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|Dangerous Liaisons||The Last Seduction||Fatal Attraction||The Devil Wears Prada||Body Heat||Basic Instinct||The Proposal|
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|Scarface||No Country for Old Men||Misery||The Silence of the Lambs||Wall Street|
|Communication with Corporate Psychopaths||Defending yourself||Observing and Documenting Behavior of Corporate Psychopaths||The Hare Psychopathy Checklist||Humor||Random Findings||Etc|
Psychopathy in film is often portrayed in an exaggerated fashion to enhance the dramatic properties of a character or characters to render them memorable. Typically, a psychopathic character in a film is often in the role of a villain, where the general characteristics of a psychopath are useful to facilitate conflict and danger. Because the definitions and criteria for psychopathy have varied over the years and continue to change even now, many characters in notable films may have been designed to fall under the category of a psychopath at the time of the film's production or release, but not necessarily in subsequent years.
Early representations of psychopaths in film were often designed with a poor or incomplete understanding of a psychopathic personality: they were often caricatured as sadistic, unpredictable, sexually depraved, and emotionally unstable (manic) characters with a compulsion to engage in random violence and destruction, usually with a series of bizarre mannerisms such as giggling, laughing, or facial tics. The public's overall unfamiliarity with mental disorders made this depiction acceptable and even perceived as "realistic" at the time of release.
Up until the late 1950s, American cinematic conventions usually relegated the psychopath to roles
of genre villains such as gangsters, mad scientists, supervillains, and many types of generic criminals.
Even homosexuality was displayed as a type of psychopathic behavior in films such as They Only Kill
Their Masters (1972) prior to the removal of homosexuality from the DSM in 1973.
Examples of this type are Tommy Udo (Richard Widmark) in Kiss of Death, Cody Jarrett (James Cagney) in White Heat, and Antonio 'Tony' Camonte (Paul Muni) in the 1932 version of Scarface. One exception to this depiction during this period is the character of child murderer Hans Beckert (Peter Lorre) in the 1931 Fritz Lang film M. Lorre portrays Beckert as an outwardly unremarkable man tormented by a compulsion to ritualistically murder children, a substantially more realistic depiction of what would eventually be known as a serial killer.
The arrests and resulting notoriety of serial killers John Wayne Gacy, Jeffrey Dahmer, and Ted Bundy led to an additional increase in the way psychopathy was both perceived and portrayed in film. An increasing interest in realistic depictions of psychopaths led to the formation of a new hybrid of traditional psychopaths from early film and late-19th Century literature with the high-functioning behaviors detected in psychopaths such as Bundy and Dahmer.
An example of this type of psychopathic character is that of the cannibalistic psychiatrist Dr. Hannibal Lecter, as portrayed by Anthony Hopkins in the Academy Award-winning 1991 film The Silence of the Lambs. Lecter is intelligent and sophisticated, and his disarming charisma and wit disguise his true nature as a psychopath. He spends most of the film in a prison cell, taunting protagonist Clarice Starling with clues to the identity of another serial killer, Buffalo Bill, in exchange for intimate details of Starling's troubled childhood
Two prominent sociopath in movies are
Tony Montana, Al Pacino in Scarface (1983) Why do we like Al Pacino's portrayal of the Cuban sociopath Tony Montana so much? It's because he basically could not give a fuck about anyone or anything. Of course, polite society demands these people get their comeuppance, which Montana certainly does in a thrilling, blood-soaked finale. But there is something about him that we respect. Even when faced with having his limbs chopped off with a chainsaw he does not flinch. He sees a girl he likes; he gets her. Simple.
Han Gruber, Alan Rickman in Die Hard (1988)
No Country For Old Men. Forget the dodgy haircut, Javier Bardem's contract killer Anton Chigurh (No Country For Old Men (2007) is possibly one of the scariest sociopaths ever to appear on the silver screen. He is calculating, creative, ruthless and, what makes it worse, he gets away with it.
Kathy Bates in Misery. Only Alan Rickman could make such a merciless and cold-bloodied killer so charming. He's so good, he almost upstages Bruce Willis – almost.
