For Euro 2012

Euro 2012

Football fever is set to sweep the country for much the next month with the start of the European Championships, so just in case that isn't enough for you here are my favourite soccer and soccer related films you could try and get hold of.

5. Africa United (2010)

In conjunction with the South African World Cup in 2010, Africa United is a tough and forlorn commentary about the struggles of the continent young. We follow a disparate group of Rwandan children trying to make their way to the world cup 3000 miles away, from their youthful perspective we encounter the troubles which Africa’s future generations face such as HIV, child soldiers, child prostitution, poverty and general social decay. United's strength comes in its ability to resist its morose themes by finding a quality which will uplift the spirits of it audience, made possible by the earnest and charming characters who do not exhort viewer pity for their predicament, but instead a produce a collective positivity that will win you over.

4. Kicking & Screaming (2005)

The sight of over exuberant parents bellowing instructions from the bleachers at their children; participating in sporting events will be familiar to many. Kicking & Screaming starring the love him or loathe him entity that is Will Ferrell actually has something interesting to say on this subject. Ferrell plays the coach of  his sons lowly soccer team who has lived his life in the shadows of a father (and opposing coach Robert Duval) who’s thirst for achievement and  sporting excellence through his childhood have left him inwardly scared.  The pair take up a bet when their teams are scheduled to do battle on the field but this leads to an amusing process of enlightenment as they discover that mixing competitive and parental juices can come at a cost.  

3. Offside (2006)

Those who regularly attend football matches will know that the presence of female fans in the football stadium has become common place, however Iranian Film maker Jafar Panahi in this wonderfully little film goes someway to expose the plight of female soccer fanatics In Iran. Set in the capital Tehran which is to host a crucial World Cup qualifying International, we observe a handful of woman's individual attempts to break into the match under the veneer of quirky disguises and forced to engage in all forms of chicanery to avoid capture from the authorities for forbid  their attendance. Despite the comedic elements of the dialogue, the film as with much Iranian cinema tells a serious story of sexual inequality, social boundaries and the discontent each breed within eastern cultures.    

2. ID (1995)

Football hooliganism has long been thought of as a diseased organ within the body of Britain’s obsession with the beautiful game, with ties to organised crime and highly visible displays of violence warranting past government interventions. ID utilises a truly immersive narrative arc in bringing this to screen, we observe John an undercover Policeman assigned to infiltrate a notorious gang of football thugs. However John’s moral obligations and psyche dissolve on screen as his assignment turns to an addiction to the adulation and self-gratification of his newfound thuggish proclivities. The film could be said to be satirical in its approach, pointing out how substance abuse, alcohol abuse, domestic violence, misogyny and far right extremism are all complicit values in the make-up of Hooliganism. 

1. Escape To Victory  (1981)

Set in a Nazi POW camp a group of imprisoned Allied forces accept an invitation to partake in a football match against a team of Germans hosted in paris. Both sides harbour ulterior ambitions for the match, the prisoners plot an escape whilst the Germans strive for the fixture to be an exercise in propagandistic humiliation of the enemy. Over 30 years on and Escape to Victory is still soccer’s most treasured contribution to cinema, with a team chemistry born of big screen fire power (Stallone, Cain ,Von Sydow) who tackle the narrative and dialogue to great effect, whilst the use of genuine footballing legends (Pele, Moore, Ardiles) create the spectacle of the beautiful game which is stunningly captured for the final set piece. 

Due: Avengers Assemble (2012) Franchise Review

 

In what looks set  to be the year of the Superhero Movie first up to the plate (not forgetting the refreshingly brilliant Chronicle (2012) released in February) will be the crossover, event movie spectacular that is The Avengers (2012). Marvel’s alchemic tour de force will be the end product of a preceding movie franchise bound together by the ubiquitous qualities of Samuel L Jackson’s cycloptic Nick Fury and a host of post credit cameos.  No doubt set for monstrous future Blu-Ray collectors box sets when all is said and done, time to revisit the the past five years. 

