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Top 10 Movie Antiheroes

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With the passing of each week, the more I enjoy concocting these top 10s, and this week’s entry is no different. As you may have guessed from the title or header image, this top 10 will feature, in my opinion, the best antiheroes in cinema history. As always, if you feel I’ve overlooked a contestant or listed one that shouldn’t have been considered, leave all comments and questions below. I’m always looking to improve the segment and love interacting with fellow film lovers.

Every now and then there comes along a protagonist who might go off the deep end. You know, beat someone half-to-death, take pleasure in humanities destruction, or have the occasional soul erased from the face of the earth. Now, however they chose to go about there business is irrelevant. We, as cinephiles love these colourful characters for their more shady characteristics and the nonchalant way they handle things that would send normal people into spiralling depression.

Let’s do it!

Honourable Mentions: 

Severus Snape (Harry Potter series, Alan Rickman), Oh-dae Su (Oldboy, Min-sik Choi), Marv (Sin City, Mickey Rourke), Lisbeth Salander (The Girl With the Dragon Tattoo, Rooney Mara), Patrick Bateman (American Psycho, Christian Bale), Daniel Plainview (There Will Be Blood, Daniel Day Lews), Kim Soo-hyeon (Byung-hun Lee, I Saw the Devil).

10: Jules Winnfield (Pulp Fiction, Samuel L. Jackson)

Jules is someone who really radiates anti-heroism. Almost like a gun-slinger with a bible in one hand and a gun in the other.

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9: Charles Bronson (Bronson, Tom Hardy)

Talk about taking pleasure in abhorrent behaviour. All Bronson wanted was to fight for the sake of fighting and to become Britain’s most violent prisoner.

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8: The Driver (Drive, Ryan Gosling)

Torn between his only skill-set and doing right by his friends. The Driver may lull you in with his heartwarming nature, but make no mistake, he is ruthless and unforgiving.

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7: Tyler Durden (Fight Club, Brad Pitt)

Driven by a desire to disrupt the world and destroy his opinion of oppression. Tyler may be trying to help out his bud, but he accomplishes it in true antihero fashion.

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6: Alex (A Clockwork Orange, Malcolm McDowell)

Alex simply wants to see others suffer, whether it be through violence, mental degradation, or dominance.

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5: Leon (Leon: The Professional, Jean Reno)

An assassin with a heart of gold.

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4: Tony Montana (Scarface, Al Pacino)

Willing to do whatever is necessary to become his own interpretation of king. Tony Montana is as cold-blooded as they come.

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3: Travis Bickle (Taxi Driver, Robert De Niro)

One can’t help but feel for Travis, attempting to free the unfortunate girl sucked into prostitution. However, his sociopathic mentality, obsessions with firearms, and desire to murder is too repulsive to overlook.

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2: Henry Hill (Goodfellas, Ray Liotta)

From the beginning, we are led to believe that Hill and his fellow thugs are normal, everyday hard-working guys. However, the truth is much more sinister and ferocious.

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1: Michael Corleone (The Godfather, Al Pacino)

Although we’ve been given a veritable gaze into the Corleone family and begin to care for them. There is no denying that this mafia family will do whatever it takes to remain atop, especially Michael.

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Okay all, that’ll do it for this week’s edition of the top 10, hope you all enjoyed it. Have a great weekend!

The Good, The Bad, The Weird (2008)

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Parting ways with convention while still managing to do right by its muse. The Good, The Bad, The Weird is uproariously funny, sufficiently violent, and thunderously acted. Using several intricate, grand settings, outlandish shoot-outs, and the dexterity of each individuals mastery to get the viewers adrenaline pumping. The Good, The Bad, The Weird feels like a much needed overdose of satisfaction. Amongst the whimsical dialogue, cringe-worthy killing, and exhilarating action. The Good, The Bad, The Weird has an ideal balance of never taking itself too seriously and no shortage of pulse-pounding sequences. Directed by Jee-woon Kim who takes a break from horror to create a truly original western-thriller. The Good, The Bad, The Weird is everything you want it to be and so much more.

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In 1930s Manchuria, Tae-goo (Song), a thief, has just executed his daring train robbery and stumbles upon an elaborate map. Chang-yi (Lee), a bandit, has been previously hired to obtain the same map using any means necessary. Do-won (Woo-sung Jung), a bounty hunter, arrives on the scene to collect Chang-yi’s bounty. As Tae-goo and Do-won get caught up in Chang-yi’s train derailment, the possession of the map is lost in the chaos. When Chang-yi and Do-won get caught up in a gun-battle, Tae-goo makes an escape with the map. Upon discovering the map is a set of directions to lost treasure, the three men escalate their pursuits.

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Even though it owes a lot to an outlandishly fun script and tremendous direction. The Good, The Bad, The Weird would be utterly lost without its three funny, sincere, malicious leads. Starring Woo-sung Jung as The Good, Byung-hun Lee as The Bad, and Kang-ho Song as The Weird. There is no doubt that this ensemble inherits each of the three title traits. Although making The Bad also the coolest is quite stereotypical. Byung-hun Lee has his character calm and collected and down to an art, both in his appearance and personality. Typically, the killer with a conscious just so happens to be The Good. However, when Woo-sung Jung delivers his chilling monologue while gazing towards the stars, all is forgiven. Finally, what would The Weird be without the necessary hilarity and apparent clumsiness. The diverse Kang-ho Song does a superb job providing the comic relief and manages to pull together another staggering performance.

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With such a blatant disregard for their own lives, let alone safety. The cops, criminals, and cowboys bring back a time when cinema was appealingly over-the-top. Discombobulating the viewer with daring bullet exchanges, dusty stand-offs, and a deadly train robbery. Jee-woon Kim does a superlative job in both writing and directing The Good, The Bad, The Weird. His absolutely exceptional camerawork and witty, intelligent dialogue is highly addictive and hypnotic…The adding of a second ending to the international release gives any viewer not completely appeased with the original finale a more ambiguous, appropriate ending. Having a choice is a terrific advantage. To say that The Good, The Bad, The Weird’s transcendent cast, direction, and screenplay is a deadly combination would be putting it lightly.

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Heart-pounding, intelligent, and hilarious. The Good, The Bad, The Weird is a sublime nod to classic westerns.

The Good, The Bad, The Weird: 8.5 out of 10.