Among other films that might deserve your attention we can mentions:
Numerous characters in television shows are informally described as psychopaths by the actors who play the parts. Examples include Natalie Buxton in Bad Girls, Sean Slater and Michael Moon in EastEnders, and Dexter Morgan in the American show 
Here is the list of villains from Wikipedia AFI's 100 Years...100 Heroes & Villains. As you can see considerable part of them can be viewed as psychopath.
|Dr. Hannibal Lecter||Anthony Hopkins||The Silence of the Lambs|
|Norman Bates||Anthony Perkins||Psycho|
|Nurse Ratched||Louise Fletcher||One Flew Over the Cuckoo's Nest|
|Mr. Potter||Lionel Barrymore||It's a Wonderful Life ( Amazon.com )|
|Alex Forrest||Glenn Close||Fatal Attraction|
|Phyllis Dietrichson||Barbara Stanwyck||Double Indemnity (Amazon.com )|
|The Evil Queen||Voice of Lucille La Verne||Snow White and the Seven Dwarfs|
|Michael Corleone||Al Pacino||The Godfather Part II|
|Alex DeLarge||Malcolm McDowell||A Clockwork Orange|
|Noah Cross||John Huston||Chinatown|
|Annie Wilkes||Kathy Bates||Misery|
|Captain Bligh||Charles Laughton||Mutiny on the Bounty|
|Mrs. Eleanor Iselin||Angela Lansbury||The Manchurian Candidate|
|Eve Harrington||Anne Baxter||All About Eve|
|Gordon Gekko||Michael Douglas||Wall Street|
|Jack Torrance||Jack Nicholson||The Shining|
|Cody Jarrett||James Cagney||White Heat|
|Max Cady||Robert Mitchum||Cape Fear|
|Reverend Harry Powell||Robert Mitchum||The Night of the Hunter|
|Travis Bickle||Robert De Niro||Taxi Driver|
|Mrs. Danvers||Judith Anderson||Rebecca|
|Clyde Barrow and Bonnie Parker||Warren Beatty and Faye Dunaway||Bonnie and Clyde|
|Count Dracula||Bela Lugosi||Dracula|
|Dr. Szell||Laurence Olivier||Marathon Man|
|J.J. Hunsecker||Burt Lancaster||Sweet Smell of Success|
|Frank Booth||Dennis Hopper||Blue Velvet|
|Harry Lime||Orson Welles||The Third Man|
|Caesar Enrico Bandello||Edward G. Robinson||Little Caesar|
|Cruella De Vil||Voice by Betty Lou Gerson||One Hundred and One Dalmatians|
|Freddy Krueger||Robert Englund||A Nightmare on Elm Street|
|Joan Crawford||Faye Dunaway||Mommie Dearest|
|Tom Powers||James Cagney||The Public Enemy|
|Regina Giddens||Bette Davis||The Little Foxes|
|Baby Jane Hudson||Bette Davis||What Ever Happened to Baby Jane?|
|The Joker||Jack Nicholson||Batman|
|Hans Gruber||Alan Rickman||Die Hard|
|Tony Camonte||Paul Muni||Scarface|
|Keyser Soze/Verbal Kint||Kevin Spacey||The Usual Suspects|
|Auric Goldfinger||Gert Fröbe (voiced by Michael Collins)||Goldfinger|
|Detective Alonzo Harris||Denzel Washington||Training Day|
Classic in this genre is Fatal Attraction. This film depicts a strong career woman Alex (played by Glenn Close ) who is at the same time psychopathic. The plot is trial -- it is about adultery, but there is a twist in it which makes is valuable for all who are interested in female sociopath topics. Happily married New York lawyer Dan Callagher is not satisfied with his family life and when he has a chance as it was raining after his Saturday office meeting and his new acquaintance took him under her umbrella, he decided to have an affair with this woman. It's pretty educational to watch the Douglas character's psychological panic as movie progresses...