2008

The Incredible Hulk (2008)

Budget: $150 million
Box office: $263,427,551

Release date: June 13th, 2008

Looking back it’s hard not to feel that Marvel’s 2008 output was a case of wrong place wrong time, as 2008 would see DC, Warner Bros and The Dark Knight take over a billion dollars worldwide. Most affected would be The Incredible Hulk which abstained from the temptation of rebooting Ang Lee’s marginal Hulk (2003) effort and attempted to develop the story as a belated sequel. Viewing The Incredible Hulk as a follow up is perhaps unfairly problematic with the five year gap coupled with a complete overhaul in casting, look and tonality possibly raised more questions or caused more confusion for Hulk devotees than anything else. Treating the 2008 movie on its own term is a more rewarding experience French director Louis Leterrier finds an altogether different gear that is somewhat darker, smarter, more menacing and entertaining than its predecessor.  Edward Norton’s considered and pathos driven performance is the perfect antithesis for his raging alter ego, making it all the more disappointing that he will not reprise the role as an Avenger.

Iron Man (2008)

Budget $140 million
Box office $585,174,222

Release date: May 2nd, 2008

Iron Man’s big screen live action debut came a month prior, headed by an at the time rejuvenated Robert Downey Jnr whose role as womanising, alcoholic, billionaire playboy Tony Stark was a lesson in casting genius and bare faced irony. Iron Man manages to succeed on all levels, its visuals are fiercely strong, exciting and stylish. Most impressively though is the dexterous balance and discipline exacted by director Jon Favreau, who skilfully implants both Stark and Iron Man into a contemporary age engulfing them in complex issues and darker themes prevalent in the 21^st century. Stark’s kidnap, enslavement and subsequent escape are the foundation for Downey Jnr’s existentially fuelled epiphany allowing him to take on the world of weapons manufacturing, American foreign policy and middle eastern destabilisation. Favreau’s comedic verve manifests through our hero’s disregard of his own legacy, life whilst embracing unreservedly his playboy persona. 

2010

Iron Man 2 (2010)

Budget: $200 million
Box office: $623,933,331

Release: May 7th 2010

With the year all to itself Iron Man 2 arrived with much promise having added Don Cheadle, Sam Rockwell, Scarlet Johansson and Mickey Rourke to the roster as well as retaining all of the key components from the original picture including the continuity of Favreau’s direction. The result however fell disastrously short of the preceding circumstances largely due to an absence of the aforementioned nuance of discipline and skill, with none of the considered thematic substance abundant in the first outing. Favreau’s methodology is a rather graceless formula where double the heroes, villains, jokes and explosions (a common shortfall in sequel film making) actually results in a fraction of the general enjoyment from the first instalment. Perhaps the most disappointing and embarrassing Iron Man 2 segment is the clumsy origin and introduction of side kick War Machine, which is simply emblematic of Favreau’s drastic departure of form which duly crashes this project into the sea of dead sequels where it will rot alongside other ghastly follow ups.. 

 

2011

Captain America: The First Avenger (2011)

Budget: $140 million
Box office: $368,608,363

Release: July 22nd 2011

In some respects one could view the big screen arrivals of Thor and Captain America in 2011 as little more than extended previews for the Avengers extravaganza, by the time the First Avenger had rolled around it would be all the more difficult to view it on its own terms with eyes and minds already very much focused on the grand assembly the following year. Captain America is a modest offering, in an attempt  to establish an immersive sci-fi inflected World War II era, the end result is an overreliance on  cold CGI effects, backgrounds as well as distracting and ill judged character enhancements notably the wimpy Steve Rodgers strange looking head to body ratio. Captain America is without doubt a difficult prospect to bring to screen with a clownishly loud uniform, and limiting scope for adjustments to his iconography and legend. Chris Evans who is no stranger to the superhero world having played the Johnny Storm in the Fantastic Four, is often left hapless and lost as the action degenerates into an endless parade of soulless battle scenes giving the audience little to invest their hearts or minds in.

Thor (2011)

Budget: $150 million
Box office: $449.3 million

Release: April 21st 2011

Thor is an altogether different animal, much more at ease with the absurdities of its conceptuality and dress sense. Director Kenneth Branagh finds comedic mileage through cross worldly misunderstandings and general fish out of water antics that anyone who has seen  Masters Of The  Universe (1987) will be familiar with. Thor is also unique in that it entrusts a relative unknown (Aussie Chris Hemsworth) with the lead role and places the more revered acting talents around him such as Sir Anthony Hopkins the father and Natalie Portman the storm chasing love interest. Branagh’s film finds it's true heart in a narrative of dynastic woes and sibling treachery which sees our hero banished from Asgardian royalty to New Mexico badlands, Thor must engage in his alien environment and new friends in order to find his way home. .

