Villains get a bad beat. Yeah, they are “bad”, but a good villain is one of the sneaky traits to every incredible movie. A protagonist can only be as good as the antagonist they are bouncing off of. Tom Brady can’t throw the ball and catch it himself. With the Terminator franchise coming out with another cinematic experience this weekend, we are looking back on the best villains that were too good to stay completely bad.
The MCU is the biggest Superhero franchise of all time, with 21 films under its belt currently. Seeing as how successful it was, it made sense that Sony would want to try to see what they could offer by making a live action solo Venom film. Tom Hardy plays as journalist Eddie Brock who after he gets attached to a symbiotic being from outer space (Venom), must team up to take down Riot before he can bring all members of their species to earth to have it invaded. Ever since this movie released, it’s consensus from fans and critics seemed to be mixed. I can watch this and see why it’s percentage is Rotten on Rotten Tomatoes, but I also love so much about this movie at the same time. I think Hardy is what makes this movie work, he’s fully committed to this role and if I haven’t convinced you, I only have two words to say “Restaurant Scene”. Also the supporting cast, while not amazing, isn’t awful. Michelle Williams is Eddie’s love interest, and Riz Ahmed is the villain, who isn’t amazing, but does just enough for what he’s given to do. I feel that the people who enjoy 90s superhero flicks, should feel right at home with this option. (Alex Henderson)
And what happened, then? Well, in Whoville they say – that the Grinch’s small heart grew three sizes that day. I really love Christmas. Just as much as I love Christmas, I love Christmas movies: It’s A Wonderful Life, Die Hard, Holiday Inn, Christmas Vacation, Christmas Story, etc… but the 1966’s How the Grinch Stole Christmas is an all-timer for me. It’s formulaic at this point, but at a crisp 26 minutes, this is a movie that I’ve seen probably 50 times, not including other iterations (I’ve seen the Jim Carrey one about 5 times and refuse to see the 2018 one). I think the thing that makes Christmas stories best are related entirely upon the themes. While I think Die Hard is a perfect movie, I don’t think it illustrates the themes anywhere near as much as It’s a Wonderful Life or this movie does. And even then, It’s A Wonderful Life is quite a bit too long. The Ron Howard version of this story suffers from too much politics in Whoville and Star Wars Prequel-itis. I don’t need to understand why the Grinch is the way that he is; all I need to know is who he is in his heart (or lack thereof). The Grinch is a monster at the beginning of this story, but by the end of it, he is overwhelmed by the selflessness and love this community has for one another and it changes this monster to be a hero. I think the movie that 2019 needs most is this one, made up of awareness, selflessness, and love. (Aaron Schweitzer)
In 2010, writer-director Gareth Edwards made his feature-film directorial debut with the thrilling, low-budget sci-fi movie, Monsters, where he enticed audiences with glimpses of the creatures before bringing them to the forefront at the end, relying on the story, atmosphere, and the relationship between the two main characters in order to draw us into the story. His success with this film brought him the opportunity to helm 2014’s Godzilla, which followed the iconic creature as he rose from the depths of the sea to protect the world from two MUTOs (Massive Unidentified Terrestrial Organism). Although the story and characters (save for Bryan Cranston) weren’t as interesting as what was seen in Edwards’ debut feature, the minimalist approach that he used for Monsters worked just as well here. It’s not until the final third that we’re given a majority of the monster action, so a lot of what we see before then are brief, tantalizing appearances from Godzilla and the MUTOs. By the time we arrive at their final showdown, we see that the wait was worth it, especially for that one close up where Godzilla releases his thunderous roar at the camera at the start of the fight. With this film, Edwards shows an impressive transition from indie to blockbuster filmmaking, being in full command of the visuals and scale of the story. After the terrible Godzilla movie that we got from Roland Emmerich in 1998, the famous movie monster needed a redoing that would live up to the legendary status that it first achieved back in the ‘50s, and as you watch this movie, you’ll see why Edwards was the director who could accomplish this task. Godzilla shows his teeth once again, and it’s glorious. (Vincent Abbatecola)
Ok, so I LOVE Harry Potter. At my work, I’m known as the Harry Potter stan. I’ve seen all the movies multiple times, read the books countless times more, and never tire of upping the number of merch I own. Therefore, it’s no surprise that when asked to write my opinion on who I believe to be one of the best villains turned heroes I picked Snape. He is enigmatic, foreboding and iconic throughout due to his one-line clinchers and powerful presence. You never know when he’ll show up to ruin the adventures of Harry and his friends, or when he will do something that makes us question who he is. This is only complimented by Alan Rickman’s absolutely brilliant performance as the man himself. He is exactly who Snape is described to be, adding a bit more panache to really make his every moment memorable. Therefore, it’s no surprise that he has one of the most unforgettable moments in the entire eight movie span, when his true allegiance is revealed to Harry (and the audience), originating from his love of Lily Potter. His story, laid out in the Deathly Hallows Part 2is one of the most emotional moments we experience, ending with one of the most iconic lines in Harry Potter. He’s tortured, misunderstood, and most of all crucial to the endgame. So, when people wonder if his story is still one that is needed to be experienced, my answer is ‘always.’ (Alice-Ginevra Micheli)