Notice Glenn Close' envy. She's envious. Jealous at her target's perfect family. Also notice that the more Michael Douglas rejects Glenn Close the more she stalks him. She can't handle being rejected. She becomes an obsessed, vindictive, completely out-of-control, raging nightmare. (By the way, I have never had any personal experience with a single-stalker. Only gang stalking. And gang stalking is a lot more subtle, insidious and scheming).
The film has also profound effect on men. Close who play the central heroine of the film was quoted in 2008 as saying,
"Men still come up to me and say, 'You scared the shit out of me.' Sometimes they say, 'You saved my marriage.'"
Fatal Attraction is a 1987 American psychological thriller film directed by Adrian Lyne and starring Michael Douglas, Glenn Close, and Anne Archer. The film centers on a married Manhattan man who has a weekend affair with a woman who refuses to allow it to end, resulting in her becoming obsessed with him. The film was adapted by James Dearden from an earlier 1980 short film by Dearden for British television, Diversion.
Movies depicting BPD
Sex, drugs, and catfights!, July 16, 2005
I remember hearing about this movie when it first came out and reading an interview with the creator Nikki Reed. I thought it sounded stupid and melodramatic, so I avoided it. 'Sex, drugs, and catfights!' the headline had read. So a couple years later I decided what the heck, I'll rent it away. I knew it was going to be depressing and dramatic and I was right. It was. It was pretty realistic, yes this stuff does happen to *gasp* even thirteen year-olds, I've seen it with my own two eyes.
But the thing is, the thirteen year-olds who are doing this don't even represent half the population of young teens. Most young teens don't act like this, it's only a few groups.
So I just wanted to point that out to some people, and settle a compromise between the people who say 'it never happens' and the people who say 'this is completely normal for any young teen'. Anyway on to the movie.
The shooting is pretty much low-budget, but that's what you'd expect from an indie film. Not a problem, if you're a fan of indie movies you should be used to this. My only problem with the story was in the beginning, where she becomes friends with Evie. One day Evie and her friend insult her, and the next day all Tracy has to do is wear cool clothes and suddenly Evie lets her hang out with her? It didn't seem very realistic, like the beginning of Evie and Tracy's relationship didn't seem developed enough in the beginning. And another thing I thought was weird with the movie: the two girls were always hanging out with 'bad' guys and all these 'bad' guys just happened to be black. A little weird, isn't that kind of a negative sterotype? It was like they were at a 'ghetto' school yet there wasn't even any black females or white guys, it was all just black guys and white girls. I don't know that part didn't seem realistic, like the director wanted some ethnic diversity but she didn't show it in a very realistic manner.
Other than that, the movie wasn't too bad. If you enjoy the bad girl spiralling out-of-control movies like 'Girl, Interrupted' then this movie is for you.
Kcorn on January 29, 2004Terrifyingly real...
The litmus test for the realism in this one - watched it with a group of 12-18 year old girls and they all said it reflected the reality of being teenagers, with all the actual pressures and stresses of their high school and social lives. This is, quite simply, one of the most honest (and painful) movies about adolescence that I've ever seen..and it was written by a teenager who also stars in the movie...amazing!
At the start of the movie, Tracy (played by Evan Rachel Wood) is a good student with a not-so-great family life. Her mother is struggling to put food on the table and under a lot of pressure to hold family and home together.
So it makes sense that Tracy would be drawn to "the coolest girl in school", Evie, a wild rebel with a penchant for danger. Evie gladly takes Tracy under her wings, often pushing her into Tracy into situations she isn't prepared for (parents should be aware that some of the scenes are graphic, including sexuality and nudity).
It is impressive that this film is so utterly believable and the sensational and often shocking scenes make sense in the context of Tracy and Evie's lives. Adding to the strength of this film is Holly Hunter's strong performance as a mother who is desperate to save her daughter but isn't quite sharp enough to find the right path.
