HALF TERM REPORT: MY PERSONAL TOP 10 FILMS OF 2013 SO FAR

To qualify, films have to be released theatrically in the UK in 2013. This unfortunately means I cannot include Life of Pi or The Hobbit, but rules are rules. Full reviews of all films mentioned can be found on this blog.

 1. Beyond the Hills (Cristian Mungiu)

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Looks set to be this year’s One Upon a Time in Anatolia in that it is Eastern European, hardly anyone will see it, it is over two and a half hours long, and it is an absolute masterpiece. This is intelligent and involving film making at its finest, that grips and intrigues from start to finish.

2. A Hijacking (Tobias Lindholm)

A Hijacking: world exclusive clip - video

 

Lindholm skilfully avoids all the usual clichés and pitfalls to produce a genuinely tense, gripping and unforgettable experience. The excellent script, claustrophobic camerawork and committed performances all help to create a scary sense of realism and characters to truly care about.

3. Star Trek Into Darkness (J. J. Abrams)

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Surely setting the standard for 2013 blockbusters, J.J. Abrams ups the game even more to produce a genuinely thrilling and exciting film experience. The predominantly character driven narrative providing the necessary heart and soul to keep you completely gripped from start to finish.

4. In the House (François Ozon)

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Ozon has created a witty, intelligent and extremely watchable drama without the usual smugness and over blown self importance. An extremely sharp script and some enigmatic performances have also helped create a genuinely enjoyable gem of a film.

5. Zero Dark Thirty (Kathryn Bigelow)

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Genuinely gripping and thrilling from start to finish, which is quite an achievement considering we already know the ending. There is no preachy patronising or a feeling of deluded self importance, just genuine tension expertly made by a director who really seems to know what she is doing. Oh, and John Barrowman is in it! He may only have two lines but my god does he nail them!

6. Lincoln (Steven Spielberg)

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There was so much more to Spielberg’s excellent historical drama than just Day-Lewis’ incredible central performance. This is also a gripping and genuinely involving drama with excellent performances throughout.

7. Flight (Robert Zemeckis)

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The opening act is nerve shredding and genuinely exciting, but there is so much more to this excellent character study than that. This is a brutal study of a flawed but extremely sympathetic protagonist brought to life by Denzel’s compelling performance and a story of genuine catharsis.

8. Man of Steel (Zack Snyder)

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Snyder and Nolan have created an intelligent blockbuster that manages to combine thrilling action and a story with heart and soul. There has been criticism but that is unfair in my view, as this has laid the foundations for a potentially thrilling franchise.

9. Neighbouring Sounds (Kleber Mendonça Filho)

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This is not only a great film, but also an education and a fascinating insight into a different culture of which little is known outside Brazil. This may be unconventional in structure and an acquired taste, but an infinitely rewarding experience that creates a unique atmosphere by it subtleties and use of everyday realism.

10. No (Pablo Larraín)

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Made with true authenticity and is as much informing as it is compelling. Held together by an excellent central performance, this is an involving and thrilling education into a moment of historical significance.

Films that just missed out but get an honourable mention as I would also recommend them: Les Misérables (Tom Hooper), Post Tenebras Lux (Carlos Reygadas), McCullin (David Morris and Jacqui Morris), Lore (Cate Shortland), Wreck – it Ralph (Rich Moore), The Impossible (Juan Antonio Bayona) and Good Vibrations (Lisa Barros D’Sa and Gleen Leyburn).

Also a special mention has to go to Fast & Furious 6 (Justin Lin) as it looks set to be this year’s most bonkers, barmy, audacious, flawed as hell but infinitely most enjoyable guilty pleasure. Django Unchained (Quentin Tarantino) for being the most overrated film of the year, it was ok but it was not that good. Iron Man 3 (Shane Black) for being the biggest disappointment of the year so far.

