Action Films Part 8 – The Flawed
The eighth tier of the action ranking. Franchise machinery, sequels that undo their predecessors, and the remakes that removed the thing worth keeping.
Fiction WritingThe eighth tier of the action ranking. Franchise machinery, sequels that undo their predecessors, and the remakes that removed the thing worth keeping.
Fiction WritingThe ninth tier of the action ranking. Franchise assembly, adaptations that lost the source, and the sequels that demonstrate what the originals were doing.
Fiction WritingThe tenth tier of the action ranking. The expensive failures, the franchise entries nobody needed, and the adaptations that had a good design and nothing to put in it.
Fiction WritingThe bottom of the action ranking. The films that failed at every level at once, and the negative ratings that record how far below zero a picture can go.
Fiction WritingThe top twenty horror films. Whale, Hitchcock, Tourneur, Demme and Aster, plus the creature pictures and the franchises that got their first entry right.
CrimeThe top twenty crime films. Lang, Huston, Wilder, Kurosawa, Polanski, Coppola and Scorsese, plus the modern entries that earned their place beside them.
CrimeThe second tier of the crime ranking. The Coens, Hanson, Fincher and Melville, plus the heist films that taught the form its grammar.
CrimeThe third tier of the crime ranking. Scorsese, Lumet, Fincher and Tarantino, plus the documentary that changed a verdict and the westerns that relocated to cities.
CrimeThe fourth tier of the crime ranking. Soderbergh, Scorsese, De Palma and Ferrara, plus the pre-Code gangster pictures and the television that outgrew the form.
CrimeThe fifth tier of the crime ranking. Ritchie, Cronenberg, Affleck and the Coens, plus the heist pictures that turned real cases into features.
CrimeThe sixth tier of the crime ranking. The eighties star vehicles, the police procedurals that found a neighborhood, and the television that outlasted its own format.
CrimeThe bottom of the crime ranking. The adaptations that softened their source, the exploitation cycle at its least defensible, and the films that needed somebody to say no.
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