One of the best films of the year, bar none!
jennifer lang on January 9, 2004Thirteen as told by a thirteen year old
While reading other customer reviews, I was stunned by the tendency of cynical college types to dismiss this movie as "eager to be hip" and "exploitive garbage". If one has not been through an experience, rejecting it when it is displayed must be easy. However, for those of us like myself, who are thirteen years old, this movie was shockingly real. And who better to be the judge of that than a thirteen year old, rather than a pretentious college student, now too cool to believe in teen "angst" as they call it.
Tracy's (the remarkable Evan Rachel Wood) descent into the world of drugs, casual sex, and smiling lies is a descent I have seen far too often in real life. Some reviewers were suspicious of the quickness of her progression into this world. However, one must remember that these are middle schoolers, not twenty-somethings, and the overwhelming insecurity of most 13 year olds allows them to change their images daily.
Also, Tracy is not necessarily a "good girl" when the movie begins. She already smokes, and seems to feel stuck in her life both at school and at home. This is evident in scenes she shares with her friends, and a particular scene with her mother (Holly Hunter in an incredible performance), where despite her best efforts, Tracy cannot get the attention she needs from her mother, who is wrapped up in most aspects of her own life, especially romantically.
Thirteen is not for those who wish to shut their eyes to what is truly happening to our culture and society. However, I would recommend that every parent see Thirteen with their child to know the reality of the environment their child is growing up around. If you are a parent, do not believe for a moment that the experiences of Tracy are experiences that take place everywhere else. Whether you know it or not, this movie does indeed hit close to home.
A few more notes before I end this review. Evan Rachel Wood deserves an Oscar for her harrowing performance as Tracy, Holly Hunter is better than I have ever seen her, and Nikki Reed is inspiringly truthful in both her writing and her performance as a character she had not intended to play. Catherine Hardwicke, as the director, uses her own emotions and vibrant colors to convey the truths hidden behind the masks each character wears. The obsessive need of the two girls for each other, as a replacement for lack of love in other aspects of their lives, is perhaps the most honest part of this movie.
Whether you enjoy it or not, Thirteen is a movie that must be seen. More than a social commentary, Thirteen is almost a mirror of reality.
Freedomisanillusion from Tasmania, Australia, 8 May 2004
Proof that the oscars are rigged...
How did Holly Hunter not win that Oscar? Why weren't Evan Rachel Wood and Nikki Reed at least nominated, let alone winners?
I have seen many films in my time, and none have held such great performances as this, and few have spoken to the audience in such a powerful way.
Holly Hunter, who is always superb, outdid herself in the role of Mel, the caring mother who doesn't know when to put a tighter grip on her daughter, Tracy. Her performance is so touching, and so painful that you want to get inside her and show her what she needs to do.
Evan Rachel Wood is outstanding as Tracy, the young girl who so desperately wants to fit in, and will go to any lengths to get that. Wood is always good, but she too has outdone herself, and perfectly nailed the role of Tracy. Not once does she come across as a pretentious actress trying to act like a teen.
Nikki Reed, who was introduced by this film, delivers a performance that is worth the ticket fare alone. Evie is so manipulative, so seductive, and so real that you can't possibly blame Tracy for wanting to be like her.
Whoever it is who decides who gets the Oscars - wake up and realise that you need to award these to the performances, not the actors who wear the nicer dresses!
Thirteen is one of the more powerful pieces of cinema around. The camera probes right into the livers of our protagonists, denying anyone the joy if seeing this grim masterpiece from a safe distance. The soundtrack rocks along to the emotions of the characters. The performances create not only a good film, but a little disturbing slice of life.
Having seen Thirteen, I now understand why people label some films as important. this is certainly one of them.
Amazon.comTAXES AND TANGERINES
By The Movie Guy on August 16, 2015Format: Amazon Video
Trevor (Jon Briddell) takes the love torn Harrison (Jonathan Bennett) under his wing and teaches him about women. Harrison in return recruits more students as Trevor has created a cult where he teaches men how to control beautiful women by basically being an a-hole. Much of this low budget film is guys talking about what women want, lumping them all together as if they are the same and can all be treated the same. There are some flashbacks.
I found the discussions boring. Women might like watching this, thinking it is akin to a Cosmo article on what men are like, but I found it insulting as it too lumps men all together as simply animals that want to completely control women and use them as sex objects. BTW that naked girl on the cover is not in the film.
