This list comes to us from Sean O’Connell, a New York City-based writer who has also contributed Top 10 Worst Movie Husbands, Top 10 Movie Rain Scenes and  Top 10 Movie Brothers to Scene-Stealers. Now he’s got a great list of awful movie neighbors for us. If you have a Top 10 you’d like to contribute, email me at eric@scene-stealers.com. Here’s Sean:

I would have to say I probably live on the greatest block ever. It has the ultimate small town feel to it, and what makes this possible is great neighbors. The neighbors I have are amazing because you can borrow a hammer from them and they can borrow a cup of milk from you. Every morning when you wake up there is a smiling face to great you as you head off to work and summers are filled with backyard BBQs. Unfortunately though for every two great neighbors you have, there are always the bad ones that pop up. In my case, they live across the street. Every morning the screaming and yelling wakes me up like an alarm clock, their dog craps in my yard, and they steal my kid’s toys from the front of my house when I am not looking. The police make more visits to their house than the mailman does. Needless to say, they drive me crazy and I always complain to my aunt (who also lives on the same block) about it all the time. She said to me the other day, “Sean, aren’t there a lot of bad neighbors portrayed in the movies?” This got me thinking … Yes. there have been a fair share of bad neighbors over the years on the silver screen. I have to offer my apologies to Ben Tuthill, the neighbor from “Poltergeist,” who just missed the cut. Why wouldn’t he just let the Freelings watch the football game? Thank you to my Aunt Denise and my annoying neighbors for giving me the inspiration to write the Top 10 Worst Movie Neighbors of all time.

10. Sid Phillips - Toy Story (1995)

Being a bad neighbor doesn’t just apply to those who are annoying to humans. The villain in this Pixar classic is a 10-year-old boy Sid (Eric Von Detton). While he never seems to bother Andy or his family at any point, he does terrorize toys. This is something that Woody (Tom Hanks) is constantly vigilant against. All of Andy’s toys are aware of this vicious neighbor who was kicked out of summer camp, as Rex tells Buzz (Tim Allen) “He tortures toys just for fun!” It seems that a dog accompanies most bad neighbors, and the furry pest in this case is Scud. He is known to eat toys on command from his leader. The whole second half of the movie deals with heroes Woody and Buzz trying to escape from Sid’s house of horrors. Sid gets his in the end as the toys come to life in his backyard moments before he launches Buzz into space on a rocket. I often wondered what happened to Sid after that, I mean that kid had to be in therapy for years. I’m still creeped out by Woody saying “We toys can see EVERYTHING!, so play nice!”

9. The Bumpuses – A Christmas Story (1983)

Like I wrote in the previous entry, bad neighbors usually come with dogs, and nothing is truer of the Parkers’ hillbilly neighbors the Bumpuses. They actually owned 785 smelly hound dogs that apparently ignored every other human being on earth other than Mr. Parker (Darren McGavin). They attack the poor man every day when he comes home from work. Where are these damn hillbillies anyway? Do they really not care that their awful dogs are physically assaulting another person? The worst comes on Christmas morning as the dogs come crashing in at just the mere smell of turkey. So basically you can’t have a decent meal with your family if you live next door to these fools because their dogs will literally crash the party. The only good thing that came out of this disaster was that the Parkers were introduced to Chinese turkey. I really have to give Mr. Parker credit on the way he dealt with his neighbors. He never confronted them or called the cops. He just yelled, “Son of bitches! Bumpuses!” and close the door on one of the dog’s ears. If those dogs had attacked me, destroyed my house and the Bumpuses made no attempt to fix it, well I would have grabbed Ralphie’s Red Rider BB gun and started picking off the smelly hounds one by one.

8. The Griswolds – National Lampoon’s Christmas Vacation (1989)

The third entry on the list, and second Christmas movie, was a hard one for me to put down. Mainly because I love the Griswolds and they may be one of my favorite movie families of all time. I just asked myself one question to prove a point to myself: Would I want to live next to them? The answer was no. Clark Griswold (Chevy Chase) is so obsessed with the holidays that he puts just about every Christmas light in the state of Illinois on his house. When he has his grand unveiling he blinds his yuppie neighbors, Todd and Margo Chester (Nicholas Guest and Julia Louis-Dreyfus). Then the Griswolds invite all their extended family members over for the holiday, Cousin Eddie (Randy Quaid) and his Winnebago full of trashy family members and Snots the Dog tag along. So the Chesters are forced to see Cousin Eddie empty his toilet into the sewer system. I know we only see Clark viewing, but I am sure they saw it as well. Would you like to wake up to that sight? The Chesters house is also destroyed when Clark cuts down his Christmas tree, and he shoots icicles from his gutters into their living room window. Then the ultimate catastrophe happens to the Chesters after Christmas is interrupted by a crazed squirrel who is chased by Snots the dog. The squirrel and Snots attack poor Margo, who was finally going to stand up to the Griswolds.

7. Cheech & Chong – Cheech & Chong’s Next Movie (1980)

I have to start by saying that Mr. Neatnik (Sy Kramer) should have realized that living next to Cheech (Cheech Marin) and Chong (Thomas Chong) was going to be a lost cause. The state of the house rivaled the the “Animal House” Delta House. It was covered with dirt and had boarded up windows. As if that wasn’t bad enough, Chong decides that he needs to play his guitar so loud that it actually creates noise pollution and breaks the windows of Mr. Neatnik’s house as he tries to give piano lessons. Then Cheech and Chong decide to borrow Mr. Neatnik’s car without asking, of course. When they run out of gas they fill it up with gasoline from a trashcan. This leads to the blowing up of Mr. Neatnik’s car. Cheech and Chong do what any bad neighbor would do, return the car as if nothing happened. When Mr. Neatnik does stand up for himself he just gets ignored for his efforts. Oh yeah, Cheech also mistakenly pees on his head.

6. Vic & Ramona – Neighbors (1981)

It seems like the 80s were filled with movies that dealt with bad neighbors. In this case, we are dealing with Vic (Dan Aykroyd) and Ramona (Cathy Moriarty) who move in to their house in the middle of the night next to Earl and Enid Keese (John Belushi & Kathryn Walker). Vic is constant liar, which is proven by his story of his home made sauce (which comes from a jar) and the spaghetti that he bought from a fancy Italian restaurant called Ceasar’s Garlic Wars, which is a small spaghetti and wine dealership at Valley Field Mall on Route 3, next to the Cinema Cineplex and the Singer Sewing Center. The restaurant doesn’t exist and Vic made the spaghetti himself. Then Vic decides to eat Earl’s daughter’s edible panties, which leads to Earl punching out Vic. Ramona, on the other hand, is constantly trying to seduce Earl–and when she finally does succeed, she blackmails him. At one point when Earl sneaks out to meet Ramona, Vic is waiting on the roof of his car wearing scuba gear. These particular neighbors turn poor suburbanite Earl’s life upside down. His own family starts to side with Vic and Ramona over him. When Earl finally decides to get revenge on Vic by driving his car into the swamp, it backfires. Vic tells him that their baby is in the truck. It turns out that baby is the dog (see what I mean about bad neighbors and their dogs) and he is not in the truck. I never really understood the end of the movie. SPOILER: Why does Earl decide to destroy his house and run away with these wackos? I guess he thought that they were such bad neighbors that he would spend the rest of his life with them. An interesting bit of trivia, Belushi was originally supposed to portray Vic and Aykroyd was to be Earl. They decided to switch weeks before filming and act against type.

5. Jerry Dandridge – Fright Night (1985)

As Cliff Clavin would say, “Another 80’s movie, another bad neighbor. What’s up with that?” The culprit this time is Jerry Dandridge (Chris Sarandon), just your typical run of the mill vampire that feasts on prostitutes. Dandridge moves in to his house in the middle of the night next door to the Brewsters with the help of what appears to be his live-in male companion, Billy Cole. Charley Brewster (William Ragsdale) one day just happens to be looking out his window, instead of at his half-naked girlfriend Amy (Amanda Bearse), and sees Dandridge sucking blood from a lady of the night. Of course Charley does not have sex with Amy, rather he becomes obsessed with the fact that there is a vampire living next door. His mom decides to invite Dandridge over for dinner, mainly because she has the hots for him. This act has now broken rule #32 on the list of Vampire Don’ts: Don’t invite a vampire into your house because now he can come over when ever he wants. The fact that he would come over now whenever he wants without asking by itself makes for a bad neighbor, regardless of the fact he is a vampire. Anyway, Dandrige does pop in at the Brewsters’ house, wrecks Charley’s room, and threatens to kill him. Then he goes outside and crashes Charley’s car. He turns Charley’s friend Evil Ed Thompson into a vampire and steals Amy away, and turns her into a vampire. SPOILER: Charley does get the last laugh as he and the Great Vampire Killer Peter Vincent (Roddy McDowell) kill Mr. Jerry Dandridge and save Amy. Although personally I would have let her die as well because she was annoying and would only grow up to become Marcie Rhodes from “Married with Children.”

4. The Langs – Arlington Road (1999)

Michael Faraday (Jeff Bridges) is just a normal college history professor who teaches a class on terrorism at George Washington University. He is a widow (his FBI agent wife died in an explosion) and raises his nine year old son Grant. He has a new girlfriend Brooke (Hope Davis) and everything seems to be finally getting back to normal for Michael. Then one day the new neighbor’s kid is injured in a reported fireworks accident. Michael rushes him to the emergency room, which sets up his first encounter with his new neighbors Oliver (Tim Robbins) & Cheryl (Joan Cusack). Michael slowly starts to suspect his neighbors of being terrorists. Haven’t we all thought that about our neighbors from time to time? Nobody believes him and they think that he is paranoid. His girlfriend Brooke decides one day to trail Oliver’s car and witnesses a suspicious package delivery in a garage. Brooke calls Michael & tells him she finally believes him, only to turn around and see Cheryl standing there. Brooke is found dead and the messages she left for Michael are erased. Then the Langs kidnap Grant, under the guise of a Scout camping trip. Once again, don’t all neighbors kidnap their kids? Is that wrong? Michael rents a car and follows a van that he believes his son is being held captive in. SPOILER: The van eventually reaches FBI headquarters and Michael rips open the back door of the van to find not his son but a bomb. There is an explosion and Michael, along with 184 people, are killed. Grant is sent to live with relatives, Michael is villified in the press as a terrorist, and the Langs get away. They staked Michael out from the beginning just to set him up as the fall guy and–oh yeah–kill his girlfriend and forever ruin the image of him in his son’s eyes. They rightfully deserve the number-four spot.

3. Lars Thorwald – Rear Window (1954)

This was another tough one for me as well, mainly because I really don’t know who the bad neighbor is. L. B. “Jeff” Jeffries (Jimmy Stewart) is a photographer who is recovering from a broken leg. He is confined to his apartment in a wheelchair and is slowly going crazy from the boredom. So instead of spending time with his amazingly beautiful girlfriend Lisa (Grace Kelly), he decides to pass the hours by spying on his neighbors through the lens of his camera. Really Jeff? Grace Kelly worships the ground you walk (I mean roll) on and you would rather look at lonely women, a songwriter, some married couples, and a salesman? If it weren’t for Lars Thorwald (Raymond Burr) the salesman, it would be Jeff’s name on this list. It turns out Lars lives with his bedridden wife who one day just magically disappears. Jeff sees Lars cleaning a knife and a handsaw, tying a large packing crate with heavy rope, making late-night trips carrying a large case. Jeff is convinced that Lars killed his wife and being the good brave boyfriend that he is, he sends Lisa over there with a note saying “What have you done with her?” (SPOILER) A neighbor’s dog starts poking around in the garden where the wife’s body may or may not be buried, So Lars decides to break the dog’s neck. Lars catches Lisa in his apartment, attempts to rough her up, but the police arrive just in time. Lars looks across the courtyard to realize that Jeff is the one sending notes and calling the police. Lars breaks in to Jeff’s apartment and throws him out the window. Good thing their was a group of cops standing there to break his fall. So Lars just ekes out Jeff as the bad neighbor because he killed his wife, then a dog, tried to beat up Grace Kelly, and threw an invalid out the window. Way to go, Lars!

