The 100 Most Underappreciated Films: Part Four
By Darren Williams
20th August 2009

31. Better Off Dead (1985; Savage Steve Holland)

As much as I hate to speak ill of the dead, John Hughes's films were not the greatest teen comedies of the 80s. Most of the time the characters were far too unsympathetic to support (Am I really the only one who wanted Jeffrey Jones to kick Ferris Bueller's whining little arse?) The films that really were the greatest teen comedies of the 80s had an edge to them that Hughes's never approached (Fast Times at Ridgemont High, hell, even Porky's) and quite a lot of the true greats starred John Cusack, the unsung God of 80s teen cinema. His two mid-80s collaborations with Savage Steve Holland (this and One Crazy Summer) saw Cusack at his peak, charming enough to make him a believable romantic lead, geeky enough to not make you want to punch him. Here he plays Lane Meyer, a teenager who becomes suicidal because his girlfriend dumps him. He vows to win a ski-contest against the guy she dumped him for, but first he has to contend with his oddball family, his growing attraction to his foreign exchange student neighb ur, and a persistent paperboy who wants his two dollars.

32. A Chinese Odyssey (1994; Jeffrey Lau)

Shaolin Soccer saw Stephen Chow make his breakthrough with a Western audience, but anyone who followed Asian cinema through the 90s would already have been aware of his comedic genius. A Chinese Odyssey parts 1 & 2 are possibly his finest achievements. While some of the plot can seem bewildering if you're unfamiliar with Chinese mythology. The Monkey King, as part of a punishment by his master, is reincarnated as Joker (Chow), the leader of a group of bandits. They find themselves in battle with various demons who are looking to achieve immortality, can Joker, with the aid of a mysterious time-travel device, save the day? While A Chinese Odyssey may not be the kind of comedy that newer Chow fans will be used to, it's still a hilarious movie, with Chow's first attempts to use the time travel delight providing a deja-vu inducing highlight. There's also the joy of seeing Chow with his old sparring partner Ng Man Tat, throughout most of the 90s they were one of the best comedy double-acts in cinema and it's a shame that they don't work in films together anymore. A fantastic comedy and a historical epic that wipes the floor with the likes of Hero.

33. Dillinger (1973; John Milius)

In the wake of Michael Mann's underwhelming Public Enemies, it's time to revisit John Milius's take on the gangster legend. Economic where Mann's film was bloated, Dillinger. As much as I like both Depp and Bale, Milius gave us Warren Oates as Dillinger and Ben Johnson as Purvis, two men far more natural and believable in their roles. You could see these two men living through those times, something you never really feel with Depp or Bale. Watching this film in hindsight is a sad thing, Oates seems like he could have been the new Bogart, and Milius directs with such fire that if you saw this in 73 you would surely have expected big things from him, instead of his descent into right-wing lunacy. While to some it may seem as if Milius is playing up the mythology too much, he also injects a healthy dose of black comedy into his film that undercuts such claims.

34. The Living Dead at the Manchester Morgue (1974; Jorge Grau)

The Living Dead... is one of the most brilliant and offbeat zombie films of the 70s. When you remember that the 70s also gave us Dawn of the Dead, Zombie Flesh Eaters and the Blind Dead films, you'll know what a bold claim that is. This is a true multi-national production, funded by Italians, a Spanish director and shot in England. George is on his way to visit friends when he gets in an accident and his motorbike is destroyed. Edna, the other driver in the accident, offers George a lift, only to find themselves in a situation where agricultural machinery is bringing the dead back to life. Don't stop reading, it's not as odd as it sounds. Ok, it is, but it's damn entertaining. Naturally the local police, led by a small-minded bigot, don't believe the dead are rising from the grave, and they think that George and Edna are responsible for the deaths. This is a film that seems constantly about to collapse into Monty Python style parody, but instead Grau manages to give us a film that isn't just actually frightning, but that deserves its place in the canon of great horror movies.

35. Malpertuis (1971; Harry Kumel)

A dying man leaves his fortune to several heirs, but there's a catch, none of them are allowed to leave the house of Malpertuis. We follow Jan, an abducted sailor, as he attempts to make sense of the crumbling mansion of Malpertuis, and of the sudden deaths of many of the heirs. Despite it sounding like another film that owes a deep debt to The Cat and the Canary, the film is far more twisted than that wonderful (if critically neglected) subgenre of old dark house film. Malpertuis is a disorientating and frustrating film, often feeling more like someone's written down a dream and then filmed what they can remember than a film with an actual narrative. To tell too much of the plot of Malpertuis would be to spoil it, watch this fascinating gothic puzzle knowing as little as you can about it and you'll find it an even more rewarding experience.