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A HIJACKING (Tobias Lindholm, 2012)

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Starring: Pilou Asbæk, Søren Malling, Dar Salim You may like this if you liked: King’s Game (Nikolaj Arcel, 2004), Zero Dark Thirty (Kathryn Bigelow, 2012), United 93 (Paul Greengrass, 2006) On a usual run in the Indian Ocean, the Danish … Continue reading

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THE MAN WITH THE IRON FISTS (RZA, 2012)

the man with the iron fists

 

Starring: RZA, Russell Crowe, Lucy Liu

You may like this if you liked: Kill Bill: Vol.1 (Quentin Tarantino, 2003), Machete (Ethan Maniquis and Robert Rodriguez, 2010), Black Dynamite (Scott Sanders, 2009)

Well, in 19th century China (not that that is particularly relevant) in Jungle Village the Governor orders his vast amount of highly valuable gold to be moved. He is also betrayed and murdered by a man he trusted. Word gets out and so a plethora of assassins and warriors, the Governor’s son, as well as Russell Crowe all descend on the village to acquire this gold. All this carnage is watched over by a humble blacksmith (RZA) whose involvement is forced after his valued hands are chopped off and he becomes, well I think you have guessed what. There is no point in attempting to go into any more detail as the plot is actually pretty irrelevant. The tagline is “You do not spell kung fu without F and U”. Enough said really.

Of course, this being an apparent homage to exploitation films makes it notoriously difficult to criticise. There is poor editing, over the top hammed up acting, very little actual plot and terrible dialogue. Logic and sensible explanations are nowhere to be seen and there is no evidence of an attempt at such things which are the basics of good filmmaking. However it can be argued that this is all intentional. It is also predominantly quite boring though and there are elements where it does seem to take itself embarrassingly seriously.

There is quite a trend now to making films that are a ‘homage to exploitation but made in a post modern way’, that in itself is getting a little boring now as the novelty is wearing off very quickly. The barrage of (often blatant CGI) blood and guts rarely stops, and though gets a tad repetitive but admittedly it is so ridiculous that it does entertain. In between the orgy of violence is RZA’s blacksmith complete with cringe worthy voice over and a stoic, overlong, boring and completely deluded flashback. RZA himself is embarrassingly wooden, the man may have passion for this subject but is clearly not an actor.

On the subject of ‘acting’, Russell Crowe gives a larger than life performance (literally) and his character is a bizarre and outrageous creation depicted in a performance that is actually beyond words. Of course as someone who tends to play serious characters he is obviously allowed to let his hair down here and he really does do what the hell he likes. This may well have been contractual so they could have a big name attached to this film, but he is definitely enjoying himself and really does not care. It is the only memorable part of an otherwise forgettable film.

The Man with the Iron Fists is a hollow and forgettable experience, with the exception of Russell Crowe’s beyond words performance. The dialogue in between the extreme orgy of violence showing quite clearly that this is the work of a deluded and clueless film maker. The violence suffices at keeping things watchable enough, but a few alcoholic drinks and very low expectations would certainly help.

5/10

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PITCH PERFECT (Jason Moore, 2012)

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  Starring: Anna Kendrick, Rebel Wilson, Elizabeth Banks You may like this if you liked: American Dreamz (Paul Weitz, 2006), Step Up (Anne Fletcher, 2006), Bring It On (Peyton Reed, 2000) Beca (Kendrick) is a freshman (or fresher as we … Continue reading

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WARM BODIES (Jonathan Levine, 2013)

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Starring: Nicholas Hoult, Teresa Palmer, John Malkovich

You may like this if you liked: Twilight (Catherine Hardwicke, 2008), Edward Scissorhands (Tim Burton, 1990), Romeo +Juliet (Baz Luhrmann, 1996)

After the usual apocalypse we see in films, a vast majority of the world’s population are now zombies. What is left of the human race lives in a part of the city (no idea what city) surrounded by a huge wall and lead by Commander Grigio (Malkovich). However, R (Hoult) is not your typical zombie, not only is he capable of eloquently narrating this film, he still processes some of the very basic human feelings. When he and a horde of fellow zombies go on a hunt for humans R feels an urge to protect one of the human’s, Julie (Palmer). This is mainly due to the fact he has just eaten her boyfriend’s brain and by doing that R gets his memories (don’t ask). R looks after Julie and as he does his heart starts to beat again and he begins to slowly regain his humanity. What then develops is the usual Romeo & Juliet relationship we would all expect. After witnessing their relationship, other zombies begin to go through the same change. However, a war is about to rage between the humans and the ‘bonies’ (zombies that have transformed further and are beyond any help) and R and Julie must persuade John Malkovich not to also kill these zombies who are becoming human again.