2. Ray Peterson, Mark Rumsfield, Art Weingartner, Ricky Butler, and the Klopeks – The ‘Burbs (1989)

This movie is a cinematic study the behavior of bad neighbors. I had to include everyone on this list because they all have their own awful moments; there is no neighborly love here. It turns out one day the Klopeks just arrive on this somewhat peaceful street in the on Mayfield Place in suburban Hinckley Hills, Iowa. No one ever sees a moving truck and the Klopeks keep to themselves. Ray Peterson (Tom Hanks) is a stressed out husband and father who decides he needs to have a stay-cation (that’s a vacation at home). He is being constantly badgered by his annoying neighbors Art Weingartner (Rick Ducommun), Mark Rumsfield (Bruce Dern), and teenager Ricky Butler (Corey Feldman). Art and Mark believe the Klopeks to be mass murders because they are so reclusive. The only time anyone sees them is at night digging in their backyard. Then the old man up the block, Walter Seznick, disappears one day leaving behind only his toupee and his dog, Queenie. Art is convinced that an old man would never leave his toupee behind and is convinced the Klopeks killed him. Then Ray’s dog digs up a human femur bone in the backyard, which they start to believe belongs to Walt. Ray is finally convinced that they should break in to Klopeks’ house and search for the dead bodies. Throughout the movie each neighbor does awful things like dumping garbage in the street, shorting out the electrical lines, throwing loud parties with obnoxious friends, breaking and entering, destruction of property, shooting off live ammunition, and of course (SPOILER) accidentally breaking the gas line in the Klopeks’ house and blowing it up. At the end of the movie, it starts to look like the Klopeks are innocent. Walter had a heart attack and moved in with family. The Klopeks were taking in his mail and that is why they had his toupee. The police arrive with the Klopeks and want to arrest Ray. Ray then flips out on Art screaming “We’re the lunatics, not them!” So as Ray is being taken to the hospital for fire burns, Dr. Klopek (Henry Gibson) pays a visit to him in the ambulance. It seems the doctor believes that Ray saw the skull of the former owner of the house in the furnace. A fight ensues as Dr. Klopek attempts to kill Ray. The Klopeks steal the ambulance and try to drive away. They fail and crash into their own car. The trunk pops open to reveal a collection of bones, proving that the Klopeks were mass murders all along. That has to be the worst street ever.

1. Minnie & Roman Castevet – Rosemary’s Baby (1968)

To me, this one just seemed like a no-brainer. Rosemary Woodhouse (Mia Farrow) is a young wife who just moved into a beautiful New York City apartment building called the Bramford with her struggling actor husband Guy (John Cassavetes). The Bramford is known for some weird events and bizarre tenants over the years. Rosemary’s neighbors are a seemingly harmless old couple named Minnie (Ruth Gordon) and Roman Castevet (Sidney Blackmer). It turns out that this elderly couple is not harmless at all, rather, they are devil worshipers and part of a coven. They have a master plan to bring the son of Satan to life by mating the devil and an unsuspecting spouse. Their first choice takes a header off the building, which leaves them to turn to Rosemary. The Castevets spend a lot of time with Guy, convincing him his career will take off if he agrees to give up his first born. SPOILER: The great husband that he is (by the way, you should see my Top 10 list on bad movie husbands), he agrees to let Satan rape his wife. Minnie makes a chocolate mousse for the Woodhouses to eat on the night they decide to conceive a baby. Rosemary finds that the mousse has a chalky under taste and throws it away after a few bites. Minnie had actually drugged Rosemary in order to carry out her master plan. Rosemary does get impregnated and is talked out of seeing her obstetrician to see Dr. Saperstein instead, who turns out (you guessed it) to be part of the coven. Rosemary is having a difficult pregnancy, and wouldn’t you if you were carrying the spawn of Satan? Rosemary eventually discovers that her neighbors are part of a cult and that Roman is the son of a famed Satan worshiper. The Castevets decide to induce labor, and convince Rosemary the baby died upon delivery. She hears the cries of a baby from her room and follows the sounds. They eventually lead her to the coven and Minnie convinces her to be the mother of the son of Satan. If you ask me, I would take my whacked-out neighbors over Minnie any day and I will never accept chocolate mousse from a neighbor again. Ruth Gordon (”Harold and Maude”) received a well deserved Best Supporting Actress Award for her turn as Minnie.

Tags: bad, film, list, neighbors, nosy, ten, top, Top 10 Lists, Top 10 worst movie neighbors, Worst

Our pal Warren J. Cantrell over at 10rant.com is known for his over-the-top persona. This list will no doubt be as controversial as some of his other man-tastic past Top 10s. If you have an idea for your own Top 10, email me at eric@scene-stealers.com. Here’s Warren:

Like a regrettable relationship, sometimes the true nature of a film only pulls into focus after a healthy dose of time and perspective. What we once enjoyed and maybe even defended against less confused peers can sometimes emerge from the time-fog as a shamefully regrettable “phase” that etches an embarrassing low-water mark for all films (or romances) to follow. As it concerns movies, any number of factors can contribute to this miscalculation, be it awesome pre-release hype, back-seat-opinion influence, and/or genre stigma. The last of these is important, for it’s easy for both those making and watching a film to get lost in a popular trend or fad that invariably gets played out and cliché after the fifty or sixtieth re-tread. It is for this reason that a movie’s ability to “stand the test of time” is such an important factor in determining its worth: perfectly executed harmonies between performances, content, and cinematic craftsmanship rare in films even to this day. Some films pulled this feat off and continue to do so even after a few decades on the shelf, and can rightfully be termed “classics,” as they dealt with themes that are a central part of the motion picture industry and the larger human experience (Guess Who’s Coming to Dinner?, 12 Angry Men, Psycho, and Paratroop Command come to mind). Other films got it wrong from the get-go, yet because of nostalgic vice-grips on memories or experiences associated with the pictures, people refuse to re-think the movies with a critical 21st century eye. Yes, while many claim that the films below are indispensable members of the holy Hollywood fraternity of screen gems, I’d ask that you take a harder look at what these “classics” were saying to their audience, examining the larger messages at play, and the complete picture from a distance.

10. The Sound of Music (1965)

This movie played around with some fairly interesting components, what with the lush Austrian scenery, horny nuns, and Nazi invaders. Having obviously decided that a plot that focused on the confluence of love and war couldn’t possibly carry the weight of two whole hours, the picture turned instead to song. Yes, to fill gaps that might otherwise have been plugged by Panzer divisions making ninety miles a day and a back-alley Fascist network that was paving the way for invasion with murder, the audience got a full soundtrack of delightful family sing-alongs. Good Christ: what was going on in ’65? I mean, I know Kennedy had his head opened up a couple years earlier, and the country was generally feeling “escapist,” but why deny the people some proper WWII action when the table had pretty much already been set? Was the movie based on a pre-existing musical? Yes. Did the film have fairly serious expectations to fill as it concerned its stage predecessor? Most definitely. Does this mean a flick can’t screw around a little to make a painfully underutilized plot more interesting and dynamic, giving the audience something other than shattered expectations when the Von Trapp’s didn’t kill that greasy little cunt Rolf? Hell no! Give this movie some action that ties in to the monumentally historical events unfolding around the main characters, ditch the songs, and stick with what works: killing Nazis to escape to freedom. Speaking of freedom, we may as well mention the elephant in the room, for after this list’s posting and the beating this next movie’s about to get at my hands, Spielberg, Lucas, Coppola and the rest of the Hollywood elite will make sure I am cast into the abyss, all liberties lost to he who dares criticize…

9. Citizen Kane (1941)

Indeed, there’s a lot to like in this film, yet in a way that puts it into an entirely different category than “The Sound of Music.” Truly, the innovate narrative structure, camerawork, and audio mixing put it into that rare class of film that defines the modern cinematic experience. To call this film a classic, however, is like claiming the Army Field Manual is an indispensable pillar of American literature. Let’s just be honest: while an admittedly important movie, its story is about as interesting as a barnacle convention. Though the movie dealt with a newspaper tycoon with money to burn and the world at his feet, the plot minced through tedious reviews, and re-reviews of the rich asshole’s love life. His love life! The film could have delved into any number of strikes he brutally repressed, or more details surrounding the wars he felt like starting with his newspaper. But no! Instead, the picture took a hard left directly off the shit-cliff into a shit-gulley, setting up very pretty shots with good cuts for a film that didn’t have the story to keep a person even remotely interested. It didn’t help that the film’s characters and the situations they were involved in register on the believability scale right on par with the expected fare in a daytime soap opera. Cartoonish in their presentation, Kane, his wives, and even the butler, acted with such ham-fisted amateur-hour proficiency that a person blushes, almost feeling sorry for the film before remembering how much blind devotion it elicits. The ultimate standard for modern filmmaking techniques and the Nouvelle Vague? Perhaps. Entertaining fare with an engaging plot and realistic performances? Not on your life.

8. Singing In the Rain (1952)

Speaking of foaming-at-the-mouth devotion for no conceivable reason, this sorry excuse for a movie has to get some ink, for nothing occurs throughout this picture that a half-hour sitcom episode couldn’t tidily wrap up. Personally, I couldn’t give a damn about the struggles of a successful movie star in the 1950s, and his headaches concerning famous girlfriends and studio hassles that revolved around the next big “talkie” release. Apparently back in the 50s people stared at clothes drying and watched the leaves change colors for entertainment, hence this exciting brand of storytelling got a bit of attention. After the advent of the flamethrower, however, you’d think this kind of shit would get shelved for more interesting fare, but alas, they still made this crap. And why? So that people could learn how to deceive a popular audience via lip-synching techniques and film slight-of-hand beneath the larger guise of a breezy romantic comedy? By all means, make a love story or a movie about the mid-20th century film industry, but if it’s going to stand up as “classic” 50 years later, don’t you think some endearing truth other than “love perseveres” should stand out? This movie was helpful in the grand scheme of things, however, which is why it’s not near the top slots. Indeed, this movie is proof that in order to make a buck with a film, all a person REALLY needs to do is choreograph a fancy dancing scene and slap together a non-threatening love triangle, and the money, adulation, and “classic” status will obediently fall into line.

7. The Wizard of Oz (1939)

First off, why did we even go to Oz? Why didn’t Dorothy shack up with some lousy, good-for-nothing petty thief and borderline-masochist, going Bonnie and Clyde on the Midwest with her new beau to reclaim dog and honor? Seriously? Who gets a court order to take away a 12-year old’s dog after beating it with a rake? Setting up a great revenge thread that was woefully under-utilized, the film transitioned from there into an alternate universe where the streets were paved with gold and the only impediment to Dorothy’s total domination of the new realm was midgets and witches that immediately melted when introduced to liquids. Naïve country bumpkin that she was, Dorothy spent the rest of the movie opining about her Midwestern farm life, battling flying monkeys (which still terrify me to this day, unholy beasts that they are) and forming uneasy alliances with mutant lion, tin, and straw creatures. And for what? To get back to Kansas, where communities stood gutted by the Great Depression and dogs were taken spitefully from sweet-natured little girls? With a bucket of water and the support of the local Munchkin unions, Dorothy could have solidified a power base that would have lasted in perpetuity. Ultimately, the film was telling its audience that despite all indicators suggesting otherwise, a person should reinvest and commit to a political and economic system that was well into its eighth year of ruin. Though the movie was based on a novel with equally powerful subtext, at least the author of the book made no qualms about his metaphors and insinuations, presenting fairly obvious symbolic and thematic elements to his tale. Almost all of the book’s themes were discarded for the film, a picture that spoke volumes about the movie’s support of United States isolationist policies despite Nazi aggression in Poland, and a devastating war in China. Dorothy was the film’s presentation of U.S. policy at the time, one which refused direct intervention and global dominance, that is until the witch came across the pond, and started dropping bombs on Kansas (would have been perfect for the sequel). But by that point, everybody was willing to accept that the tale was little more than a feel-good musical about a girl, her dog, and a land called Oz that could have been Dorothy’s had she been provoked enough to take it.

6. Snow White and the Seven Dwarfs (1937)

For a cartoon, this movie came with some pretty awesome assets: conspiracy, contract murder, deceit, poison, and even witchcraft. This brings us to our first problem, however. Mainly, this flick didn’t know what it wanted from itself. When you set up your story by introducing a woman looking to have the heart of an innocent young girl cut out and brought to her in a box, the first thing that comes to mind probably isn’t that you’d figure this as a sure-fire bet to capture the G-rated 5-12 year old demographic. Second, the movie gave us a comely young lass wandering into the bedroom of seven men living isolated in the middle of nowhere, providing nothing in the way of realistic resolution. And when I say “realistic resolution,” I mean “gang bang.” Come on, you really think seven dudes working like galley-slaves in the armpit of a diamond mine wouldn’t immediately turn out some tasty piece of ass that broke into their cottage and fell asleep on their beds? What are we even talking about, here? Third, where’s the revenge? Seriously! Some half-mad bitch of a stepmother puts a contract out on you and later tries to finish the job herself via poison, and a renegade bolt of lightning ultimately kills her? I take no issue with the fact that the movie is a cartoon, or even that it’s rife with extraneous musical numbers: but to set up a good character thread and abandon it so that dashing princes can arrive and NOT stab the crap out of something! Unforgiveable.