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New: Wild Bill

Wild Bill (2011)

Director: Dexter Fletcher
Writers: Dexter Fletcher, Danny King
Stars: Charlie Creed-Miles, Will Poulter and Liz White

Buried beneath the heavy concrete terrain of an east London skyline, itself swallowed up by the sprawling almost monstrous constructs of the imminent summer Olympiad, dwell the complex myriad of indigenous life which we peer into rookie director Dexter Fletcher’s Shameless meets Eastenders Goldfish bowl , where the natives hide under the veneer of hooded tracksuits, baseball caps, West Ham United glyphs and shabby council properties. Fletcher’s choice of aesthetic layers creates an effective personal space for his characters to bare all in what is quintessentially a snapshot of the contemporary urban British underclasses.

Fletcher embraces a plethora of themes which at times is problematic but also typical and honest traits of most directorial debuts, usually incumbent of the personal near self-biographical nature of  maiden projects as well as the developing maturation of artistry and artistic discipline. There are shades of Fletcher’s career history bursting onto screen throughout, there is the “guns and geezers” pastiche of the likes of Lock Stock and Layercake, pre and post-adolescent inflections no doubt drawn in some form from a past in children’s TV. All of which manifest in a diversity and fluctuation of the tone and pace which encompasses comedic and dramatic flair with good measure.

The strengths of the piece are undoubtedly the earnest endeavours of the script, telling a most simplistic yet salient story of our times, whilst the ensemble cast produce a stream of coherent performances to both authenticate and entertain. When an ironically mild Bill (Charlie Creed-Miles) returns from an eight year stretch, he looks to instantly remedy the ills created by his incarceration by searching for his two sons, what he finds at the end of this process is that with sustained hiatus comes restrained welcome making re-assimilation all the more trickier. The biggest slice of resentment comes from the star of the show Will Poulter who in playing the eldest son Dean manages a performance that mirrors the plight of his character, a 15 year old who is forced to be a man though he is yet a boy assuming patriarchal control of his younger brother Jimmy and himself. Poulter’s projection is a frowning determination delivering tough talk and home truths to “Bill”, calling and in the same sense mocking him as just that and refusing to use the expected but as yet unearned epithet. 

The narrative plays out key inversions, the closer Bill gets to parental reconciliation, the more caustic his relationship with the local drug dealers of his own nefarious past become. Whilst the more Dean and his troublesome sibling let their guard down, invoking their estranged fathers care that is alien to them, the more vulnerable they become. In the end Fletcher strikes gold by exploring socially corrosive subjects of absent fathers,  drugs and violence against women with no shortage of charm, wit and heart warming humanity.

By no means perfect (few are at this stage)  but a great way to get off the mark as a director.

7.5/10


My Top 5 Directorial Debuts



5. Catherine Hardwicke - Thirteen (2003)

Hardwicke's debut is extremely raw, ill-disciplined and rough around the edges yet somehow she pulls off a terrify look at teen lawlessness that will make you want to lock up your teenage daughters safely.



4. Sofia Coppola - The Virgin Suicides (1999)

Stepping into daddy's (Francis Ford) vocation and enormous shadow, Sofia Coppola does the family name proud with this tale of rebellion and constraint of five sisters in suburban 70's Detroit.

3. Xavier Dolan - I Killed My Mother (2009) 

French Canadian cinema it could be said gets the best of both worlds, with the bluster of North America and the guile of Gallic nuance. Dolan dexterously captures just that in this visual absorbing self portrait of his schooling, parenting and handling of his own sexuality. 

2.Niels Mueller - The Assassination of Richard Nixon (2004)

It is somewhat surprising that a relative unknown was able to capture so hauntingly and tragically the true essence of one mans alienating disenfranchisement with the American Dream. Sean Penn is a huge contributor adding this to his pantheon of grandiose performances, but the guidance of Mueller is real achievement here.

1.Terrence Malick - Badlands (1973)

Malick's debut is a wonderfully convoluted cocktail of juxtaposing genre and theme, murderous yet romantic, vast yet personal, committed yet doubting. All in the name of conceited young love between Martin Sheen and Sissy Spacek whose naive impulses amount to a blood soaked road trip, traversing the baron nothingness of the eponymous dusty plains.

