys, what’s complicated or geeky about that?  

Star Trek even throws in some sexual references, ‘’No!’’ I hear you say, just listen to this bit of finely written script between the android Data and the Borg Queen:

Borg Queen

Are you familiar with physical forms of pleasure?

Lt. Cmdr. Data

If you are referring to sexuality, I am...fully functional, programmed in...multiple techniques.

Borg Queen

How long since you've used them?

Lt. Cmdr. Data

Eight years, seven months, sixteen days, four minutes, twenty-two…

Borg Queen

Far too long.

All we see though is a passionate kiss, which is lucky as the Borg Queen is quite a revolting looking woman no man should have to look at for too long but the references are all there nonetheless.

I doubt thought that I will convince everyone to watch this film no matter how good it is or how good a review I give it, people seem to just down right refuse to accept that Star Trek isn’t just for geeks and nerds and strange people. All I will say is this. If you are a discerning movie goer and you like your films and love when the films you watch are good then please take the time to watch one that will entertain you and if all else fails (Which it shouldn’t) you’ll at least have a good laugh. In the words of Lt. Cmdr. Worf ‘’Assimilate this!’’.

                                                                                                                                       Signing off

                                                                                                                                                        Bob