5. Breakfast at Tiffany’s (1961)

When I saw this movie, I kept waiting for the male lead to come to his senses, ditch the loopy bitch upstairs, get a cigar, and start working on making a plan come together. That Hannibal of all people had to suffer the indignity of a man checking his balls at the start of the first act makes this entire picture inexcusable. A fiendishly hot Audrey Hepburn though she may have been, she was a whore! Peppard’s character, on the other hand, was a writer with an endless train of gravy practically coming out of the tap via a rich, it-could-be-worse-looking socialite that wanted nothing more than to keep a man-slut on the side, even if that meant sharing him with other, younger, women. This guy had a gig where a woman was paying his bills and keeping him in style, allowing him to concentrate entirely on his writing while his sugar momma wasn’t even asking the guy to be exclusive. Crapping this divinely ordained arrangement down his leg so that he could chase a good-for-nothing cocktease harboring more issues than the Washington Post, the film’s lead ultimately got his prize in the end (a happy twist left out of the novel). But is that supposed to be a good thing? Wracked with guilt and anguish over her dead brother, mangled childhood, lost riches, and whore life, what kind of victory are we to assume for Hannibal and his new woman? He gave up his chance at getting some good ink time in without worry of bills or the taxman as a result of his “kept-man” status. Having thrown that away, and almost certainly in need of a real job to sustain his and the new girlfriend’s plush New York City lifestyle, what drab, sour existence can the audience expect from two people looking to accomplish little more than to keep from whoring themselves back out to high society to get by? Had the lead simply stuck it out a bit longer with the rich old broad to give him time to write and get established instead of chasing crazy high-end call girls, he might have ended up as more than the fractured shell of a man he almost certainly became.

4. Gone With the Wind (1939)

What a pain in the ass this movie is! There wasn’t a pragmatic, straight-thinking character in the whole friggin’ mess of a story: Even borderline-tough Rhett absolutely out of his mind as it concerned Scarlett. This didn’t put Clark Gable’s character into exclusive territory, however, as Ms. O’Hara was hopelessly in love with Ashley (a dude) who was already hooked up with Scarlett’s good friend Melanie. Throughout the course of the American Civil War and the subsequent reconstruction (both historical periods teeming with interesting plot possibilities) the movie looked only at the relationships of confused, hopelessly deranged maniacs, giving the audience plot twists that resembled a mediocre “Real World” episode. The whole thing played out like the narrative in a grocery store romance novel, Scarlett pining over some stupid asshole with a chick’s name while whoring herself out to whatever rich dickhead felt compelled to give the increasingly fat socialite a dick-tickle. By the time anybody came to their senses, the Civil War was over, children and parents had died, and three unrecoverable hours were gone. Though I do give some credit to Rhett for telling Scarlett to screw off at the end, it came too little too late. Had Gable’s character done this at the beginning of the film, it might instead have given the audience time to get to know the slick Reb. blockade runner and all-around bad-ass. Instead, we were forced to endure what felt like months of some incomprehensible love octagon with no real resolution except that everybody got screwed at the end. While I support so challenging a conclusion, this movie took pretty much the longest, most painful route to get to that conclusion, something the next film can certainly relate to …

3. The Searchers (1956)

There are few “classics” out there that get as much positive attention while still embracing so striking a racist pose as this legendary western. While there were certainly moments of cinematic splendor in the movie that challenged audiences in a way that forced them to re-conceptualize their filmgoing experience (Director John Ford knew how to shoot and cut a good-looking picture.), the story was horrific on multiple levels. In a reversal of the actual scenario of menace to the western plains in the mid-19th century, it’s Native Americans and not whites that were terrorizing innocents in this picture, with John Wayne’s Ethan avenging ethnic-cleansing on behalf of his people. Despite the well-documented reality of the genocide perpetrated against these people, widely known even at the time of this picture’s release, the movie embraced the idea of the Comanche’s faceless savagery as seen most clearly through their Chief Scar. This antagonist’s very name represented his people’s depiction in the film, standing in as an ugly blemish upon the divinely sanctioned American expansion west. Disregarding the safety of the very woman he was charged to rescue on several occasions to exact his revenge on Scar and his people, the Duke did what came most natural to the man: killing Injuns in the name of racial purity. Going so far as to turn his pistol on “Debbie” after learning that she’d acclimated to Comanche society, it’s only after Ethan actually scalped another human being that he realized that maybe, possibly, he might have some issues. Never apologizing for his five-plus year struggle to prevent or otherwise avenge the crime of miscegenation, Wayne’s character leaves the frame in the final shot a triumphant hero, having returned a white woman to her “people.” Say what you will about “Birth of a Nation,” at least people universally recognize that that movie was putrid in message if not in form, something that cannot so easily be said about this or the following entry …

2. Casablanca (1942)

What a pussy! That bitch leaves Rick in Paris without a word of explanation, without an apology or even a see-you-later fuck, and he takes her back? I don’t care that her husband had escaped from a Nazi concentration camp: for all I care it could have been a goddamn whale! Once a woman runs out on a man, favors immediately die. Ladies, break a guy’s heart if you want, but never do either of the following things afterwards: leave them a pen as a parting gift, and/or come back later asking favors. Ingrid Bergman’s Ilsa batted her eyes at Rick for all of a minute and in no time the guy was arranging covert transport, lying to military police, and even shooting people to cover his ex-girlfriend’s tracks. And for what? This film did immeasurable damage to men for decades to follow, the reverberations of the catastrophe felt to this day. This movie informed a generation of women that they could freely abuse, use, leave, and re-use men without worry of retribution or refusal. Because of this film, women are still of the understanding that it’s okay to toy with a man’s emotions and grind his heart into inhalable powder, that even after shattering his life and re-emerging with a new guy, that the ex will still be there because that’s what “classic” men do. Well thanks a lot, Bogey! Because of your baffling lack of backbone and the immediate collapse of your resolve, men will forever suffer at the hands of cruel, lazy, inconsiderate women who think nothing of leaving a guy, parading the new product in front of his face, and begging favors from emotionally-crippled souls. Who else needs a drink?

1. It’s a Wonderful Life (1946)

When it comes to unredeemable crocks of shit, it doesn’t get much more deceptive than Frank Capra’s most egregious assault against America, the flag, and apple pie. In his 2008 write-up, Wendell Jamieson said that “‘It’s a Wonderful Life’ is a terrifying, asphyxiating story about growing up and relinquishing your dreams,” making an excellent point about a movie that is practically on repeat every Christmas. Yes, on the holiday when people are feeling their most vulnerable to influence and sentimentality, this movie comes around like clockwork, pushing people toward a miserable existence that will not ultimately be saved by angels, faith, and the kindness of one’s community. No, in real life, the REAL world outside of Hollywood and Never-Never Land, there is no angel to stop you from taking a header off the bridge, no Dickens-esque retreat into an unseen present. For actual human beings living in the non-fiction realm, the sacrifice of ambition and one’s life’s pursuits, the seemingly endless series of compromises that extinguish the noblest aspirations of the soul: they destroy us lock, stock, and barrel. George’s dilemma before his encounter with Clarence was legitimate for a man who never realistically took stock of his life or what he truly wanted for himself. That he ended up turning on his children and spouse, emerging thereafter from a bar en route to a suicide bridge should come as no surprise to anybody who has traded the dreams of tomorrow for today’s familiar and convenient gratification. George realized on that bridge that his life had been for shit, and despite doing the technically “right” thing by staying behind and printing a sign on his back that read “doormat,” he had nothing to show for his existence than pending collections litigation, divorce, and homelessness. That this film is shown on television regularly, and on a recognized holiday that guarantees its capacity to influence children is astonishing and, unbelievably, not upsetting to nearly enough of you out there. For shame.

Tags: awful, bad, classic, classic movies that suck, classics, films, Good, movies, no, overpraised, overrated, suck, terrible, wrong

Today’s Top 10 comes from Cameron Hawk, who previously submitted the excellent list Top 10 Uses of Pop Songs in Movies. If you have a list you’d like to contribute, email me at eric@scene-stealers.com. Here’s Cameron:

Dating—what a weird, mammalian concept. A lot of movies deal with the peaks and pitfalls of the practice because it is something everyone can instantly relate with. Usually, the high and low points are so  heartwarming or so awkward that they stay with us our whole lives. This list compiles what I believe to be scenes that present the dating ritual unapologetically, in all its naturally imperfect glory.

10. The 40-Year-Old Virgin (2005)

Steve Carell’s portrayal of the unexplainably celibate Andy is still my favorite performance of his. Andy’s personality is layered, complex, and at times strange, but never is it not apparent to us that he is a good soul. It might be harder for other characters to see, as they don’t have the direct access to his head that we do. This is what makes the film such a great study in humanity, and why people do the things they do or act the way they act. So obviously, in a film like this, the date scenes are going to be stellar. There are several memorable ones. However, the scene in which Andy finds out the hard way that he has never learned how to put on a condom has got to be the best of the bunch. After an amazing date with Trish (Catherine Keener), the two are feeling very comfortable with each other, and eventually the moment arrives. Right away, we can see in Andy’s eyes that this is the closest he has ever been to “the real thing”. He wants it to happen—it’s the right person, the right time, and she has plenty of protection. Unfortunately, Andy’s inability to properly apply a rubber soon leads to a large pile of unusable ones by the door, which are mistaken for already-used ones by Trish’s daughter Marla (Kat Dennings) when she and her boyfriend burst into the room. Right away, Marla assumes Andy is a sex fiend and that they have been having sex repeatedly throughout the evening. She couldn’t be more wrong, and these innocent misunderstandings make up the heart of the film, if not the heart of humanity itself.

Marla’s Boyfriend: Dude—teach me.

9. Elizabethtown (2005)

The many outspoken detractors of “Elizabethtown” will first wonder why this movie is getting any kind of recognition on any kind of list anywhere—you all can just sit off to the side for now, or maybe head over to the TV room and pop in “Elizabethtown” again. When you watch it this time, try not to expect another “Almost Famous.” For that matter, try not to expect anything. For those of you who liked the film, or at least those of you who can muster a conversation about it without bursting out into random fits of cursing and self-mutilation, I am here to argue something—the scene with Kirsten Dunst and Orlando Bloom on the phone is one of the best first date scenes in film. Woah, back up—first date? How was that a first date, one may ask? They just talk on the phone for a long time, after all. Right? WRONG! These are the phone calls during which you really get to know a person. The fact that you are not there with them and cannot physically see them causes your other senses (and your imagination) to stand at attention. How does their voice sound? What does it sound like they are doing? It ends up being a window into these little details that we would normally take for granted. Drew (Bloom) and Claire (Dunst) talk for hours, and hours, with no signs of stopping, or wanting to stop. They even fall asleep while on the phone with each other. They are talking to each other the entire time they are driving to meet up, and even up until they are two feet apart. Now come on—we’ve all had phone calls like this. OK, so we don’t all drive and meet up with each other and get to see a southern sunrise, but remember, these are movies we are talking about here. Even still, after all the great conversation and the beautiful surroundings, Drew and Claire just part ways. When would have been the better time to seal the deal, if you don’t mind me asking?

Claire: Do you ever just think I’m fooling everybody?
Drew: You have no idea.

8. Little Children (2006)

This one is pretty disturbing, but I can’t go without mentioning it. Jackie Earle Haley plays Ronnie McGorvey, a convicted child molester who has recently been released from prison. Living with his mother, he is encouraged by her to meet people and go on dates. Instead, he spends most of his time scaring people out of the public pool, slithering around underwater with his goggles/snorkel combo. But Mon’s persuasions increase, and eventually Ronnie ends up going on a date with Sheila (Jane Adams). As the two begin to talk over dinner, some common ground is reached, and Sheila seems to think he is “nicer” than most of the guys she dates. Ronnie, too, seems to lighten up a little, even attempting to inject some humor into the conversation. Things continue to seem smoother and smoother on the drive home, and when Ronnie asks Sheila to pull the car over, one almost wants to entertain a notion that he is going to grab and kiss her, and the two will live happily ever after. But, Ronnie’s motives are more complicated than that—let’s just say he is less excited about her than he is about the kid’s playground off to his left. Man, there’s an awkward drive home.

Mom: There are four columns of lonely women in here, and only one of lonely men. The odds are on our side. Now why wouldn’t any of these women want to meet a nice person like you?
Ronnie McGorvey: I’m not a nice person.

7. The Cable Guy (1996)

For a movie that represents the early film careers of the likes of Ben Stiller, Jack Black, Owen Wilson, David Cross, Bob Odenkirk, and a score of others, “The Cable Guy” is pretty underappreciated. It may be kind of an obvious satire, but it still works—Chip (Jim Carrey), raised in front of the television, has spent his life assuming several different identities and posing as a Cable Guy, offering free cable to win friends. When he meets Steven (Matthew Broderick), something snaps, and Chip is convinced the two should be buddies. This leads to one of the great date scenes in the movie, which is actually a man-date—when Chip takes Steven to Medieval Times. Topped off with early bit parts from Janeane Garofalo as a “serving wench” (“There was no silverware in Medieval Times, hence there is no silverware at Medieval Times; would you like a refill on that Pepsi?”) and Andy Dick as the head knight (“Dude, get on the friggin’ horse!”), the scene builds to a hilarious duel between the two characters, in which Steven unwittingly pulls most of his energies from his frustrations with Chip. It’s a great performance from Broderick, who is running in fear of his life one moment, and attacking Chip with brute force in the next. Of course, the two end up kind of bonding, even though Chip still makes Steven uncomfortable. Chip’s attempts to win Steven’s trust eventually lead him to a restaurant where Steven’s ex-girlfriend Robin (Leslie Mann) is on a date with a hilariously jock-y Owen Wilson. When Wilson excuses himself to use the bathroom, Chip is waiting for him, disguised as a bathroom attendant. Chip then proceeds to physically assault Wilson in what has to be the most brutally funny bathroom beating ever. I still laugh hysterically every time Chip forces Wilson’s mouth around the hand dryer spout and says “You know, you really remind me of Dizzy Gillespie!”