For Goodbyes

Before the Devil Knows You’re Dead (2007)

Director: Sidney Lumet
Stars: Philip Seymour Hoffman, Ethan Hawke and Marisa Tomei


Before the Devil Knows You’re Dead (2007) is a scintillating crime drama, a forlorn reflection of its characters repulsive mindsets as a result of their diseased auras which are fed with malignant conceits and ideals. The story is in part simple Andy (Hoffman) is looking for illogically quick answers to complex questions, his life is a dangerous white collar composite of smoke and mirrors, whilst his marriage (to Tomei) is longing for reinvigoration. Together with his equally bedraggled brother (Hawke) Andy plots a heist which involves their parents jewellery store being the Mark. The Caper however is doomed to fail, this is established from the outset, the narrative is delivered through a reconstructed chronology which succeeds in creating a slow burn for the outing of truth and revelation.

This exhibit of skilfully assembled tonal poison and equally dextrous tri-lineal structure was to be director Sidney Lumet last feature before his passing in early 2011. Lumet's, perhaps never repeated the highs of arguably his most celebrated work Dog Day Afternoon (1975) but Before the Devil Knows You’re Dead is a fitting last memory of a fine film maker.

8/10

Other notable swan songs.

Steve McQueen – The Hunter (1980) Bounty Hunter Ralph Thorson (McQueen) has a lot on his plate he’s getting too old for his current vocation, his girlfriend is expecting and worst of ALL someone is trying to kill him. Here be the premise for Steve McQueen’s final screen appearance, by no means vintage but respectable punctuation mark on a lasting legacy.

Jack Lemmon - The Legend Of Bagger Vance (2000) In his role as narrator it is perhaps fitting that Jack Lemmon would say goodbye using in the main his most salient commodity – His voice. Lemmon’s long and distinguished career saw a series of transformations in appearance but his voice remained at its unmistakeable best to the end warm, glowing, rhythmical with what would become a trademark mid-sentence plunge of pitch.


Marlon Brando – The Score (2001) There is a touch of irony when looking at Brando’s last hurrah, firstly he would appear opposite Robert De Niro with whom he shared Oscar glory for portrayals of the same Vito Corleone character. More sadly though and as shallow as it seems this would act as a sad indictment of how Brando would spend the later portions of his life, unrecognisable from the striking features of his heydays which had subsequently been eroded by a propensity for cake and willingly redundant sense of vanity. In the end The Score is a well worth seeing heist movie, finding pay dirt with its male leads (including Ed Norton) in fine form.

Sergio Leone – Once Upon A Time In America (1984) Leone's parting gift was more than just an epic crime drama telling a vast story spanning 40 years, it indeed may have in some way brought about his end. The energy expended, the tumultuous battle with studio interference in post production and the initial poor reception of the film was said to have damaged and exhausted Leone greatly. Once Upon A Time In America is now however revered as a classic possessing an enigmatic spirit, a transcendence of social and religious theme as well as a stunning operatic grandeur.

4 The Weekend

1. Some Think Old

Deep Red (1975)

Director: Dario Argento
Writers: Dario Argento,
Stars: David Hemmings, Daria Nicolodi and Gabriele Lavia

Deep Red is a slick coming together of genres, a horror dressed as a thriller or a thriller dressed as horror – Either way it works. Gore master Dario Argento conjures up some trademark gruesome murders and mutilations ranging from blood curdling hatchet melees to more calculating face melting scaldings. When a deranged serial killer is spotted by David Hemming's English Music Teacher in the act of dicing up his helpless neighbour, despite the danger to his own life and with the help of a pesky female journo (Daria Nicolodi) the incongruous pair search for clues to unravel the mysterious motives of the killer whilst attempting to avoid being the victims themselves. With shades of Hitchcock's Psycho, the look of its Hollywood contemporaries and an entrenched foot print still visible in many modern day slasher flicks, Deep Red is a must see for horror fans.

8/10


2. Some Think New


The Descendants (2011)


Director: Alexander Payne
Writers: Alexander Payne 
Stars: George Clooney, Shailene Woodley and Amara Miller



There is something about the films of Alexander Payne that seem to be connected and invested in their locations, About Schmidt’s re-coming of age saga is metaphorically tied into the transitional roads of the American Midwest and the fortified constancy of the Rocky Mountain formations, whilst the lush southern Californian Wine Vineyards undoubtedly reflect the crass and clandestine indulgences of Sideways. For his latest tragicomedy Payne’s setting is the ostensibly paradisiacal and sweeping beauty of the Hawaiian Islands , secluded, mysterious, sequestered and familial. Such distinguished features are in keeping with the central characters of the King Family that play out in The Descendants.