Despite sounding like a zombie Twilight, Warm Bodies is much better than that but has a consistent feel of mediocrity to it. In what is another genre mash up, this is a film of unrealised potential due to a case of better concept than execution. Self awareness and complacency is once again the problem here, the film almost feels too pleased with itself and tries nowhere near as hard as it should. This is perfectly enjoyable and watchable, but has very little substance to merit repeat viewings in my opinion.

Nicholas Hoult continues to impress me and produces a very likeable and sympathetic half dead protagonist. Teresa Palmer also avoids the usual clichés with her character and Julie is also a very likeable character. However the romance between R and Julie does feel a little too contrived to really tug at the heartstrings at certain points when it should. Malkovich and Rob Corddry (as R’s zombie mate) are very effective but sadly underused. The plot is a little predictable and there is also a lack of genuine laughs. There are some mildly amusing moments due to its light tone. However there is no more that, so do not be fooled by the cynical ‘laugh out loud comedy’ marketing.

I know this may be more down to genre, but all the plot developments in the final third are extremely predictable and maybe a little too neat and tidy. This takes away any potential genuine intensity and edge that the final third could have provided.

However, despite this there is still enough action and fun to be had throughout and the film never gets boring. The good concept and effective acting are perhaps what save the mediocre dialogue and contrived plot, but Warm Bodies is a good romp. Also at less than 100 minutes, Warm Bodies make sure never to outstay its welcome. If you are looking for something under two hours that is good fun but requires very little effort, then you could do far worse than Warm Bodies.

Warm Bodies is a little underwhelming and perhaps a little too complacent, however consistently watchable and entertaining. It is fun and enjoyable, with enough heart and a consistently tongue in cheek tone to never get boring, but sadly a case of potential wasted.

6/10

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THE EXPATRIATE (Philipp Stölzl, 2012)

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Starring: Aaron Eckhart, Liana Liberato, Olga Kurylenko

You may like this if you liked: The Bourne Trilogy (2002 – 2007), The Cold Light of Day (Mabrouk El Mechri, 2012), Unknown (Jaume Collet-Serra, 2011)

Why so serious Aaron? This poster shows our protagonist looking into the distance intently and in others he is holding a gun. Yes, you guessed it; it is another Bourne/Taken wannabe that in this case appears to be funded by the Belgian tourist industry. Eckhart plays Ben Logan who lives in Antwerp with his sulky teenage daughter (Liberato) working for a low key security firm. Oh, and yes you guessed it: He is an ex CIA agent. The two of them are then forced on the run from nasty generic European hit men as his company suddenly has every employee killed and all records erased. Now, with his daughter in tow he must run for his life (through some very picturesque Belgian locations) while trying to get to the bottom of, yes you guessed it, a CIA conspiracy. This involves Logan’s ex colleague Anna Brandt (Kurylenko) just to add to the ‘plot’.

Oh dear, well as this is straight to DVD malarkey the initial signs are not good, despite the ever dependable Eckhart in the lead role. Well this is as generic as they come and those behind it were obviously given a checklist of what needs to go in an action thriller. So we have car chases, fisticuffs, shady CIA officers, even shadier Government officials, conspiracies, paranoia, nasty European henchman and lots of city centre locations. That is all well and good, but the story is very basic and hard to particularly care about.

The ‘action’ itself is surprisingly dull with no intensity whatsoever. The editing is horrendously bad which certainly does not help. Eckhart is absolutely fine in the role but given such poor material, this is one extremely boring and underwhelming experience. Ok, so it is just about watchable, but when there are so many better substitutes in an already overstuffed genre, then it is best to ignore this and look elsewhere.

4/10

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FOR ELLEN (So Yong Kim, 2012)

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Starring: Paul Dano, Jon Heder, Margarita Levieva

You may like this if you liked: Treeless Mountain (So Yong Kim, 2008), To the Wonder (Terence Malick, 2012), Boxing Day (Bernard Rose, 2012)

A musician called Joby (Dano) who is a member of a second rate rock band drives overnight in the snow to sign the final divorce papers with his ex wife (Levieva). However, upon discovering that part of the criteria for the divorce settlement is that his wife will get total custody of their daughter Ellen (Shaylena Mandigo), Joby has second thoughts. Having never spent any time with Ellen, he refuses to sign the divorce papers and is determined to get to know his young daughter.