Robin’s Date (Owen Wilson): [signaling the waiter] Excuse me, excuse me, pardon me, pardon me, pardon me, hey what’s the story with our chicken, man? Have the eggs had a chance to hatch yet? Maybe you can go check on it for me, my friend, if it’s not too much trouble for you. [the waiter walks away] Okay, I’m sorry to put you out. [Turns to Robin] See the attitude?

6. Freddy Got Fingered (2001)

Whether or not you like Tom Green or are moved by his humor, there’s a good chance you know about bits like “The Backwards Man” and “Daddy Would You Like Some Sausage?” But there is so much more to “Freddy Got Fingered.” Perhaps one of the most squeamish scenes in history, this date scene from Tom Green’s faux-art film is all at once brutal, hilarious, and completely original. As one of the two scenes that inspired this list, it really pushes the limits of not only where a movie can go, but where a date can go. Self-appointed loser Gordy (Green), in a previous scene, is found trying on one of his dad’s suits by his father, Jim (a hilarious Rip Torn). Gordy tells Jim he has received “a job at a computer company”, and that he also needs to borrow $50 so he can buy the necessary supplies—like, you know, “some pens, and that little thing that helps you draw a perfect circle.” Ecstatic, Jim tells Gordy to “take $100”, and later on takes his wife Julie (Julie Hagerty) out for dinner to celebrate. It isn’t long before Jim notices Gordy and his wheelchair-bound girlfriend Betty (the beautiful Marisa Coughlan) sitting at a nearby table, while Gordy is making a ruckus on a cordless phone he took from his father’s kitchen (“You’re fucking fired, Bob!”). The hilarity that ensues is beyond explanation, the kind that only Green could create for us. Later on, he canes her legs at her request. Green uses his movie to laugh at his audience (which explains why people hated it so much), and that’s pretty funny in itself. In the end, you’ll either love it to death, or want to kill yourself for watching it.

Jim: Wait a minute… You’re crippled.
Gord: Dad…
Betty: What?
Gord: Dad…
Betty: You got a problem with my legs?
Jim: No, you got a problem with your legs. It’s either that, or you’re just lazy.

5. Clerks (1994)

I had to cheat with this one a little bit, because the date itself never actually happens. But, I believe enough of it happened to put it on this list. Convenience store clerk Dante (Brian O’Halloran) finally meets up with ex-girlfriend Caitlin (Lisa Spoonhauer) after whining about her all day long, and she’s actually excited to see him. They talk about old times, and half-jokingly, Dante asks her out on one of his “famous dinner-and-a-movie dates”. Caitlin says yes, and the two get excited, like they seem to be getting those new-relationship-jitters for each other all over again. They agree to go home, get dolled up, and meet back at the convenience store. Caitlin returns before Dante, and decides to use the Quick Stop’s bathroom while she waits … seriously, has anyone not seen “Clerks”? SPOILER ALERT: She ends up screwing a dead guy that had died while masturbating in the bathroom earlier in the day (Dante gave him the porno mag!). By the time Dante returns, it’s too late—Caitlin is so traumatized she can’t even speak. But, wouldn’t it be more traumatizing to be cock-blocked by a dead guy? Poor Dante—he never did catch a break.

Dante: Call the police!
Caitlin: No, don’t!
Randal: Why?
Dante: Because there’s a stranger in our bathroom and he just raped Caitlin!
Randal: She said she did all the work.

4. Punch-Drunk Love (2002)

The other film that that inspired this list, “Punch-Drunk Love” is the under-appreciated gem of the PTA catalog. Not like he is cast against type here, but Adam Sandler’s performance presents a remarkable restraint that shows us he can actually act. This makes his character, the extremely passive-aggressive (and that’s putting it lightly) Barry Egan, completely unlike his various other one-note comedy vehicles, which no doubt confused the large portion of the film’s audience who were expecting to see gay and fart jokes. Paul Thomas Anderson wrote the part especially for Sandler, and at no moment is it easier to see why than the infamous bathroom scene. Struggling to become his own man in the presence of his nine overbearing (and that’s putting it lightly) older sisters, Barry spends most of his time running his business of bathroom appliances and uncovering errors in sweepstakes programs for potential financial gain. Years of being mercilessly berated by his sisters has led to much repressed anger, causing him to feel the need to lie about everything. One of his sisters fixes him up with Lena (Emily Watson), who is super cute, and Barry takes her to a nice restaurant one evening. For awhile, things go splendidly—there is eye contact, and Barry actually makes a joke! But the inevitable mention of Barry’s erratic behavior (in this case involving the throwing of a hammer through a boat) and his sisters’ childhood exploits of him prove too much for him to take, and he excuses himself to the bathroom. Upon entering, he proceeds to beat the living piss out of it—the trash can, both stall doors, and the soap dispenser (oddly, the object he has the most trouble destroying) all get taken down. It’s the oddest, funniest moment in a wonderful little movie full of odd and funny moments, but it only gets better once the Restaurant Manager realizes it is Barry who has smashed up the bathroom:

Restaurant Manager: Sir, the bathroom was just torn apart.
Barry Egan: Um, yeah.
Restaurant Manager: Did you do it?
Barry Egan: No.
Restaurant Manager: You didn’t just smash up the bathroom?
Barry Egan: No.
Restaurant Manager: Well, who did?
Barry Egan: I dunno.
Restaurant Manager: Sir, your hand is bleeding.
Barry Egan: I cut myself.
Restaurant Manager: How?
Barry Egan: On my knife. (Silence.) What?
Restaurant Manager: Sir, your hand is bleeding.
Barry Egan: I know.
Restaurant Manager: I’m going to have to ask you to leave.
Barry Egan: Yeah, but I didn’t do anything.
Restaurant Manager: Sir, I’ve got no way to prove that you smashed up the bathroom—
Barry Egan: I didn’t do that. I didn’t.
Restaurant Manager: Look, I’m gonna have to ask you to go.
Barry Egan: OK. I didn’t—
Restaurant Manager: I’m gonna have to ask you to leave.
Barry Egan: Alright, please don’t do this to me.
Restaurant Manager: Sir, I’m gonna call the police.
Barry Egan: Alright. Can I just stay?
Restaurant Manager: Sir, I’m gonna crack your fuckin’ head open. Get outta here.

3. Say Anything (1989)

Cameron Crowe again! I’m telling you, the man knows relationships. I don’t just mean romantic ones, either; in fact, he is one of the best writers out there when it comes to pinpointing those subtle differences between friends, family, and lovers. Of course, we all know “Say Anything” is romantically oriented, but family relationships are a huge part of the film as well. Case in point—the scene where Lloyd (John Cusack) visits the home of his interest Diane (Ionne Skye) and her father James (John Mahoney) to have dinner with them and some of James’ friends and business associates. Some would argue that this is not technically a date, but I beg to differ—meeting parents is a huge part of the courting process, not to mention the fact that trying to impress them can be almost or just as complicated as trying to impress a love interest. It doesn’t seem to be a matter for Lloyd in this scene, however. He obviously wants the approval of Diane’s father, but his seemingly misplaced confidence becomes something more of an awkward assuredness as he begins to describe what he would like to do with his life. The answer he gives has become the quintessential response of all the other Lloyd Doblers and Ben Braddocks in the world, all those college grads out there who are constantly bombarded with this question. At some point in the scene, it becomes clear to us that Lloyd believes no one will ever be able to love Diane as much as he. Even with all the blank and disappointed stares coming from James and his guests, it comes across beautifully.

Lloyd Dobler: I don’t want to sell anything, buy anything, or process anything as a career. I don’t want to sell anything bought or processed, or buy anything sold or processed, or process anything sold, bought, or processed, or repair anything sold, bought, or processed. You know, as a career, I don’t want to do that.

2. Sideways (2004)

Miles (an amazing Paul Giamatti) lives in the past, and his friend Jack (a likewise Thomas Haden Church) is constantly trying to yank him out of it, which is one of the many motives behind this little double-date scene in Alexander Payne’s classic. The memorable moments are almost too many to count—even the very first conversation outside the restaurant is priceless. What we get from there are peaks and valleys that go ever higher and ever deeper. Things seem to be going good for the two couples at first—Jack tries noticeably harder than Miles to keep the women engaged, but the fervent smiling and eye contact from beautiful Maya (Virginia Madsen) is not lost on Miles. Soon, however, Miles’ drunkenness gets the better of him, which leads him like a marionette to a pay phone in the back, and to one of the most painfully awkward drunk-dials in film. Seriously, any moment where you are blasted and calling your ex-wife is not a good one, and it makes Miles seem like even more of a hopeless case. But it also makes us feel for him, and in the end, his actions are those that require some balls. The date doesn’t end there, but it pretty much does for Miles—which is sad, because we know he wants to hit that.

Jack: Do not drink too much. Do you hear me? I don’t want you passing out or going to the dark side. No going to the dark side!
Miles: Okay!

Jack: If they want to drink Merlot, we’re drinking Merlot.
Miles: No, if anyone orders Merlot, I’m leaving. I am NOT drinking any fucking Merlot!

1. Fast Times at Ridgemont High (1982)

Does it really surprise you that Cameron Crowe has three entries on this list? (Crowe wrote the screenplay, but Amy Heckerling directed.) “Fast Times” is basically a montage of classic date scenes and teen fantasies (I know Phoebe Cates is coming to mind for some of you, as she damn well should.). There is one date scene that stands out, however, and rings hilariously true in its innocent awkwardness. In the scene previous to the first date between nerdy Mark Ratner (Brian Backer) and hottie Stacy Hamilton (Jennifer Jason Leigh), Ratner’s buddy Mike Damone (Robert Romanus) gives him a few pointers. “When it comes down to makin’ out,” Damone says, “put on side one of Led Zeppelin IV.” The next thing we hear, as Ratner drives with Stacy in the passenger seat, is the intro to “Kashmir”. Not only does Rat put it on at the wrong time—he puts on the wrong album entirely! These details and many more help this spot-on examination of awkward first dates, wonderfully realized by Cameron Crowe in his first screenplay. Halfway through dinner, Rat notices he has forgotten his wallet and has no way to pay for the meal. He decides to call on his buddy Damone to bring it to the restaurant, which Damone is wary of doing at first. (Though Damone’s reluctance to help Rat in his time of need should be considered foreshadowing, Ratner should not have called him in the first place, as it turns out to be nothing more than an invitation to cock-block.) Of course, while Rat is waiting for his wallet, he has to stall the date a bit, which he does simply by ordering more food and drinks. Soon, the couple’s table is full of restaurant debris, and Stacy looks shocked when Rat orders two more Cokes—right as Damone shows up to save the day! After narrowly escaping that predicament, Rat gets a piece of good news—Stacy’s parents happen to be out of town (her parents never seem to be home, in fact). She invites Rat to come inside, but he is too nervous to fire her up. He makes some excuse and says he has to go, leaving Stacy looking confused and unfulfilled. Through Rat, Cameron Crowe has given us something very valuable—an amazingly accurate blueprint of what NOT to do on a first date.

Mike Damone: I can see it all now, this is gonna be just like last summer. You fell in love with that girl at the Fotomat, you bought forty dollars worth of fuckin’ film, and you never even talked to her. You don’t even own a camera.

Tags: bad, best, classic, couples, dates, film, movies, romantic, scenes, Top 10 Unorthodox Date Scenes, Top ten Unorthodox Date Scenes, Worst

Today’s list comes to us from Sean O’Connell, a New York City-based writer who also has also contributed his Top 10 Movie Brothers and Top 10 Rain Scenes. Thanks to Sean for another great list! If you have a Top 10 you’d like to contribute, email me at eric@scene-stealers.com. Here’s Sean:

Every day I take the subway to work, it is usually an hour commute into Manhattan. There is always this married couple that gets to the station the same time as me and are on the train for a majority of my ride. They look like the perfect couple on the outside, but it turns out the husband is a real jerk. He always blames her if they missed the train, or if they are running late, or he does not have enough money on him to get on the train. As he consistently blames her for everything short of the demise of the economy, she just sits there and takes the verbal abuse. So listening to them fight over the last six months got me to thinking, there have also been a lot of horrible husbands portrayed on the big screen. I know there have been some awful wives in Hollywood as well, but I am keeping this list dedicated to the awful husbands. Some honorable mentions that did not make the cut, Michael Caine in “Hannah & Her Sisters” (he has an affair with his wife’s sister), Ray Liota in “Goodfellas” (he cheats on his wife throughout the whole movie), and John Cassavetes in “Rosemary’s Baby” (he whores his wife out to the devil). So without further ado, here are the Top 10 Worst Husbands in Movie History.