Guide: F-bomb, sex. No nudity. Some violence.The Battle of the Sexes ... With A Touch of Revenge
By Edward L Zimmerman TOP 1000 REVIEWER on April 6, 2015Format: DVD
The battle of the sexes has quite probably been around as long as – well – as long as we've had sexes. I've heard it said that the male mind will never effectively grasp what goes on inside the female of the species, and no doubt it's been challenged vice versa. Rather than seeking to understand it, what happens when we just want to make the best use of what's in there instead? That's part and parcel of what's lurking near the core of MISOGYNIST, a film that may challenge some viewers to sit until the finish … and if they do they just might be rewarded with something to talk about afterwards along with some pretty spiffy independent performances.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you're the type of reader who prefers a review entirely spoiler-free, then I'd encourage you to skip down to the last three paragraphs for my final assessment. If, however, you're accepting of a few modest hints at 'things to come,' then read on …)
From the product packaging: "Trevor is an extreme misogynist who campaigns underground seminars, teaching his ideology of women. Only through referrals and word of mouth, he provides bizarre, offensive, and outlandish strategies to young men, with the promise that they can control any woma. His best student is Harrison, a young man Trevor took under his wing when he was most vulnerable. Viewing Trevor as a father figure, Harrison will do what Trevor instructs him to do. Soon Harrison starts to realize that he is just a pawn in Trevor's plot …"
I'm stopping there because methinks the last bit on the box spoils too much of the finish, though I've no doubt others may see this conclusion coming, especially if they're watching closely. I did, but I have to say that that didn't happen by enjoyment of MISOGYNIST, a slightly uneven film that vacillates between an effective performance piece for gifted actors (all around) and perhaps the sickest revenge flick one might stumble upon.
At the center of the conversation that dominates the first half of the picture are Trevor (Jon Briddell) and Harrison (Jonathan Bennett), two men who upon first meeting would appear to be polar opposites. But when the real action of the film begins (three years later), we find out that they've become curious soulmates – two peas in the same pod – and they're destined to make Trevor's philosophy for mastering the attentions of any women into a successful underground business. (How do they make money on this is never clear, but it ultimately isn't all that important to the story being told.)
And just to clarify for those still reading: there is at least one woman around throughout the lion's share of philosophizing (Cheryl, played by the comely Alia Raelynn). As a character, the dynamic is such that she's meant to reinforce Trevor's world view, and she does this in both the more public and private moments of this story.
Now, all that said, I can certainly understand how some might object to the subject matter explored in a film titled MISOGYNIST. Let's agree that this isn't the kind of feature that's going to be for everyone; Trevor's particular take is rude, offensive, and decidedly misogynistic (hence the effective name) … but there's more to the story here than just offending others. And – for the record – yes, we've all known men who've been able to treat one woman after another the way he does while receivable favorable results. Such is the battle of the sexes I cited at the opening: it's a never-ending battle, and no doubt it'll continue to defy understanding until our sun grows cold.
However, in MISOGYNIST's second half, the story takes a turn, chancing a somewhat predictable reveal that tries to modestly redefine who Trevor is and why he behaves the way he does. As much as I appreciated the twist, it's also easily to dismiss it as the film's most cinematic conceit – the kind of thing that always happens in movies.
Still, kudos to writer/director Michael Matteo Rossi for making what could go down as the worst date movie ever but doing so in a way that makes it worth talking about. That's no easy feat.
MISOGYNIST (2013) is produced by Four Legged Pictures, Italian Cowboy Productions, and Ryan Ricketts Productions. DVD distribution is being handled by the reliable Midnight Releasing. As for the technical specifications, this is one smartly shot indie feature, so audiences can expect some high quality sights and sounds to accompany it. Lastly, if you're looking for special features, then you do have some short behind-the-scenes bits along with an audio commentary to look forward to.