After restoring faith back into the X-Men Franchise with Matthew Vaughn’s First Class, Fox brought back Bryan Singer to helm the next entry. He would help bridge the gap in the franchise as well as retcon the issues of Last Stand with X-Men: Days of Future Past. Many believe that this is the best entry of the series of films and there is plenty of evidence to back this. With an all-star cast of Hollywood’s brightest and a great story to tell, Days of Future Past delivers on all fronts. Everyone delivers a great performance in this entry, even Jennifer Lawrence who would later resent the role and would phone in performances in further entries. The film gives Mystique a lot to do and she has a pivotal role in the events that will shape the future for Mutant and mankind alike. She is just doing her very best to protect her people, not realizing the possible consequences to her actions. Hugh Jackman steals the show however and he really ties things together in the story. It is nice to see him having to restrain and the reasoning behind having to take a more diplomatic approach is very interesting. Logan interacting with younger versions of his colleagues is fun and you can’t wait to see what situation he will step into next. Besides Logan, X-Men: Days of Future Past is my personal favorites of the X-Men Films. It is a film that is fun to revisit and accomplishes what it sets out to do in splendid fashion. (Joseph Vargas)
I’ll admit, on my first viewing of Looper I wasn’t a huge fan. I had walked into the film with an expectation of thinking the older version of Joe—played by Bruce Willis—would be the guy I was “cheering” for and wasn’t prepared for the very complex film that was unfolding before my eyes. It wasn’t until my second viewing that I realized just how brilliant Looper was. Looper is one of the smartest and most well made science fiction films of the past 20 years. Rian Johnson creates a fresh spin on the time travel trope and delivers a story filled with exquisite detail and exceptional performances. Looper is very original; it defies any/all tropes of the genre and challenges audiences members by going against expectations. Looper also pulls off having Joseph Gordon-Levitt play a younger version of Bruce Willis; something that on paper sounds absolutely ridiculous, but in practicality works due to the great performances. Again, Rian Johnson just showing why he’s one of today’s best directors and writers by delivering a very deep and surprisingly intimate science-fiction film. (Ben Davis)
If you have ever had a Tumblr, you have probably been obsessed with Loki (aka Tom Hiddleston). And who could blame you? Up to this point, Loki was always infinitely more interesting than his brother Thor. But who could save the mighty Thor and take his franchise back for him? A small and quirky Polynesian man from New Zealand, that’s who! Before he played imaginary Hitler, Taika Waititi took on Thor Ragnarock and Ragna-rocked our collective world (you are welcome for that one). With new life, Thor became cool and hilarious and (almost) my favorite Avenger. But what would Loki do not? He was no longer specifically the favorite brother. Making a well-timed and permanent “face” turn did the trick. Loki was now a part of the Revengers with Thor, Valkyrie, Hulk, and Korg (the real MVP). He was the right hand man of the new king of Asgard flying through space. And honestly, that feels like the right place for the God of Mischief. But guess what? Alternate reality Loki will be keeping it real (and nefarious) on his on Disney + show. But at least we finally got full blown hero Loki for a short time. We will also always have “get help”! (Shane Conto)
There’s a child murderer on the loose and the police can’t catch him. As panic and desperation sets in, so does martial law. The criminal underworld is being squeezed. This disrupts their business until they reach their breaking point. The crime lords call a meeting and decide to organize a manhunt, using the town’s beggars to watch over the children. As the murder, Beckert, realizes that he being tracked down, a frenzy of anxiety rushes over him. This is shown masterfully by Peter Lorre. The criminals do not have a change of heart that makes them re-direct their lives to a path of good. No, they know the only way they can obtain their needs is by acting as investigators in this moment. (Dexter Hansen)
What was more terrifying in the early 1980’s then a cybernetic organism looking like Arnold chasing after you to kill you? I cannot think of much. What could have been more shocking once the 1990’s rolled around that this same Terminator would be our friend? The T-800 comes back for one of the greatest sequels and sci-fi movies ever made (fight me!) but not as his murderous self from the first film but as an ally in the war against the machines. What else could have changed so much during that time? Well Sarah Connor gets ripped as hell and becomes a killing machine herself. The T-1000 is brought back and can turn into liquid metal (especially because Cameron had the technology now). But even the characters struggled to comprehend this “face” turn for the big bad Terminator. Just look at Sarah’s face when she sees the specter of Arnold over her? She is terrified! As she should be because he is relentless. But at least that relentless nature is for good in T2 Judgment Day! (Shane Conto)
Throughout Nicolas Winding Refn’s Drive there is the motif of The Scorpion and The Frog, specifically in reference to the classic Russian fable. “You know the story about the scorpion and the frog? Your friend Nino didn’t make it across the river.” Our titular Driver even dons a scorpion on his iconic jacket. Drive may not be a traditional tale of a villain turned hero, but it is a relentless and ultraviolet story of redemption, one man’s climb out of a deep, dark hole he dug himself into. The fable of The Scorpion and The Frog ties flawlessly into this theme; a story of a good-natured creature who just wants to survive, being dragged into the life of the true enemy, and eventually, they both suffer for it. Drive has enough neon and synth to power another blade runner, yet it isn’t afraid to take its time in unraveling it’s characters descent into the criminal underworld. In fact, its unusual pacing for such a film if this genre is of its many great assets, immersing the audience in this dreamy synthwave realm the Driver inhabits. Drive is difficult to watch at times, but it is never one you can look away from; perhaps it is the otherworldly cinematography, pulsating score, or pensive Ryan Gosling performance (one of his best). But by the time the credits roll on Drive, you’ll want to take another ride through the Los Angeles of Refn’s twisted dreams. (Devan Myer)
Also See:
Return of the Jedi, Jurassic Park, King Kong, Ratatouille, The Hudsucker Proxy, The Muppets Christmas Carol, Ocean’s Thirteen, The Devil Wears Prada, The Last Samurai, Ice Age, Mastermind, Hobbs and Shaw