10. Roy Neary - Close Encounters of the Third Kind (1977)

I know right off the bat that many people will disagree with this one, but hear me out first. Forget the plot of the movie and just look at his actions. When we first see Roy Neary (Richard Dreyfuss), he is trying to teach his son how to do fractions. His wife Ronnie (Terry Garr) is cleaning the house trying to get her husband’s attention, while he just ignores her and gives one word answers to her questions. Then after Roy sees the UFOs, he wakes up his whole family to go see the site where he had his encounter. Ronnie does her best to believe him, and all she wants in return is to be held and kissed like they used to do. Roy, in turn, pretends to kiss her while still looking up in the sky. Then when Roy is promptly fired for not showing up to work, does he deal with this? No. He leaves it all up to Ronnie. Then when Ronnie feels it is time to have a serious talk about Roy’s insane behavior, she finds him in the shower fully clothed. At the end of the movie, everyone is always happy that Roy gets on the spaceship. I see it for what it is: He is running away from his responsibilities to his family. Instead of trying to go to counseling to try and save his marriage, he jumps on the first alien ship out of here. Spielberg was quoted years later as saying that you can tell he was single when he made this movie because now that he is a family man he would never have let Roy get on UFO and leave his family behind.

Worst Husband Moment: Roy’s attempt to save his marriage leads him to instead destroying his house by building an extra large model of Devil’s Tower in his living room. He uses garbage, dirt, mud, bushes, and chicken wire. This act is what ultimately chases Ronnie away.

9. Earl Hunterson - Waitress (2007)

The culprit in this movie is Earl Hunterson portrayed by Jeremy Sisto. Earl’s wife Jenna (Keri Russell) works as a waitress at the local diner where her specialty is making pies for any occasion. Really her pie making is an escape from the horrible marriage that she has gotten herself into. We find out Earl is bad news from the beginning of the movie because Jenna wants to hide her pregnancy from her husband. The last time I checked this is supposed to be a happy event. Anyway, Earl can always be heard coming in the scene because he beeps his car horn constantly when he picks Jenna up from work. One beep will do, but he has to be a jerk. He also takes all her money that she earned because a husband is in charge of the money in his eyes. Then when he finds the money Jenna had been hiding all around the house, money she was going to use to help her escape from him, he promptly flips out. He destroys a table at her best friend’s wedding, makes her come home, and then offers to buy a camcorder with the money so they can make sex films (that is if she can get back into shape after she has the baby). When Jenna finally gets the courage up to leave Earl, she goes to the bus stop. Earl beeps his way there, stops her before she gets on, and slaps her across the face. Striking a woman, let alone your pregnant wife, will instantly get you on the top 10.

Worst Husband Moment: When Earl finds out that Jenna is pregnant, he says she can only have the baby if she agrees to never love the baby more than him. WTF? How insecure can one person be? Well his reminder of the agreement after the birth of their daughter is what prompts Jenna to finally tell Earl to hit the bricks.

8. Monk - Purple Rose of Cairo (1985)

Next up on our list is Monk, played by Danny Aiello. Monk does not have much screen time in this movie but his actions as a husband have a significant impact on the movie. The wife here is Cecilia (Mia Farrow), who is a waitress in a local diner–wait, is there a trend here? Are all movie waitresses married to jerks? P.S. “Alice Doesn’t Live Here Anymore” doesn’t count because she wasn’t married to Harvey Keitel or Kris Kristofferson. So back to “Purple Rose,” after Cecilia works a hard day at the diner, she has to give her money to Monk who is out of work. Monk doesn’t pay bills with the money; he plays craps with his “friends” instead. By the way Monk is out of work and is playing craps when he is supposed to be out looking for a job. She tries many times to leave Monk but he always reminds her that she will be back because she has nowhere else to go. So the only escape she has from her awful marriage and constant beatings from her husband (we never see Monk hit her but he always reminds her that he will slap her silly again) is the movies. She goes everyday to see the same film, “The Purple Rose of Cairo.” Her devotion to the film leads to one of the characters stepping out of the film and insanity ensues. At the end though (SPOILER!), Cecilia does not get to run away to Hollywood with her new handsome actor boyfriend because he ditches her once the problems are solved. She is instead stuck in the movie theater again reminded that she has to go home to Monk because she has no other choices in life.

Worst Husband Moment: When Monk gets caught having an affair, he tries to convince Cecilia that it is her fault. He tells her he shouldn’t be left alone, that she should know how he gets when he drinks.

7. Prof. Humbert Humbert - Lolita (1962)

OK, the first three husbands were nothing compared to the next seven. “Lolita” … how do I even begin to explain how bad of a husband Humbert (James Mason) really is? For starters, he only marries Charlotte Hayes (Shelly Winters) so he can be closer to her underage (way underage) daughter Dolores (Lolita). Charlotte, who has no clue to what Humbert’s intentions are, sends Lolita away to summer camp. This makes Humbert depressed but he counts the days until she returns. When newlywed Humbert finds out that Charlotte plans to send Lolita to boarding school so that they can spend even more quiet time together, he becomes more withdrawn. Charlotte eventually finds his diary where he explains his ridiculous love for Lolita. This sends Charlotte into a frenzy and she wants Humbert out of the house, the great husband that Humbert is, he decides he is going to shoot Charlotte and make it look like a suicide. Well Charlotte beats him to the punch, while attempting to escape from Humbert she is hit by a car and dies. This news makes Humbert excited and he goes and gets drunk while taking a bath. Of course everyone just thinks that he is in denial. The rest of the movie just goes on to show that Humbert can also be a bad stepfather as well.

Worst Husband Moment: When Charlotte tries to seduce Humbert, the only way he can fulfill his husbandly duties is by staring at a framed picture of Lolita.

6. Ike Turner Sr. – What’s Love Got To Do With It (1993)

Good old Ike is the only real-life bad husband to make the list, but I’m sure there will be more to follow in the future years (the eventual O.J./Robert Blake/Jonathan Gosselin movie). Laurence Fishburne, who brilliantly portrayed Ike Turner, is the first of the movie husbands on this list to be nominated for an Academy Award. Ike is a selfish jerk of a husband who is jealous of his wife Tina’s (Angela Bassett) career. When they first meet, it seems like everything is going to be great between the two musicians, but we quickly get glimpses of the rage that lies beneath Ike Turner. Ike is constantly beating and berating Tina to the point that she doesn’t know if she is coming or going. He always reminds her that he MADE her, and that she would be nothing without him. Well, Tina eventually gets up the courage and decides to leave Ike, but the great man that he is, he decides that she can’t have her name; he thinks he owns it. Tina’s real name was Anna Mae Bullock and Ike felt the Turner name was his. He even says, “The name is mine. The name got my daddy’s blood on it. If she wanna go, she can go wherever she wanna go, but the name stays home!” What kind of a sick man thinks he owns a name? We all know that Tina gets her name in the end.

Worst Husband Moment: After a recording session, Ike throws everyone out of the studio. He then starts to hit Tina, and then rape her while screaming like an animal. Every time I watch this movie I find that this is the hardest scene to sit through.

5. Carlo Rizzi – The Godfather (1972)

Now, to be fair “The Godfather” has its share of bad husbands. Sonny Corleone cheating on his wife at his sister’s wedding and Michael Corleone lying right to his wife’s face at the end of the movie, but it is Carlo (Gianni Russo) who takes the prize. It starts out the way like many of the other bad movie marriages start where everything is great. Carlos and Connie (Talia Shire) have a storybook wedding that would make any couple blush. We eventually find out that Carlo only married Connie with dreams of one day joining the family business. When Sonny keeps shunning Carlo from family meetings, Carlo starts to take his frustrations out on Connie and ultimately decides to take matters in to his own hands. He makes a deal with two of the other rival mafia families to help take Sonny (James Caan) out. In order to achieve this, he must trick Sonny into one of his famous fits of rage. So Carlo decides to start going out all night, having affairs and having his mistress call the house looking for him. All of this makes Connie upset and forces her to confront Carlo. Carlo will not be confronted and decides to not once but twice beat his wife. Also, Carlo is the second husband on this list that hit his pregnant wife. Carlos is the first of our bad husbands who gets his in the end. Michael (Al Pacino) saw through Carlo’s little games and had him strangled on the day of his child’s christening.

Worse Husband Moment: The second time Carlo beats his wife, he first tells her to clean up all the dishes she broke. He then calls her a racial name and then chases her to the bathroom and beats her with his belt.

4. Martin Burney – Sleeping With The Enemy (1991)

First things first: By no means do I find this to be a good movie, but Martin Burney (Patrick Bergin) is one bad husband. The reason I felt compelled to put him up so high the list is because of what his wife Laura (Julia Roberts) planned to do just to get away from him. Here is a girl that knew divorce would not be enough, that he would always terrorize her. He was abusive, possessive, and got jealous when a neighbor would just say hi. So she decides she is going to fake her own death. Laura is petrified of the ocean and has never learned to swim. Martin convinces her to go out sailing with her one night. A storm comes and Laura is knocked overboard. Speaking of overboard, the husband in the 1987 classic comedy “Overboard” (Grant Stayton III, played by Edward Herrmann) was not so great himself. Anyway, so Martin is lead to believe his wife had drowned. End of marriage and Martin will be forced to move on. Well we find out that Laura had planned this night for months. She was taking swimming lessons so she would be able to swim to shore. She even faked her own mother’s death and moved her into a nursing home with a different name months before she faked her own death just so she could still visit her. When she did visit her blind mother, she went in disguise just in case. Now come on, all this planning instead of a divorce just to get away from one man? Martin deserves his spot at number four. Laura does get payback on her husband by shooting him twice in the chest.

Worst Husband Moment: When Martin finds his mother-in-law in the nursing home, he decides he is going to smother her with a pillow. Only because she said her daughter was married to a monster. Does that comment really condone being killed and how can you smother your blind mother-in-law with a pillow? Don’t worry, she doesn’t die.

3. Gregory Anton – Gaslight (1944)

Charles Boyer, who portrayed Gregory Anton, is the second husband on the list to be Oscar-nominated for his work. Gregory marries Paula (Ingrid Bergman), a woman who has been haunted by the death of her aunt years earlier in London. What does great new husband Gregory suggest she do in order for her to overcome her anxieties? Why, move into the very house that her Aunt died in of course. Paula agrees and soon she starts loosing small objects and hearing noises. When a watch that Gregory lost turns up in Paula pocketbook, he accuses her of stealing it–that’s classy. Poor Paula now starts to doubt her own sanity. It turns out that Gregory planted the watch there. Gregory was also hiding the small objects about the house and convincing her she was hearing noises. It turns out that Gregory’s master plan was to drive Paula crazy. Now that is what I call a wonderful husband. Bergman deservedly won the Academy Award that year for her amazing depiction of troubled Paula.

Worst Husband Moment: Gregory tells Paula that he is leaving every night, but instead he sneaks in the house through the attic. He turns down all the gaslights in the house the house so everything gets dim. Paula, since she is all alone and no one else experiences it, thinks that it is all her imagination.

2. Jerome “Jerry” Lundegaard – Fargo (1996)

The third of our Oscar nominated bad husbands is William H. Macy for his creepy performance as Jerry Lundegaard. From the opening scene we get a glimpse of just how wacked out Jerry is. He is sitting in a diner with two criminals, Carl and Gaear (Steve Buscemi and Peter Stormare), informing them of his plan on how he wants them to kidnap his wife Jean (Kristen Rudrud). His hopes are that he can then get the ransom money from his father-in-law and give the criminals $100,000 and keep the rest for himself to pay off his debts. This plan is so insane that even Carl and Gaear are confused by his motives and they tell him to simply ask his wife for the money. Jerry just can’t do that, so he would rather rely in two ex-cons he never met before to carry out his master plan. Needless to say, it all goes wrong, people are dying, and all wackiness ensues. Jerry starts lying to his father-in-law, trying to control the situation, just so he can get his money. When it looks like a legit business deal that Jerry has been working on might work out, he tries to cancel the kidnapping. When he finds out that he can’t stop it, he decides to just go along with it. Meanwhile, Jerry has a teenage son that is absolutely crushed by the disappearance of his mother. Jerry just tells him to keep on telling everyone mom is out of town. Jerry finds no remorse in his actions, and in no way comforts his son. (SPOILER!) Well, Jean is eventually murdered by mad man Gaear, and the police find Jerry hiding out in a motel trying to flee the scene. This all could have been avoided if Jerry just manned up and asked his wife for the money, but what do we expect from the number two bad husband in cinema history.

Worst Husband Moment: When Jerry finds out that Carl murdered Jean’s father, he decides to hide the body in the trunk of his car. This man would do anything to get his hands on the ransom money.