George Clooney who is in the midst of the most prolifically artistic purple patch of his career produces an earnest portrayal here as the embattled patriarch Matt King, dealing with a crippling convergence of circumstances which result in him having to deal with a wife in a vegetative state, his own shortcomings as a father whilst being burdened with the weight of a dynastic legacy. Clooney is a blend of rage, confusion and emotion ably supported by his tearaway teen daughter Alex played wonderfully by Shailene Woodley for whom the journey is about to be sobering agent of maturation and realisation as she is forced to step up into
the role of second in command in her mothers absence.

The thin line between comedy and drama is always a difficult task to negotiate but Payne’s considered direction and the sharpness of the interactional dialogue and humour appears effortless resulting in the 2 hour run time flying by, with each scene exclaimed with either hilarity or humility or both. - A real treat.

8/10

3. Some Think To Borrow

Route Irish (2010) 



Director: Ken Loach
Writer: Paul Laverty
Stars: Mark Womack, Andrea Lowe and John Bishop


Veteran director Ken Loach has if anything a flair for subject matter, the at times esoteric and unique topics have become a feature of his work and career. Refusing to make mainstream features and opting instead to make films about the empowerment of a group of Los Angeles Janitors in Bread and Roses or Nicaraguan Civil War in the glorious Carla's Song, Loach fears little. Route Irish explores the practices of private security contractors in the increasingly vitriolic backdrop of the middle east, driven in equal measure by both plot and character, we find ourselves in the middle of an unfolding narrative which sees a prominent security contractor Fergus (Mark Womack) taking part in a vigorous search for the truth surrounding the death of his best friend on Iraq's most dangerous road. Part revenge, part super sleuthing the action encompasses violence, cover ups, racism and betrayal as the ugliness comes to light. As impressive as the film is as a whole, it is let down somewhat by a mediocre cast who themselves are let down by some clumsy and unconvincing dialogue. Still makes for interesting viewing.

7/10

4. Some Think Due


Looper (2012)


Director: Rian Johnson
Writer: Rian Johnson
Stars: Joseph Gordon-Levitt, Bruce Willis and Emily Blunt

Release: 28/09/2012


Plot: A present-day killer (Gordon-Levitt) works for a mob in the future and kills people who are sent from the future. He recognizes one victim (Willis) as himself and hesitates, resulting in the escape of his older self.


Why get excited? If you haven't seen it check out Director Rian Johnson's debut Brick (2005) which is an innovative film and fine example of what can be done with a small budget. This time Johnson has some serious backing and will be interesting to see if this Sci Fi action flick can be produce the goods.

For Clint Eastwood

With the release of the superb award hopeful J.Edgar this week I thought it time to pay homage to one of my favourite film makers Clint Eastwood. His work in front of the camera maybe more popular and revered having starred in possibly the greatest film ever made The Good, The Bad and The Ugly . Whilst also thrilling fans as renegade cop Harry Callahan in the Dirty Harry series.

Yet Clint's talent behind the camera is much the more dexterous and legacy enhancing, his films are at times narcissistic (especially when directing himself) and macho but there can be no doubt that Eastwood has the cinematic guile and verve to capture edge, emotion, and energy in his glorious and still bulging Back-catalogue. Be it the triumph of Invictus, the inward inflections of Hereafter to the battlefields of Heartbreak Ridge or the wild west of  Pale Rider and Unforgiven Clint pleases both fans and critics like few directors can. Executing Cat and Mouse games such as Sudden Impact (the only time he directed Harry Callahan) and Absolute Power, with even the very well judged peculiarity that is Midnight in the Garden of Good and Evil, his skills are sharp enough for any directorial challenge that at this stage in his career he chooses.

Here is my top 5

5. Play Misty For Me (1971)

Feature length debut in which Eastwood also stars, sees a casual one night stand from Clint's DJ lead turn into a murdering psycho bitch. Meshing Hitchcockian terror and dread with romance and music creating a memorable experience.



4. Gran Torino  (2008)

Moving story of racial and cultural differences, again Eastwood self-stars as a bigoted, widowed war hero who finds friendship in the faces of those he once despised, particularly a young teenager dealing with the temptations and peer pressure applied by a neighbourhood gang. A film about family, faith and friendship which engages boldly with difficult social topics.

3. Changeling (2008)

An extraordinary story symptomatic of the times in its treatment of woman and children in the American 20's and 30's. A Woman who's son is abducted and replaced by an imposter faces a battle with the police, institutionalism and a harrowing search for the truth. Eastwood again uses faith as a device in the narrative as well as corruption and bravery in this amazing tale, Angelina Jolie is terrific in her performance.