36. Portrait of Jason (1967; Shirley Clarke)

Shirley Clarke's fascinating documentary is basically an interview with Jason Holliday, a black gay male prostitute in 60s America. Jason provides us with a colourful account of his own life, revealing a sly sense of humour and tendancy to self-mythologise. Jason desperately wants to entertain, which makes you wonder the authenticity of some of what he tells you, but not most. Jason is an enthralling subject for a documentary, but the ferocious intensity of the film can leave you feeling like you've been placed in an impossible moral position. Clarke seems desperate to expose Jason, to tear down his self-mocking defences to reveal the true man, and it can lead to uncomfortable moments, but at the same time you find yourself wanting to hear more and more of Jason's anecdotes and wondering what the real man is beneath that facade.

37. The Ref (1994; Ted Demme)

This bitter and cynical little Christmas comedy deserves a place in everyone's Winter viewing schedule. Denis Leary plays Gus, a career criminal whose latest job, a robbery of a wealthy suburban house, goes horribly wrong. Forced to go on the run, he kidnaps an unhappy couple (Kevin Spacey and Judy Davis) unaware that not only are they expecting guests for dinner, but that they hate each other and can't go two seconds without spitting venom at each other. While it may sound like typical comedy fare, the film is lifted to another level by a script with genuine heart and intellect, and three strong performances from Leary, Davis and Spacey. Spacey's browbeaten husband is similar to his later Oscar-winning turn in American Beauty, and once again you can see the influence of Spacey's mentor, the great Jack Lemmon, flowing through his performance.

38. Shakes the Clown (1991; Bob Goldthwait)

Once described as "The Citizen Kane of alcoholic clown movies", stand-up comedian's Bobcat Goldthwait's directorial debut takes place in an underworld populated by clowns. There are clown bars, rival clown gangs, and most of them despise their profession. If you only know Goldthwait from his turn as Zed in the Police Academy films, instead of his rather brilliant stand-up, this film will come as something of a surprise. Shakes hates kids, hates his job, and is an alcoholic. He's also at war with Binky (Played by Spongebob himself, Tom Kenney) an evil clown who frames Shakes for murder. The plot isn't really very important, what is important is how Bobcat immerses us in this odd little world and how everyone (even a pre-fame Adam Sandler) takes the idea very seriously. Shakes the Clown is a warped film from a warped mind, but beneath the oddity lies a brilliant comedy.

39. Sir Henry at Rawlinson End (1980; Steve Roberts)

Chances are that if you approach this film knowing nothing about Vivian Stanshall or the bizarre world of Rawlinson End you're going to just be completely lost. Stanshall started the tales of Rawlinson End on the John Peel show, reading monologues about this upper class family, led by the grotesque Sir Henry over a period of a decade or so. He then released a couple of albums of new material. They were the work of a brilliant mind, displaying a love of language that would influence a generation of comedians including Ade Edmondson, Paul Merton and Stephen Fry. When making the film, the role of Sir Henry was taken by Trevor Howard. A shocking piece of casting that works wonders as Howard does the finest work of his career, immersing himself in the role of the eccentric British aristocrat who keeps men as POWs on his vast estate. The plot of the film has Henry haunted by the ghost of his brother Hubert, who can't be laid to rest until he finds his trousers. You'll either find yourself entranced by this comedic gem or completely baffled.

40. They Might Be Giants (1971; Anthony Harvey)

George C. Scott is Sherlock Holmes, at least he's a man who thinks he's Holmes. Scott's brother wants to have him committed so he can gain access to his money. A clinic agrees to assess his sanity, assigned to the case is Dr. Mildred Watson (Joanne Woodward) Scott becomes convinced she's the Watson and that she's there to chronicle more of his stories. Scott believes that Moriarty is blackmailing his brother and he becomes determined to bring him to justice. Initially Watson goes with him to explore his mental breakdown, but she soon finds herself caught up in the fun of case. The success of the film lies in the performances of Scott and Woodward and the chemistry they display together on screen. They may be the least typical Holmes & Watson pairing in cinema, but they're one of the most entertaining.