1. Jack Torrance – The Shining (1980)

Jack Nicholson takes the top prize on this list for his portrayal of the ax-wielding maniac husband from the Overlook Hotel. I know a lot of people are going to say that it was not his fault, that he had cabin fever. Really… I have been snowed in before to and I never felt the need to chop my family into bits. Then some might say, well he was possessed by the demons of the hotels past. The thing is, he was a jerk even before he got to the hotel. His loving wife Wendy (Shelly Duvall) looks like she is afraid of her own shadow because she was forced to deal with Jack’s alcoholic past. He even ripped their sons arm out of his socket because he messed up his test papers. So even before we know what makes Jack tick, it is clearly established that he is a bad husband. Jack, as selfish as he is, decides to drag Wendy and son Danny (Danny Lloyd) up to an isolated hotel for the winter just so he can finish writing his novel. Wendy, the good wife that she is, just wants to make him sandwiches and spend some quality time with him. Jack’s loving reply to Wendy’s actions is “When you come in here and you hear me typing, or whether you DON’T hear me typing, or whatever the FUCK you hear me doing; when I’m in here, it means that I am working, THAT means don’t come in. Now, do you think you can handle that?” Jack then tries to find out who beat up their son and when he finds who did it, does he reprimand the lady in room 237, NO- he kisses the witch. Then Jack decides that it is time to destroy the snowmobiles so his family can’t escape, he destroys the radio, and gets an ax to kill his family. Of course, his plan fails and Jack becomes a frozen statue for all to see in the Overlook Hotel’s glorious botanical maze.

Worst Husband Moment: Wendy finds out that Jack has not been writing a novel at all. Remember, that was the main reason he dragged her up to the middle of nowhere. He instead has been writing, “All work and no play makes Jack a dull boy” over and over again. Jack finds her reading his “novel” and starts to pursue her up the stairs. He then threatens to bash Wendy’s brains in with a baseball bat. At least he calls Wendy the light of his life first.

Tags: 10, bad, characters, dumb, evil, film, husbands, list, men, movies, ten, top, Top 10 Worst Movie Husbands, Top Ten Worst Movie Husbands, Worst

From the quick-cut opening scenes in “The Goods: Live Hard, Sell Hard,” it’s obvious what director Neal Brennan has in mind. He’s hoping that the lightning-fast pace of the movie will cover up for the fact that nothing about it is neither fresh nor funny.

On paper, casting Jermey Piven (the fast-talking Hollywood super agent Ari Gold on HBO’s “Entourage”) as an aggressive, womanizing used car salesman sounds perfect. What “The Goods” may be best remembered for, though, is how good it makes the writers of “Entourage” look.

One comment I love is when people watch a really funny movie and they say “Oh, that whole movie was probably improvised!” This may be partially true, but even for a film like “Borat” or “Waiting for Guffman,” there wouldn’t be a movie without the writers. (Almost as proof, “Borat” was even nominated for a screenplay Oscar.)

Piven is a very funny actor and his ability to spout off pithy one-liners with the confidence of a pit bull uniquely positions him in the current world of comedy. But with an asinine script by Andy Stock and Rick Stempson, his talent becomes an empty shtick that quickly becomes annoying.

The deeply buried vulnerability that makes Ari Gold oddly likable doesn’t exist in “The Goods.” Instead, Piven is saddled with a lame backstory about a former partner’s tragic death (by selling–how wacky?!), something about a lost son, a thoroughly forced romantic subplot, and a series of awful and increasingly desperate stabs at raunchy humor.

The film’s biggest failure? In a movie that purports to be all about selling at any cost, there is an alarming lack of actual salesmanship or interesting technique. At least in the 2005 satire “Thank You for Smoking,” Aaron Eckhart’s Big Tobacco spokesperson had an amazing talent for spin. Piven’s salesman-for-hire Don Ready doesn’t come up with one convincing or funny argument for a sale in the entire film.

Hell, even when the down-on-their-luck salesman of Selleck Motors (the company Don is there to save) start moving vehicles, all Brennan does is cut to a triumphant montage: It’s all cheering, holding hands up high, and ringing the sales bell. We don’t even know what exactly it is Don taught them to turn their business around! (Or did that also happen in a vague montage?)

If there was one way this film might have succeeded despite all its other failures, this would have been it. Show us some insight into the how and why of “hard” salesman. Don’t just keep reminding us how badass they are. Let us go behind the scenes; let us see all the dirty tricks and techniques. There has to be more to “hard selling” than merely starting a car at a higher price and letting the customer think they’ve bargained you down.

I did reference all its other failures in that last paragraph, so let me just compile a quick list:

Wasted talent
Brennan co-created “Chappelle’s Show.” What’s worse: Ed Helms and Craig Robinson from “The Office,” Tony Hale from “Arrested Development,” Rob Riggle and Kristen Schaal from “The Daily Show,” David Koechner from “Anchorman,” Ken Jeong from “Knocked Up,” and Will Ferrell himself (in a cameo) are all spectacularly unfunny for the entire 90-minute running time.

Degraded talent
James Brolin is reduced to playing gay for laughs, constantly coming onto Koechner in the most routine ways possible, and even sporting a huge boner unnecessarily for a failed attempt at a cheap laugh. Veteran actor Charles Napier is reduced to playing racist for laughs, playing a dumber version of the same crazed war veteran we’ve seen in every bad comedy since the late 70s. But wait, there’s …

Even more outdated cliches!
Besides the fact that the premise is a rip-off of 1980’s “Used Cars,” Helms is in a “man” band—a three-man singing and dancing trio modeled after the boy band craze of … the late 90s. Way to keep current with your parodies, gents. Maybe in the sequel, you could poke fun at grunge.

Mean-spirited for no reason
At least in “Bruno,” Sacha Baron Cohen’s flamboyantly aggressive uber-stereotyped gay behavior forced us to confront our own prejudices. The caricatures that inhabit “The Goods” go for the easiest, safest, and most insulting punchlines while pretending to be edgy by adding raunch. Just because you throw in some breasts and a couple of mismatched sex partners doesn’t mean you’re dangerous. In fact, it’s the lamest kind of safe.

Even the end-credit “where are they now” character updates are uninspired
It’s the final nail in the coffin of this desperate comedy: We get terribly unfunny onscreen text for just under 10 characters you couldn’t care less about, and each one is less funny than the one that preceded it. It’s ironic, since earlier this summer, Ed Helms also starred in “The Hangover,” which utilized the end credits to greater comedic effect than any other movie in recent memory.

Tags: awful, bad, film, jeremy, Live Hard, movie, piven, review, Sell Hard, talent, The Goods, unfunny, waste

Our Top 10 list today comes from Will Dawson, whose Top 10 Worst James Bond Flicks list still generates lots of comments. J.D. and I both did a Top 10 list of that rare thing—the successful sequel—a while back (Eric’s Top 10 Best Sequels & J.D.’s Top 10 Best Sequels), and Will is looking at the other side of the coin today. We even had blogger Andrew Reed write a list of Top 10 Unfairly Maligned Sequels, in which he sticks up for one of the movies on Will’s list! If you’d like to contribute a Top 10 list of your own, send it to eric@scene-stealers.com. Here’s Will:

The sequel has been one of Hollywood’s most time honored inventions. However, in recent years, due to the fact that Hollywood has been running out of ideas, the sequel has come to represent a kind of dread to how bad it will be and makes people wonder “Why the hell did they make a sequel to that?” Anyway, here is a list of the 10 Worst Sequels of all time, which will make you wonder, “Why the hell did they make a sequel to that?”

10. Robocop 2 (1990)

To tell you the truth, I kind of do appreciate “Robocop 2” for its sincere camp value, and the movie is really campy. Such plot devices as Robocop talking about the merits of good hygiene, a 10-year-old drug dealer that swears like a sailor, and a little-league baseball team that rob a TV store all come to mind. However, these reasons are exactly why the movie is so bad to begin with. The first “Robocop” was an effective satire about law enforcement and what it meant to be human, while this one tries to be serious a criminal drama but ends up becoming an unintentional comedy with the clichéd message “Crime doesn’t pay…especially if you mess with Robocop.”

Cain: You Want Me?
Robocop: Dead or alive.
Cain: One of us must die.
Robocop: Alright, dead then.

9. Revenge of the Nerds 2: Nerds In Paradise (1987)

Taking off from the classic film “Revenge of the Nerds”, the writers decided to put the nerds in sunny Ft. Lauderdale, Fla., where they run into the same old enemies and engage in the same old sex-jinks. Although I do admire the producers for bringing back some of the original cast (unlike other movies on this list), the movie is a just rehash of the first one with the notable exceptions that the nerds are in “paradise” as it were, and Anthony Edwards has less of a role. Anyway, haven’t the nerds already gotten revenge in the first movie? Did they really need to get revenge in the second one? Oh well…..

Booger: Excuse me, miss. I just want you to know that I don’t intend to sleep with another woman until I’m back here in your arms with my head resting between your creamy thighs.

8. Air Bud 2: Golden Receiver (1998)

Oh man, I just wanted to write “The dog plays football!!!!!” and just get it over with, but I’ll delve into the mess that is “Air Bud 2.”. Basically Air Bud’s owner is on a football team that sucks so they enlist the help of Air Bud to play football, and it turns out Air Bud is super good at football. Beside the fact that non-humans cannot play high school football because it is against the rules, AIR BUD IS A FUCKING DOG AND HE DOESN’T HAVE FUCKING HANDS, thereby he CAN’T CATCH THE FOOTBALL!!!! And don’t give me this crap about how he catches it through his helmet with his mouth–if Air Bud was a real dog that did that in real life, the force and speed of the ball landing in Air Bud’s mouth would make Air Bud’s neck snap or break his teeth. Did I also mention that the dog plays football?

Coach: I’ll tell you one thing boys, that ain’t no golden retriever….that is a golden receiver!

7. The Matrix Reloaded (2003)

Oh man, I remember when the hype for this was so big in high school and I remember being really pissed off when I didn’t see it in theaters, but anyway I rented it on DVD and I thought “Well … that sucked.” “The Matrix Reloaded” has a lot of problems that I’ll sum up in a few details: convoluted plot, bad dialogue, over-reliance on special effects, one of the worst sex scene/montages in film history, too much techno music, too much philosophy, and too much Keanu Reeves. Especially too much Keanu Reeves.

Morpheus: Tonight, let us shake this cave!!!!

6. Jaws 2 (1978)

After the colossal success that was “Jaws,” I suppose you had to make a sequel to it, and although this movie has one of the best taglines in film history (“Just when you thought it was safe to go back in the water …”), it still is one of the worst sequels of all time. The shock factor of the shark scenes have become cliché by this point and the emphasis on the film was focused on Chief Brody’s stupid brat kids who get stranded in a sailboat whilst the shark encircles them. This makes the viewer root for the shark to eat said brat kids. You also hope that the spirit of Robert Shaw as Quint the Shark Hunter is going to show up to give Brody some spiritual advice, but he does not, which leaves the viewer with this mess of a film. I guess the reason why “Jaws 2” isn’t as fairly maligned as it should be is because of the horrendous films that followed in the series: “Jaws 3-D” and “Jaws: The Revenge.”

Chief Brody: (to the shark) Alright, you big bastard! Come on! I’ve got something for ya’ now! That’s it! Attaboy, come on! Right over here!

5. The Sting II (1983)

OK, here is a list of how to make your sequel automatically suck: release your it 10 years after the first film, don’t get any of the original cast members back, and think that just because it shares a title with one of the most beloved films of all time, people will go to the theater. Well guess what? “The Sting 2” is guilty of all of these things and it sucks. In a bit of puzzling casting, Paul Newman and Robert Redford (who were perfect in the original) are replaced by Jackie Gleason and Mac Davis. Even Robert Shaw is replaced by Oliver Reed. (It appears that the producers decided to cast the next hardest-drinking actor behind Robert Shaw, who had died of drinking by that time.) Also, why would you try and sting the same person again that you did in the first one? Wouldn’t you think that the “stingee” would notice that these were the same guys who were conning him from the first movie? Unfortunately, the film still shows up on cable every now and again, so beware.

4. Highlander 2: The Quickening (1991)

Ok, so in the original “Highlander,” Connor MacLeod (Christopher Lambert) is an immortal who wins the prize of being the top immortal by cutting off the Kurgan’s head and becomes mortal and goes off and lives with his love interest. In “Highlander 2,” it turns out that the immortals are all from a distant planet that neither of them can remember and that MacLeod was not the one who won the prize and, in fact, there are other immortals about ready to fight MacLeod to win it. Combine this with bad special effects (even for the time), the fact that Sean Connery returns after his character was killed in “Highlander,” and an absurd plot line about the Ozone layer depleting (hey, at least it was prophetic), and you have “Highlander 2”: a giant colossal piece of crap. Russell Mulcahy (the first film’s director and this film’s director) walked out of the premiere and put together a new cut of the film called The Renegade Version, which basically got rid of all the elements about immortals being from space….but even The Renegade Version is still crap. This quote basically sums up the entire film:

Louise Marcus: Okay, now let me just see if I can get this straight. You come from another planet, and you’re mortal there, but you’re immortal here until you kill all the guys from there who have come here … and then you’re mortal here … unless you go back there, or some more guys from there came here, in which case you become immortal here … again.
Connor MacLeod: Something like that.