Despite only having a running time of 90 minutes For Ellen travels along at such a slow pace that watching it can be quite an effort. This is especially the case in the first half of a film that is a very much divided into two parts. For the first half of the narrative we get to know Joby often through the use of close ups and minimal dialogue. This can be a very effective technique but there is something seriously lacking here. Dano gives a committed turn but his character is hard to like, especially in the treatment of his good natured but naive lawyer Fred (Heder). Fred still lives with his mother and appears to have lived quite a sheltered life and seems to almost look up to Joby due to the fact he is a rock star. This may be an attempt at character development, as Joby is quite a complex and emotional character. However the entire process and the very gentle pace produce a quite laborious experience and actually achieves very little. Joby has the entire character arc and decides to see his daughter for the first time. The encounter between these two is what makes up predominantly most of the second half of the film.

The naturalistic dialogue in the meeting between Joby and Ellen and the few hours they spend together is raw and honest, and these scenes are genuinely powerful. The awkward silences, the stuttering, the very simple questions from Joby and the one word answers from Ellen produce a realistic, poignant and emotionally effective encounter. It is just a shame that it requires such a lot of effort and perseverance from the viewer to finally see this part of the film. The genuine power of this part of the film almost shows up the previous half, making it seem ponderous and empty in comparison. There is an effective message in there somewhere about how due to his actions in the first half we made the mistake of judging Joby not expecting him to be a good dad, but if this was the intention of the director then it could have been depicted more effectively. There is indeed subtle, but there is also just boring.

The plot developments after their meeting also feel a little contrived in that the director didn’t know how to end to end the film so just lets the viewer think of their own ending by leaving it completely open. There is nothing wrong with an open ending, especially in films such as For Ellen that are very much set in real life as these can add poignancy and emotional power. However in this case it just did not work.

For Ellen is well acted and made with genuine, honest integrity but let down by its lack of ambition and misguided structure. The raw emotional power of (most of) the second half let down by a hollow and alienating first as well as a slightly lazy ending, producing a just about watchable but highly forgettable experience.

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THE GREAT GATSBY (Baz Luhrmann, 2013)

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Starring: Leonardo DiCaprio, Tobey Maguire, Carey Mulligan Genre: Drama/Romance/Typical Baz Lurhmann Migraine-inducing-style-over-substance-rubbish Set in the backdrop of the roaring twenties, The Great Gatsby is told through the eyes of Nick Carraway (Maguire). He moves to upstate New York opposite his … Continue reading

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MAN OF STEEL (Zack Snyder, 2012)

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Starring: Henry Cavill, Michael Shannon, Amy Adams

You may like this if you liked: Batman Begins (Christopher Nolan, 2005), Superman Returns (Bryan Singer, 2006), The Amazing Spider – Man (Marc Webb, 2012)

I think we all know the story, but here is a quick overview. As the planet Krypton is on the verge of destruction Jor-El (Russell Crowe) sends his newborn son to earth. That son grows up as Clark Kent with his two adopted human parents (Kevin Costner and Diane Lane) trying to keep these super human powers that he has but does not understand a secret. As a grown man Clark (Cavill) lives the life of a lonely traveller while continuing to keep his powers a secret. However when confronted with enemies from Krypton (Shannon and his cronies) Clark must discover his true identity and purpose, as well as convince humans that he can be their saviour and their source of hope.

As I am sure like everyone else, I was very apprehensive when seeing this was directed by Zack Snyder but then relieved when I saw Nolan was in charge. Then again I was apprehensive as Superman is not Batman and I did not want this to be essentially Superman Begins. I know there have been negative or at least less favourable reviews of Man of Steel but for me the more serious tone works. A shot for shot remake of the Christopher Reeve films, red underpants and all, would be pretty pointless. It is pretty much the same story we already know, but contains the universal and very human themes at the centre of the narrative that were essential if it was going to produce a protagonist to care about. Despite his superhuman abilities his story is essentially very human. He desires to find meaning and purpose in his life, and utilise the skills he is given, producing a very powerful and involving story.