RECOMMENDED. At times, MISOGYNIST felt more than a bit incomplete to me: what started out as a pretty dynamic performance piece morphed into a macabre revenge flick in the latter half, and I'm not entirely sure both halves gelled the way they should've. Still, when it worked it worked, and the film boasted smart scenes, interesting dynamics, and a kind of water cooler appeal rarely seen in most indie fare these days. Well worth the 76 minutes, my friends, though not without some discomfort, I'm sure.
In the interests of fairness, I'm pleased to disclose that the fine folks at Midnight Releasing provided me with a complimentary DVD copy of MISOGYNIST by request for the expressed purposes of completing this review; and their contribution to me in no way, shape, or form influenced my opinion of it.
A look at recent research into the brains and behavior of psychopaths and the prospects for treatment or containment of this antisocial group. Psychopaths who have been convicted of appalling crimes explain with disturbing clarity what motivated them. 48 minutes.
Nonfiction Only, January 13, 2016
Interesting and informative, however...
The danger of this film is that people watching who have not studied psychopathology will look at the descriptive words drifting across the screen and remember that glibness, manipulative, remorseless, conning, lying, and charismatic are traits of a psychopath and may look at loved ones, friends, coworkers and others in a different, and perhaps wrong, light. Hare's psychopathology scale is the industry standard but it consists of 40 items that must be a cohesive group of traits within an individual. Not all 40 of the marker traits were shown. The other danger is that many of the traits shown and discussed, such as an abnormal amygdala, flat affect, lack of emotion, and disconnected are also traits of those with Post Traumatic Stress Disorder, Complex Post Traumatic Stress Disorder, and other disorders.I gave it a 4 star rating because it was informative regarding research and the results of experimental treatments.
Victoria J. Dennison, January 11, 2016
This is a very good documentary which attempts to explore the mindset of a psychopath. I was surprised at the amount of psychopath's in the U.S. and England. I didn't think the dysfunction of Psychopathy affected so much of the population. I too believe a person can be born as a psychopath and that it is basically a wiring problem with the brain. Bio-psychology with an emphasis on Neuro-Science does hold the key to remedy many brain dysfunctions such as alcoholism and other mental health issues including psychopathy.
As a person who has a lot of empathy, I can understand the therapists dilemma in trying to work with psychopaths within the prison system and the inevitable failure of behavioral modification. I always view another person as having the same feelings and needs as I do.
Unfortunately, as far as a psychopath is concerned I am far better off seeing them as an alien life form who does not possess the same emotions that puts the word human in term human being.
It was interesting that one psychopath who was being interviewed (in prison) mentions that a person learns from birth and develops a conscience. At which point he mentions "a baby learns not to touch a stove when it is hot". In my opinion touching a hot stove and learning not to burn yourself does not involve the conscience at all. Could it be since he never experienced the pangs of "conscience" and that basically; he doesn't know what it is?
Caton March 15, 2016
Insightful, educational and scary...
The statistics noted in this documentary, if accurate, are really frightening. Apparently, unlike zombies, psychopaths are quite common and do walk among us. The information is put forth in an entertaining yet sober fashion, with interviews with actual psychopaths and numerous members of the forensic psychological expert community. I wish it was a lengthier documentary or had additional parts to it because it was so interesting that I wanted to learn more about the topic.
George Edmondson, March 3, 2016
Interesting study of this disease.
Interesting study of this disease. It also sheds a bright light on why politics are (as opposed to appear to be) crazy.
Karen Roberton November 19, 2015
PSYCHOPATHS RUN THE WORLD.
Great film, when we discover the precise way to identify and diagnose true psychopaths,...society will be stunned to know just how many police, politicians, inter-governmental parasites, and assorted corporate CEO scum that there are sabotaging societies in every country; but whom will have the courage and fortitude to identify and eject these maladjusted maggots to the heavily fortified mental institutions where they belong.
Amazon.comFanli Yang, on December 15, 2015>A film in layers that surprises you at every step of stripping lies to finally reveal the heartbreaking, thought-provoking truth
What is the meaning of "temptation" in "Lead Us Not into Temptation"?