2. A Perfect World (1993)

A story of Stockholm Syndrome which finds a young boy raised a Jehovah's Witness snatched from his mother by Kevin Costner's escaped Texan convict. The proceeding journey is one of both enlightenment and self discovery, the pair grow closer to each with the same steps guiding their friendship to oblivion. Eastwood plays the Texas Ranger attempting to track the pair down in what is a brilliant part road movie part psychological thriller.




1. Mystic River (2003)

This is Eastwood's finest work, the story is Shakespearian in its sense of drama and injustice, toying with it's characters feeding them crumbs of information whilst the audience must watch on in near full knowledge cruelly powerless to stop the agony unfold. Following 2 generations of a Bostonian community whose lives are touched by secrets, murder and debilitating memories that scar the psyche.

The River is in essence a metaphor for the cleansing powers of holy water, stayed and prevalent in the lives of Boston's catholic community. The Film itself plays out like the holy trinity  The father - the family in this case the dynamic of kinship it brings. The Son - children the vessel of transcending virtues of the former and the Hollow Spirit - here the truth and its illusive, less tangible qualities. The characters likewise in this masterpiece, crimelord Sean Penn is the father powerful and ominous, victim Tim Robbins the sacrificial son and cop Kevin Bacon the sanctifying spirit - Truly amazing picture.

New

The Iron Lady (2011)


Director: Phyllida Lloyd
Writer: Abi Morgan 
Stars: Meryl Streep, Jim Broadbent and Richard E. Grant

The story of how a butcher's daughter from unlikely Lincolnshire rose to become the most powerful woman of her generation, going to war half way across the world, against her own people and against the IRA, stretching the boundaries of gender equalities and leaving a legacy of being the most polarising figure ever in British politics ought to be an engrossing historical journey. The reality however sees director Phyllida Lloyd opt for a story about a senile old lady being told off for venturing to the cornershop.

The Iron Lady’s problems are in the main structural, labouring in the present and using the heft of Thatcher’s legacy as mere wallpaper. Focusing on the former Prime Minister’s crumbling psyche as she engages in clearing out her late Husband Denis’ (Jim Broadbent)  wardrobe, clumsily triggering scattered fragments of reminiscence that tell her story. Interjected are interactions with Denis which attempt to contextualise her senility and act if anything as a welcome comical instrument within these frustratingly timed interludes. 

Meryl Streep the one saving grace is also emblematic of the same problems, falling foul of the structural constraints. Of the three Thatchers we see, one being a young Margret Roberts (Alexandra Roach), Streep’s Iron Lady at the peak of her powers and service to the nation trumps Streep the frail, widowed, retiree yet the screen time is too balanced to support the accomplishments of her political career. Union Strikes, the Falklands, terrorism, resignation  are all  glossed over too briskly with little gravity and sense of importance, even more humanistic landmarks such as marriage and motherhood feel choked out of the pitiful 100 minute running time by indulging in a comparatively insignificant present.

The Iron Lady despite Streep’s resplendence is a failure, lacking edge, heart and worst of all integrity, offering little for either detractors or devotees of Thatcherism to sink their teeth into whilst also being unable to even provide anything remotely substantial or educational for newer and future generations to learn from. The great Lady, her legacy and her country deserved better.

5/10

Top 5 Biopics

5. Frida (2002)

Salma Hayeck and Alfred Molina are in fine form here in this recounting of the life of Mexican artist Frida Kahlo.

4. What's Love Got to Do with It (1993)

Explosive story of Tina Turner's battle with ,fame, womanhood and domestic abuse at the hands of maniacal husband Ike Turner, Angela Bassett turns in a physical and emotional performance.

3. Milk (2008)

Story of seminal Gay politician Harvey Milk who dedicated his life to uniting San Francisco's disparate community in the 70's. Sean Penn bagged an Oscar for best actor in a leading role here.

2. The Last Emperor (1987)

The story of how Puyi a 2 year old child  held the dynastic burden of China's final imperial chapter, epic in scale and grandeur telling a tale that shaped China's history. Bagged 9 Oscars.

1. Malcolm X (1992)

Malcolm Little ascended from small time Boston criminal to one of the most controversial figures in the American battle for racial parity in the 60's. Revered as an iconic freedom fighter by some, chastised as an inflammatory supremacist by others Spike Lee's finest film is an engaging and holistic account of a misunderstood and pivotal man in civil rights history.