Man of Steel contains a non-chronological narrative structure, just like Batman Begins but for me this enhanced the poignancy and power of the scenes of the younger Clark. Each scene flashing back to his younger years proves relevant to what is in his mind in the present day. This adds emotional impact and relevance to the conversations between Clark and his human father. Kevin Costner and Diane Lane provide the emotional core and every scene between Clark and Jonathan packs a real emotional punch and adds substance to the inner conflict and frustration Clark must feel. Dealing with school bullies and deciding whether to save the lives of his fellow school children, but risk blowing his cover showing the inner turmoil. Of course with two fathers he is cheating a little bit. Crowe provides the necessary gravitas (complete with his Maximus voice) but the scenes of Jor-El constantly lecturing Clark can start to feel a little repetitive as I think it is fair to say we all get it.

Of course it is not all pondering and self discovery, with plenty of action set pieces there to break up the soul searching. The final third is all out action and thank god not a Zack Snyder super slow-mo in sight! The action is handled well and does truly pack a punch really emphasising the extreme power citizens of Krypton can enhance in the earth’s atmosphere. There are oil tankers flying, and basically an entire city being written off. However the action does start to feel a little repetitive and at times feels like a combination of the final fight between Neo vs. Agent Smith meets Transformers.

The Krypton set prologue is also fast and frantic with plenty of tension, though admittedly Krypton does look a little like Cybertron with a few more swirls. This is where we are also introduced to the films antagonist, General Zod. Micheal Shannon gives a reliably intense performance, and just like in Star Trek we are presented with a sympathetic villain. There is a legitimate reason for his actions and he believes he is doing the right thing which adds genuine depth to his character. Which is good as the actual plot is one that has been used in the likes of Dr. Who and Transformers. However I felt it worked, it is just a shame Snyder gets carried away with the overlong action (again).

Of course action aside, this is a character driven story at heart and overall a really compelling take on the character of Clark Kent as he discovers himself. The tone is of course serious, the cinematography very grey/blue and the suit more a piece of armour, but it does look good! Cavill himself may lack that special something of Christoper Reeve but for me was excellent. He of course plays it very straight (in tone with the entire mood of the film) but evokes all the virtues and ideologies that Superman stands for and provides a protagonist to care about. The Lois and Clark relationship is dealt with in a completely way, but if there should be a sequel it is hinted that things may be more familiar next time. Amy Adams herself is a shining light but given surprisingly little time. Again, it is hinted she will play a bigger role next time. The mood of the film is predominantly serious with very little humour, however to just throw some slapstick or cheap laughs in for the sake of it would have been terrible. The tone is consistent and for me worked as at the film’s heart is a serious subject.

Man of Steel is both a thrilling and genuinely involving attempt to recreate an iconic character. It is different in tone to other versions, but making up for it in class and genuine character development. Slightly repetitive overlong action and tedious Russell Crowe lecturing aside, this may be the start of another excellent superhero franchise with both action and genuine substance.

8/10

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THE BURFORD TOP 10: THE WORST FILM ACCENTS EVER

Mad, bad or just completely outrageous. This is my personal top 10 of the worst accents I have ever seen in films. Hollywood has a tendency for scoring own goals when producing films set overseas and prefers to cast a big name instead of actors of that actual nationality, and this is a few examples of when this has had quite cringe worthy consequences. We all remember those moments when we watch a film and an actor turns up on screen and spouts out some god awful attempt at an accent, here is the 10 that I can never forget.

1. Keanu Reeves – Dracula (Francis Ford Coppola, 1992)

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Coppola’s essay in over the top bonkersness (that is a word!) had more than a few flaws. I know this is an obvious choice I know, but I was not really given a choice. Not exactly the most charismatic actor anyway, Ted Theodore Logan delivers an effeminate mockney turn that is beyond laughable. He is permanently on the verge of saying “Eeeexcelleeeeennnnnt, Rufus me old mucker!”  It is testament to just how bad a job he does when he out does Gary Oldman, Winona Ryder and Anthony Hopkins all doing bonkers accents. The even worst thing is that he was allowed to commit a repeat offence in Kenneth Branagh’s Much Ado About Nothing!