At first glance, and while watching the first part of the film, from the husband (Tristan)'s perspective, it appears really obvious: it is what you think it is, temptation of "the flesh". A young girl tempts a married man of integrity into betraying the spouse he truly loves, by posing as a helpless damsel in distress. By strategically and subtly revealing the charms of her lively character, devotion to domestic life, and beautiful young body, the girl leads the son of a pastor step by step into sin and remorse, and his family into disaster... The second part, from the girl (Anna)'s perspective seems to confirm this, and reveals her ulterior motive to be monetary gain, and every step was deliberately carried out. She seems nothing but a shameless swindler who uses the basest means to plot against a generous man and his strong yet vulnerable wife...
This is all very cliche; but the film does not stop at here. Watch on, to see the story from the wife (Rachel)'s perspective. All your understanding will be overthrown within minutes, and nothing, absolutely nothing, is really as it seems. In store for you are incredibly strong emotional power and a heartbreaking tragedy in which it seems impossible to find the one to blame. Everyone would be the culprit, and everyone the victim...
Recommended if you love films that are more than skin-deep. You also need to watch it to the end, in one sitting if possible, to really watch it.
Gary Oldman gives a blistering performance as Bex Bissell, a middle-class family man who also leads a violent gang of soccer hooligans. Philip Davis co-stars in this scorching drama that critics have called a modern-day A CLOCKWORK ORANGE.
badbunnies on February 15, 2014
I am a HUGE Gary Oldman fan. I have seen him play murderers and terrorists but this was his most disturbing role ever. His character was so normal/abnormal. The kind of guy you wouldn't blink at on the street yet he's so angry when it comes to soccer.
How many of you has seen the movie "The Last Seduction"? Bridget Gregory/Wendy Kroy, who is played by Linda Fiorenting has got to be the the top of the list of unremorseful females. I have watched this movie a few times, though the plot seams abit nonrealistic, her character is so using. Another movie that comes to mind is "Body Heat".=== Quote:
Originally Posted by agent_007
- How many of you has seen the movie "The Last Seduction"? Bridget Gregory/Wendy Kroy, who is played by Linda Fiorenting has got to be the the top of the list of unremorseful females. I have watched this movie a few times, though the plot seams a bit nonrealistic, her character is so using. Another movie that comes to mind is "Body Heat".
- Natalie Portman as the 12-year-old would-be killer in The Professional.
- The Brewster sisters...Abby and Martha Brewster from Arsenic and Old Lace are my favorites. I don't think they're as psycho as their nephew Johnathan, but I think gleefully helping lonely old men to their grave might be considered unremorseful...and a wee bit off kilter.
- Also...Audrey Tautou as Angélique in He Loves Me...He Loves Me Not.
I never would have thought such a sweet face could be so evil.
This category is commonly known as femme fatale.
- Barbara Stanwyck in Double Indemnity (The Last Seduction is based on this film)
- Ann Savage in Detour
- Ava Gardner in The Killers
- Jane Greer in Out of the Past
- Rita Hayworth in The Lady from Shanghai
- Gaby Rodgers in Kiss Me Deadly
- Susan Hayward in I Want to Live!
- Simone Simon in Cat People
- Jennifer Tilly in Bound
- Anjelica Huston and Annette Bening in The Grifters
- Christina Ricci in The Opposite of Sex
- Janie Marčse in La Chienne
- Louise Brooks in Pandora's Box
- Mieko Harada in Ran
- Isuzu Yamada in Throne of Blood
Jane Greer as Kathy Moffat - Out of the Past
This chick is deadly, and then some. She brings down just about everyone she comes in contact with in this film, playing the victim almost the entire time. At one point, she poses as another character in the film (appropriately named Meta), whom we never see again afterward. It's as if Moffat actually absorbs her.
One of my favorite films of all time.
Charlize Theron in Monster. She totally embodied the essence of Beetlejuice/serial killer.
Rebecca De Mornay was better than The Hand that rocks the Cradle.
I'll second Linda Fiorentino's femme fatale in The Last Seduction. She's such an epic bitch.
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