3. Blues Brothers 2000 (1998)

Ok, I’ll give Dan Aykroyd and John Landis some credit, at least they wanted to press on with the characters and take the series in a new direction, but it’s hard to do it when two of the most iconic actors in the series are dead. Seriously, this film is so unfunny that you would rather have a pineapple violently inserted up your nose then having to sit through just a minute of this movie. The sad part about this is that it appears as though Aykroyd was hoping that this would hopefully restart the series, but there’s just one problem: The Blues Brothers are not The Blues Brothers without John Belushi or Cab Calloway and trying to move on without them was a horrible mistake.

Elwood: Uh, ma’am, we’re the Blues Brothers. We do blues, rhythm & blues, jazz, funk, soul. We can handle rock, pop, country, heavy metal, fusion, hip hop, rap, Motown, operetta, show tunes. In fact, we’ve even been called upon, on occasion, to do a polka! However Caribbean is a type of music, I regret to say, which has not been, is simply not, nor will ever be a part of this band’s repertoire.

2. Deuce Bigalow: European Gigolo (2005)

The first “Deuce Bigalow” wasn’t going to rewrite film history, but at least it was mindless entertainment for an hour and 40 minutes with some good scenes. This movie, however, is terrible. The script appears to be written by a bunch of hormonally crazed 15-year-olds who don’t know anything about sex. The stereotypes are rampant and typical (woman from Chernobyl has penis for a nose, Dutch people are portrayed smoking weed, etc.), and the fact that this is a Rob Schneider movie make this film absolutely one of the worst movies I have ever seen. If you ever want your significant other to break up with you, plop this in the DVD player and watch.

Heinz Himmler: I am Heinz Hummer. I’m the gigolo with the most below. Okay? I can give you a Filthy Lopez like you never had before. I could give you a Cambodian Creamsicle… that will make you scream all night. Okay? But not now because I’m busy. So leave me alone, bitch.

1. Caddyshack 2 (1988)

Oh god, this movie is quite possibly the worst movie I’ve ever seen. Every committable offense you could make in a sequel is made: No original cast members (with the exception of Chevy Chase, who basically took the money and ran), a bad script, and the fact that none of the cast members appear to be interested at all make this film so very horrid. Jackie Mason, Robert Stack, and Dan Aykroyd are poor substitutes for Rodney Dangerfield, Ted Knight, and Bill Murray–and you know you have a problem when this movie is rated PG, and the gopher is the most compelling character. Now, excuse me while I put in the original “Caddyshack” and try and forget about “Caddyshack 2.”

Capt. Tom Everett: If I pull the arrow out, will you p-please s-suck out the poison?
Ty Webb: Let me get this straight. You pull it out, I suck. Is there any money in it for me?

Tags: 10, all-time, awful, bad, ever, film, films, list, movie, movies, sequels, ten, terrible, top, Top 10 Worst Sequels, Worst

The sixth filmic adaptation of J.K. Rowling’s enormously popular book series arrives in theaters with an inordinate amount of baggage from five movies of myth-building and expectations, so it almost seems set up to fail.

While “Harry Potter and the Half-Blood Prince” is only the second film (along with “Prisoner of Azkaban”) to deliver a visually stirring package, it is the first to drop the ball so completely in the storytelling department.

Director David Yates returns to Hogwarts for his second “Potter” film (he’ll also helm the two-part finale “Harry Potter and the Deathly Hallows”) and with director-of-photography Bruno Delbonnel, he brings some impressively atmospheric cinematography to the table. It foretells a sense of impending doom that is welcome, albeit never quite explained in the bleary-eyed screenplay by “Potter” veteran Steve Kloves.

In Rowling’s rich fantasy world, the themes are embedded deep in the details, and “Half-Blood Prince” has none of them. It’s like a rough sketch that the filmmakers are hoping Potter fans will fill in with memories from the novel.

Two budding romances—between Harry (Daniel Radcliffe) and Ginny Weasley (Bonnie Wright) and also between Hermione (Emma Watson) and Ron (Rupert Grint)—are badly mishandled. Although a significant amount of screen time is spent on them, the relationships are vague and forced, more in line with the kind of puppy love you might expect from one of the earlier films.

Harry finds an old textbook once owned by the “half-blood prince” and the request of Dumbledore (Richard Gambon), Harry must get Professor Slughorn (Jim Broadbent) to come clean about an old secret. The importance of the textbook, however, is barely touched on. By the time the identity of the half-blood prince is revealed, its only significance is that it’s the title of the film.

Plot holes abound. At the beginning of the movie, death eaters are raining down on the Muggle world, but are never mentioned again. The supposedly questionable loyalty of Snape (Alan Rickman) is obvious from a maddening amount of foreshadowing.

Many of the film’s “mysteries” don’t work because their central conceit is that we aren’t supposed to be sure what’s really happening. Yet each one of these plot points are robbed of their inherent drama because they are all too obvious. If the series is supposed to mature and be about becoming an adult, Kloves would be smart to start treating the viewer like one.

Another problem is that Gambon, who took over when Richard Harris passed away, has never really connected with Radcliffe. As a result, the pupil/mentor relationship between Harry and Dumbledore seems distant and amorphous. The final showdown with Harry and the wizard is unforgivably bungled, as Harry’s courage is held in check in the most contrived way possible.

If you want to see a well-done supernatural story as a metaphor for growing up, watch the TV series “Buffy the Vampire Slayer.” At least its writers had seven seasons to sort out the messy teen-to-adult transition.

For more: Here is a print review from an obsessed Harry Potter fan, contributor Whitney Mathews, and my on-camera video review with J.D. is below.

Tags: awful, bad, Half-Blood Prince, Harry Potter 6, Harry Potter and the Half-Blood Prince, new, poor, review, screenplay

It’s hard to say what the new ensemble drama “The Informers” would have been like if it had been directed by its original director or if it had retained the vampire/zombie subplot from the book, but it couldn’t have been any worse than what it is now.

Adapted from a collection of semi-connected short stories from that master of 1980s-era excess Bret Easton Ellis (“American Psycho,” “Less Than Zero,” “The Rules of Attraction”), “The Informers” fails to develop one interesting character among the roughly 20 or so unhappy, self-loathing scenesters that populate the film. From the bleak and numbing tone of the movie, I am assuming we are supposed to believe that there is some kind of profound truth to be found amid all the pretty faces and general miserable-ness that’s on display here. Instead, “The Informers” becomes that rare movie that is so tedious it dares you to keep watching.

If you want to see how to adapt a collection of short stories into a cohesive unit, watch Robert Altman’s 1993 film “Short Cuts,” which is based on numerous stories by Raymond Carver. It’s even more of a feat how powerful and funny that movie is because the original stories aren’t even related.

Director Gregor Jordan took over “The Informers” from Nicholas Jarecki (who co-scripted the film with Ellis) and—according to news reports—changed the tone from lighthearted to deadly serious. In a controversial move, he also excised all of the supernatural content. There are plenty of vampires and zombies left in the movie, of course, only they aren’t literal. They are the dirty pretty things of early-80s Los Angeles. Jon Foster plays a rich, drug-dealing wastoid who wakes up each morning with either his hot, naked girlfriend or his hot, naked girlfriend and his music-video-directing-male-prostitute buddy. Does he want more out of his life? The answer for him is similar to the answer of that question for every other character: I guess so.

That phrase is very useful when talking about “The Informers,” actually. “I guess so.” Did it look good—was it shot with professional expertise? I guess so. Did the movie condemn the depraved, hollow existence of the urban elite? I guess so. Did it seem like half the movie was left on the cutting room floor? I guess so.

Billy Bob Thornton is Foster’s Dad, a sleazy Hollywood exec who’s cheating on his drugged-out wife (Kim Basinger) with a TV news anchor, played by Winona Ryder—who seems as if she’s in a different film altogether because she’s almost likeable, even though she’s barely in the movie at all. Mickey Rourke is lucky “The Wrestler” came out before “The Informers” could do any damage to his comeback because his role as the debauched kid-stealing uncle of a sweaty hotel clerk (the late Brad Renfro) is a real headscratcher.

There’s also a Bryan Ferry/Gary Numan-looking rock star who can’t tell what city he’s in and whose music is so awful that you don’t believe for a moment that anybody would come see him. This gets at the heart of what is wrong with “The Informers.” Characters don’t necessarily have to be nice for them to be characters that I care about (look at “The Sopranos”), but identifying with their desires and needs (or lack thereof) might be a start. Jordan keeps his characters at arms length—which is the same place where they keep each other. He gazes at all of his characters as if they were specimens trapped between glass slides.

If the vampire connection was metaphorical in the book, then so is the AIDS epidemic (which is so new it doesn’t have a name yet on the news) in the movie. Like everything else though, it’s so obvious that it becomes tedious. This group of soulless hedonists are all connected sexually one way or another and we can see the plague that will wipe them out coming way before they do. Is it poetic justice or hackneyed transparency?

In fact, the movie seems at times so devoid of any forward plot movement that it seems like there is no end in sight. When the end finally comes, it is completely arbitrary. The only thing that cued me into the fact that the film may be ending was the familiar wide-angle zoom-out to music.

With “American Psycho,” at least director Mary Harron found a way to take Ellis’ allegory over the top and have fun with it. That’s precisely what made it work as a film. “The Informers” just mopes around, wallowing in its misery and taking everything way too seriously.

Tags: bad, basinger, billy bob, bret, easton, ellis, film, flop, movie, poor, review, Rourke, ryder, the informers, thornton, winona

Today’s user-submitted Top 10 comes from Ryan Magnuson, a musician and film student at Kansas University in Lawrence, KS. Ryan proves that there is more than one way to read a film, and sometimes it’s better if it’s not the way it was originally intended. If you’d like to submit your own Top 10, just email me at eric@scene-stealers.com. Here’s Ryan:

There’s usually only one way a bad movie can be entertaining. It has to be bad enough to make a person laugh. An unintentional comedy is either a comedy that is not funny (or funny in a way that’s not intended) or a film outside of the comedy genre that does not intend to be viewed as a comedy. There’s nothing funnier than seeing a film take itself too seriously. This list contains movies that unintentionally flip the genre that spawned them. In the process, they become accidental “hit” films. These films are similar in that they all reflect played-out Hollywood trends of their day. Sometimes trendy 90s social commentary is attempted and unsuccessfully conveyed. This list salvages 10 sad failures of film and gives them new life! These are the Top 10 Unintentional Comedies of the 90s.

10. Sister Act 2: Back In the Habit (1993)

This Whoopi Goldberg sequel is a true cornerstone of disasterpiece cinema. Nothing “keeps you off the streets” quite like a viewing of this accidental laugh riot. I say “accidental” because when you’re laughing, you’re not laughing with the movie—you’re laughing at it. These rag-tag group of misfits—the disadvantaged choir students in Whoopi’s class—understand that giving up is not an option. Add some “crazy” goody-goody nuns and things get hysterical! One scene gets this film in: The choir concert at the end will give you chills to the funny bone as well as head-cracking raps about God: “You down with G.O.D.? Yeah you know me! You down with G.O.D? Yeah you know me! Who’s down with G.O.D.? Everybody!” The class comes out in street clothes and their performance includes a section where two rappers come out and “crush the mic.” “Sister Act 2” is safe enough to be shown in the classroom for inspirational purposes, and the fact that its suitable for all ages means that kids have a better chance of seeing what unintentional comedy is all about early on! This hopelessly clean movie is a slam dunk—a 10 on the corny meter. The unintentional jokes just continue to roll. It almost got beat out by “Dangerous Minds,” but saved itself by having such an un-punny title.

9. A Time to Kill (1996)

Oh my. This John Grisham adaptation is offensively hilarious. The acting (not to mention—the inconsistent accents!) from an all-star cast including Samuel L. Jackson, Matthew McConaughey, Ashley Judd, and Chris Cooper is over-the-top bad. These are great actors. This proves how weak the script, written by Oscar-winner Akiva Goldsman (for “A Beautiful Mind”), really is. It is a scream how unfunny the “comic relief” role played by Oliver Platt is. He is not charming or witty, and is surprisingly disposable for such a prominent role. Any thought-provoking intentions or ideologies the movie might have been trying to achieve are killed, given the melodramatic shift of focus to the lawyers. For example, there’s an extended hospital scene with Sandra Bullock (the hot-shot add-a-piece to the legal team of Matt and Platt), but none with the prepubescent rape victim that the story supposedly centers around. We do not see the victim’s family throughout most of the film. Instead, we see the lawyers’ late night sessions, relationships, and personal struggles with the case. The light-hearted attitude of these characters negates any serious subject matter that might be at hand. This film is about racism in the Deep South, but it forgets what it’s about to the point of ignoring it completely. This cheapens anything worthwhile it might be trying to say. I’m embarrassed for director Joel Schumacher, who must answer to this steaming pile for the rest of his life. At its worst, it almost resembles contemporary Hollywood Klan porn.