2. Colin Farrell and Ewan McGregor – Cassandra’s Dream (Woody Allen, 2007)

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So, Woody Allen gets a Dubliner and Perth’s finest together to play brothers who are very close and both live in London. That is fine as they are too good actors, but they need to have the same accents. Of course, let’s make them cockneys! Genius! Unfortunately neither of them can do the accent particularly well and we get “gore blimey guv’nor apples and pears” via Dublin and Perth. It is not a mixture that is pleasant on the eras! Oh, and it is also an absolutely terrible film.

3. Don Cheadle – Ocean’s Eleven, Twelve and Thirteen (Steven Soderbergh, 2001 – 2007)

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On the subject of mockney, Don Cheadle’s Basher Tarr is the surely the benchmark of American actors failing miserably at Landan aaccints raising even the standard set by Dick Van Dyke! The worst thing is that there is no reason for his character to be English. If they want an English character then for God’s sake get an English actor, I am sure there are a few of them about.

4. Nicholas Cage – Captain Corelli’s Mandolin (John Madden, 2001)

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Ah good old Nic Cage, not exactly regarded as the most diverse of actors (and rightly so). So that considered whose sick joke of an idea was it to get him doing an Italian accent?!? I know this maybe before the adverts, but due to his blatantly stereotypically racist accent he just wants to ask everyone when their a-Dolmio a-day is -ah? To make matters worse he does have Italian family. The usually dependable but only when English John Hurt is not exactly much better as an Italian either.

5.  Colin Farrell – Alexander (Oliver Stone, 2004)

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Colin Farrell can do an American accent ok, but with Hollywood epics like this the trick is to attempt a non regional accent, or basically very dull English. Unfortunately Farrell’s thick Dublin accent is just too strong and cannot be toned down, so one of the greatest warriors of all time tends to simply sound like he has had a few too many Guinness’s. What adds insult to injury is that Jared Leto also seems to be doing an Irish accent as maybe Oliver Stone thought we would not notice so much? Combine that with Angelina Jolie’s hammed up attempt an Eastern European accent as Alexander’s mother and it is no wonder Alexander the Great had a few mental issues.

6. Tom Hollander – Hanna (Joe Wright, 2011)

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In what is a slightly bonkers but very enjoyable film, the most outrageous element is Tom Hollander’s extremely camp, bleach blond eyeliner wearing, bright tracksuit wearing, German assassin Isaacs. More bizarre than horrifically bad maybe, but this is one completely unforgettable character so I feel compelled to have this on this list. Not only is this a bizarre character but his German accent is actually not very good and is pretty much a tad racist. Cate Blanchett’s attempt at Texan is not much better either.

7. Willem Defoe – The Reckoning (Paul McGuigan, 2003)

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An underrated film in my view that is actually very watchable. It is set in 14th Century England so it was a good idea to cast British thesps like Paul Bettany, Brian Cox, Tom Hardy, Simon McBurney, Mathew Macfayden, Ewan Bremner and …. Willem Dafoe! There is no denying that famous jaw line adds presence but for his accent it would appear he only watched Emmerdale and Coronation Street as research and decided to combine the two.

8. James Coburn – A Fistful of Dynamite (Sergio Leone, 1971)

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This maybe the lesser known of Sergio Leone’s films but it should be well known just for James Coburn’s oooiiiiriiiiesh explosives expert. It is a great film, but once again like Don Cheadle in Ocean’s; there is no reason for his character to be of that nationality in the first place. What makes it worse is that he struggles and cannot hide his own accent, and so just sounds like a combination of the leprechaun in the Lucky Charms adverts mixed with John Wayne.

9. Michael Caine – On Deadly Ground (Steven Seagal, 1994)

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Directed by Steven Seagal and containing a god awful preachy and embarrassing eco friendly speech at the end, but that is no way near as bad as Michael Caine’s accent. In still trying to come to terms with Jaws: The Revenge he must have been desperate but why the hell did he try a Texan accent?!? They love a British baddy so why did he not just do that? Instead he is struggling so badly it is Texas via Peckham.

10. Dick Van Dyke – Mary Poppins (Robert Stevenson, 1964)

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An obvious choice I know, but it is regarded as one of the godfathers of appalling accents so I had to include it. We have all seen it; I do not need to say any more!

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