8. With Honors (1994)

“Boy oh boy.” This box-office flop-turned-underground-classic, the audience is constantly treated to kernels of wisdom from a rather unlikely source—a homeless bum (Joe Pesci) who goes to Harvard. An archetype “Did the teacher teach the students or did the student teach the teacher?” scenario occurs when he moves in with four college students. The laughter roars with honors and without regret. Brendan Fraser and Patrick Dempsey help deliver the goods, but it’s Pesci that steals the show. He secretly crashes at the university library, making him an “educated” bum, but still with all the laughs and pitfalls of an ordinary bum. It also contains one of the unintentionally funniest death scenes ever, as Fraser weeps as he reads the last letter written by Pesci, predicting the honorable graduation of Fraser’s character. Quite possibly the worst catch phrase in motion picture history—”Boy oh boy”— is repeated to rolling eyes from characters who will one day learn and grow to miss this really annoying smelly homeless guy. The makers of this film really stink up the joint when they keep mistaking this movie for something with worthwhile and intelligent moral significance.

7. Multiplicity (1996)

This Harold Ramis-directed “comedy” makes the list based on sheer ridiculousness alone. A work-obsessed Michael Keaton needs a way to spend more time with his family, so a quirky scientist makes a clone to help him out. That clone makes another clone, and when a fourth clone is added, all hell breaks loose. That’s when all the most atrocious jokes really come at you. You see, the fourth clone is mentally handicapped. Dressed in wacky clothes, says funny stuff like, “I like pizza.” and “I got a wallet.” The jokes are not funny and the “serious marriage problem” talks between Keaton and wife Andie McDowell turn into a barn-burning laugh party when Keaton begins to shed real tears as he tells his wife how much he loves her. No convincingly serious moral dilemmas are ever established and the clones are simply not funny. The movie actually suggests that the third clone didn’t come out right because it’s gay, and the fourth clone really didn’t come out right because he is obviously mentally handicapped. I could see where someone might get offended, but the real joke is on the writers that called these characters interesting or funny to begin with. Buddy, we are laughing at you, not with you. “Multiplicity” is an unintentionally funny comedy to be reckoned with.

6. Kuffs (1992)

As if the 8Os cop theme wasn’t played out enough, along comes the empty and formulaic “Kuffs.” This movie is unintentionally funny because the punchlines are some of the weakest and most stock Hollywood has ever seen. One multiple offender: Slater talks bad about his girl throughout the movie, than says shruggishly, “women.” Ha-ha funny: Cops get kicked in the nuts and their voices go falsetto. Christian Slater breaks the fourth wall and talks to the audience throughout the film with the most laughably boring narration ever. There is a cheap imitation of a “Beverly Hills Cop”-type score, some completely meaningless gunfire porn, and one of the most ridiculous love stories I’ve ever seen. From “Saved By the Bell”-type heartbroken phone calls to the continuous 8th-grade love sentiments, it is impossible to take co-stars Milla Jovovich and Slater seriously. I left this at #6, but one could make an argument for this one potentially cracking the top 5 someday. It is the “Coupon the Movie” of cop films.

5. Primal Fear (1996)

This “thriller” cracks the top five because it is so serious and somber yet impossible to take seriously. Ed Norton got an Oscar nomination for the most melodramatic part ever, a stuttering Southern man with multiple-personality disorder on trial for double murder. Laura Linney and Richard Gere combine for a vicious laugh team in this one. Gere is the take-no-crap defense lawyer who goes up against the vulnerable prosecutor (Linney). They turn in classic depictions of alcoholic lawyers who also—once in a while—cuss and match wits in hilarious insignificant fashion. “I wish you two would do your fucking goddamn jobs!” is a classic Gere quote that provides endless unintentional laughs! Their hilariously unbelievable and hollow characters are dropped into a premise that actually had potential, which ends up making serious scenarios mutate into unintentionally funny ones. It is nearly impossible to take the narrative as seriously as the actors do. It also has a really pretentious operatic and choir-filled score that inflates the ridiculousness with every soprano. If you need an unintentionally hilarious Oscar movie, this would definitely be my recommendation.

4. Higher Learning (1995)

John Singleton’s wannabe-“Do The Right Thing”-on -campus is an absolute slaying of any reflection on reality whatsoever because the characters and situations are so ridiculous. The only kind of higher learning we get is of the unintentional comedic genius Singleton can be when his dramatic intentions automatically flip to comical ones. Ice Cube is funny because he is Ice Cube. However, his character amounts to nothing, lost in this movie’s lack of ideological significance. I almost put this at number one because it is literally a laugh a minute. Unrealistic scenarios (from the neo-Nazis that recruit Michael Rappaport to shoot minorities on campus to the “lesbian only” depiction of homosexuality on campus) and way too many ideological black holes make it hard to take this movie’s “message” seriously. That is, unless one takes it seriously as a comedy. Great success!

3. Indian Summer (1993)

This film’s message: “some things never change.” When it comes to bad movies, this is certainly the case. Writer/director Mike Binder’s “Indian Summer” is the most unintentionally funny coming-of-age adult flashback film I’ve ever seen. A pretentious movie gets even more pretentious in one scene when characters try to tackle racial injustices of the past. They talk about the time when their camp counselor didn’t hire a guy because he was African-American. The title of the film and the fact that everyone in the film is white only makes Bill Paxton’s flashback that recalls the incident even funnier. Everyone gets more than they bargained for—such as unending clichés passing for genuine life lessons—when they revisit a childhood summer camp. The kicker in this one, however, is a melodramatic bridge scene where a one-on-one talk between Kevin Pollak and Elizabeth Perkins turns into a surface-value reflection and laughable introspective sentiment. As he talks about how much smaller the camp has gotten, Pollak gets sage advice from a friend: “Nothing has gotten smaller. You have changed.” All of the jokes are wickedly bad and all the characters are tragically unfunny. Camp counselor Uncle Lou, played by Alan Arkin, and his mentally handicapped assistant (played by “Spider-Man” director Sam Raimi!) provide for some great unintentional laughs. This movie tries embarrassingly to tug at the heart strings. Instead, it tugs itself right into the lake. It was rescued from drowning after this list flipped its intended effect. You’re welcome.

2. Congo (1995)

This movie is one of the greatest shams of all time. Laura Linney, one year before her raucous turn in “Primal Fear,” turns in an unintentionally masterful performance here. “Put ‘em on the endangered species list!” Make no mistake—she holds the key to this film being as unintentionally funny as it can be. Supposedly she is sent into the African jungle to rescue her missing ex-fiancé, but secretly her boss (the laughably hostile Joe Don Baker) just wants her to find diamonds. Baker is laughably hostile, and Tim Curry is out-of-his-mind bad as the foreign diamond expert. Instead of doing the book justice, we get almost no graphically violent gorilla scenes, and actors in gorilla suits pale in comparison to CGI effects in other movies like “Jurassic Park.” A talking gorilla and a disastrous foreign accent by Ernie Hudson “The Great White Hunter” also help lower the boom on any hope of taking this movie seriously. Not until this list has it gotten the credibility it deserves. Frankenstein-esque comparisons about humans and the limits of technology are squandered for gut-busting ridiculous high-horse scenes about diamonds. We thought we were getting a bloodier Jurassic park through the previews and the violent reputation of the novel. Instead, we get a film that disappointed many fans of the book by making it a soft movie about nothing that worthwhile or satisfying. I bask in its unintentional beauty.

1. Bye Bye Love (1995)

Something about Paul Reiser’s performance makes me think that he really thought this movie was going to be good. How could it be any more unintentionally hilarious? It’s got everything. Three divorced fathers (Reiser, Matthew Modine, and Randy Quaid) find solace in one another as they go through the daily grind of divorced life. The funniest scenes are when Paul Reiser interacts with his daughter. After getting mad at his daughter and throwing money at her in frustration (bad call), she storms out of the house. The door closed, he reflects. “Shit!” Later, he “risks his life” by scaling a branch that is literally 10 ft. off the ground to “rescue” his daughter from their old tree house. Heartwarming! Folks, Reiser’s communication issues between him and his daughter are so cringe-riffic, they will have you begging for more. Modine is a true player. When multiple women come over for dinner and run into his girlfriend—oops! Things get “scary” when he yells at his son for crying about his friends not being able to sleep over. Modine’s “Joker “character from “Full Metal Jacket” resurfaces and erupts more than once! This is especially true when Reiser almost sleeps with Modine’s ex-wife. Don’t forget how terrible Rob Reiner is as the divorce D.J., but give Jack Black credit for his cameo. At times, Randy Quaid is funny, but only because he is Randy Quaid. The script is terrible and most of his scenes are like most of everyone else’s scenes—unintentionally hilarious. James Taylor spawn Ben Taylor offers an unbelievably ineffective musical closer, covering “I Will” by the Beatles during a laugh-inducing epilogue montage, and he absolutely murders it. It cements this little-seen (only $12 mil at the box office) film’s place at #1. “Bye Bye Love” is a true champion because the dramatic scenes are far and away the most hilarious unintentional laugh-grabbers I’ve ever encountered on the silver screen. (Yes, I saw this in its original theatrical run.)

Tags: 1990s, 90s, bad, films, Hilarious, movies, terrible, Top 10 Lists, unfunny, Unintentional Comedies, Worst

Baz Luhrmann is the type of filmmaker who revels in excess. His last picture, the lush and melodramatic “Moulin Rouge!” was a lesson in how to make the old seem new again. He toyed with the formulas of tragic romances, over-the-top musicals, and slapstick comedies, and pillaged the back catalog of rock n’ roll’s greatest hits, placing them in early turn-of-the-20th Century Paris. The result? A risky, dazzling movie steeped in classic Hollywood mythology.

If only he were so daring with the new epic adventure that bears his home country’s name. “Australia” has very little of its predecessor’s irreverence or nose-thumbing spirit, opting instead for a stubborn adherence to the tenets of the budget-busting Hollywood prestige pictures of the 1950s and 1960s. Don’t get me wrong—sweeping countryside shots on the wide-open canvas of Australia are about as beautiful as they come. Why then would Luhrmann support his large-scale cinematic sense with the most silly and derivative of scripts? More importantly—why leave a corny, old-fashioned screenplay corny and old-fashioned? Why was “Australia” virtually un-tweaked by Luhrmann’s ever-so-slightly bent vision?

Count me confused.

From the start, it’s obvious that something is off with the writer/director’s staging. An uptight English woman (Nicole Kidman) is supposed to be met by her husband’s reliable cattle rancher (Hugh Jackman) when she gets off the plane in Darwin, Australia. Instead, she ends up embarrassed and offended when her underwear gets thrown about as the rancher (known only as the Drover) uses her luggage to pummel some men in a barfight. The timing is all wrong. The scene is supposed to be charged with raucous spirit, but is thwarted by the incredible obviousness of it all and the fact that the actors telegraph every move before it happens. That moment played out funnier in my head before it had even ended onscreen.

The movie, set during World War II and featuring the oppressive weight of being a “historical epic,” eventually finds even more unreliable legs, jutting its awkwardly unfunny tone for a staid and boring one. An ode to Australia, Luhrmann tries to fit in as many issues that define the country’s national identity as he can, but each approach is more ponderous than the first.

A mixed-race Aboriginal boy called Nullah (Brandon Walters) narrates the film with a cutesy delivery just one baseball cap shy of Short Round, the plucky Asian stereotype of “Indiana Jones and the Temple of Doom.” Portraying Australia’s forced removal of “the stolen generation” doesn’t have to insult the natives as well (see 2002’s “Rabbit-Proof Fence”), and it probably isn’t what Luhrmann intended. Meanwhile, the mysticism of Nullah’s uncle is represented by the old man standing just outside the periphery of the entire plot, staring ahead like the wise creature he is. The problem? He’s supposed to be the suspect in a murder.

He obviously didn’t do it, because Neil Fletcher did. The usually-reliable David Wenham (Faramir from “the Lord of the Rings” movies) plays the villain as an over-the-top outback version of Snidely Whiplash. He’s as desperate and conniving as the evil Duke (Richard Roxburgh) from “Moulin Rouge!,” but with no sense of humor or wink of mockery. By the time Wenham’s character flowers into the grand baddie of the entire piece, it’s really too bad because he’s not menacing at all and it’s disappointing to know that there is nothing more going on in the script.

An almost-exciting cattle drive and a surprise Japanese bomber attack are high points in a movie that gets so weighed down by its own by its own stuffiness that its lead actors can barely muster enough character to craft a romance. This is the stuff of big theater productions, and Jackman and Kidman never really embody their roles. Instead, they act as if they were projecting to those sitting way up in the balcony. The actors are not helped by dialogue that is so bad that I wonder if it just skipped Luhrmann’s mind that he planned on replacing it at one point.

It’s hard to say at what point “Australia” completely lost me, but since the movie is two and a half hours of earnest emptiness, let’s just say it was a long, cold road to the closing credits.

Tags: Australia, awful, bad, baz, failure, film, hugh, jackman, kidman, luhrmann, movie, nicole, review