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Let's rev up our movie-going fantasies and our drinking buddies
From James Bond sipping his signature cocktails to Frank the Tank putting down a beer bong in record time, we’ve come to appreciate just about every type of boozy movie moment there is.
We love cocktails and films. The only thing that’s better is a movie character who likes to drink.
From James Bond sipping his signature cocktails to Frank the Tank putting down a beer bong in record time, we’ve come to appreciate just about every type of boozy movie moment there is. (Perhaps the Academy should consider a new Oscar category...)
So we’ve put together a list of the top 10 male movie characters we’d like to have a drink — or a night out — with. Who would you add to our list?
James Bond, Casino Royale, Quantum of Solace, and Skyfall
This is a no-brainer, right? There’s no way we could pass up a couple martinis with history’s most debonair secret agent. Whether he’s ordering a classic Vesper while playing a life-or-death game of poker in Casino Royale or taking shots of tequila with a scorpion on his hand in Skyfall, there are undoubtedly a few things Daniel Craig’s Bond could teach us about the art of drinking.
Click here to find the rest of the celebrity drinking wish list.
This story was originally published at 10 Famous Movie Characters You'd Like to Drink With. For more stories like this join Liquor.com and drink better. Plus, for a limited time get How to Cocktail in 2013, a cocktail recipe book — free! Join now.
The Top 12 British Comedies of All Time – Best Britcoms With Clips!
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Editor’s Note: The following is an excellent guest post from writer Garry Berman – author of the fantastic book Best of the Britcoms, an excellent guide to history’s best British sitcoms. Thanks Garry!
Just over ten years ago, my book Best of the Britcoms was first published, celebrating fifty of the finest British sitcoms to cross the Atlantic and grace our American airwaves. It was a labor of love, and I had the pleasure on interviewing many of the writers, actors, directors, and producers of Britain’s most accomplished sitcoms. The revised and updated edition of Best of the Britcoms has just been published, with seven new chapters featuring programs that have aired in the U.S. since 2000. And yet, Anglotopia has asked me to choose just ten of my all-time favorites. Despite the honor, I must acknowledge my inability to limit the list to ten, and offer my list of Ten (Plus Two) All-Time Favorite Britcoms.
A shamelessly silly, fast-paced, and hilarious farce set in German-occupied France during World War II. Cowardly cafe owner Rene Artois finds himself caught up in a myriad of elaborate but harebrained schemes concocted by the French Resistance, as they try foil the Germans’ war operations. Gorden Kaye as Rene leads a large cast of 18 eccentric characters through this sprawling mix of cleverly absurd dialogue and uproarious slapstick. The sheer comic inventiveness of this show can be breathtaking.
2. The Brittas Empire
Set in a suburban leisure centre (i.e. a health club/recreation facility), this series may not be well-known in the U.S., but in its day it was referred to as the Fawlty Towers of the 90s in the U.K. This compliment was not only warranted, but I consider Brittas the better of the two series. Chris Barrie stars as Gordon Brittas, the hands-on but disaster prone manager of the centre, who unwittingly drives his staff and clientele to near rebellion with his well-meaning but interfering ways. But the employees have their own foibles, too. A typical episode will have several unrelated predicaments converge for a climactic moment, which often involves an explosion or two.
A comic masterpiece, courtesy of Ricky Gervais and Stephen Merchant. This follow-up to their breakout series The Office features their signature comedy-of-the-awkward-pause, but in a fresh context. Gervais plays struggling actor Andy Millman, who works as an extra while waiting for his big break. This comes when he sells his sitcom pilot to the BBC, but his creative vision is tampered with to such a degree that he finds himself conflicted between seeking fame and fortune, and his own personal integrity. Ashley Jensen is brilliant as Andy’s platonic pal Maggie, and Merchant is a scream as his incompetent agent. Lots of A-list guest stars play warped versions of themselves as well.
4. Yes, Minister/Yes, Prime Minister
The inner workings and double-dealings that go on within the British government may not sound like the best fodder for a sitcom. But writers Anthony Jay and Jonathan Lynn combine their superb skills to give us a genuinely funny series that pokes fun at bureaucracy at its most outlandish. Paul Eddington stars as Jim Hacker, the Minister for Administrative Affairs, who finds his efforts to curb government waste perpetually foiled by Private Secretary Humphrey Appleby (Nigel Hawthorne). Humphrey revels in creating bureaucratic red tape and, when need be, easily confounds Hacker with barrages of dizzying double talk. The dialogue demands that viewers pay attention, but the laughs come at a steady clip. When Hacker becomes Prime Minister, the series smoothly turns its satire to world affairs.
5. Good Neighbors (The Good Life in the U.K.)
A conventional but utterly charming and endearing domestic sitcom from the mid-1970s. Tom Good (Richard Briers) has dropped out of the rat race to pursue a life of self-sufficiency. His adorable wife Barbara (Felicity Kendal) supports him through thick and thin, as they work to grow vegetables and raise livestock in their backyard. But their next door neighbors, Jerry and Margo Ledbetter (Tom’s former colleague and his snobbish wife), often find their patience strained by the Good’s unconventional and somewhat hygienically-challenged lifestyle. Their close friendship survives many tests.
6. The Vicar of Dibley
Dawn French stars in this virtually perfect sitcom as a lady vicar, who turns the quiet village of Dibley upside down with her zest for life, bawdy sense of humor, and genuine affection for its inhabitants. But she finds herself constantly butting heads with David Horton, the stuffy chairman of the motley town council. Dawn French demonstrates a talent that her former comedy partner Jennifer Saunders seems to lack, i.e. playing a true-to-life, very human character, as opposed to an over-the-top caricature. French is superb, as are her cast mates. Created and co-written by the prolific Richard Curtis (The Blackadder, Four Weddings and a Funeral, Love Actually).
7. Are You Being Served?
A staple among PBS affiliates for years, this show treats us to the dilemmas, schemes, and endless double-entendres exchanged among the sales staff of Grace Brothers department store. Each episode is rather thin on plot, preferring instead to concentrate on the colorful characters as they deal with customers as well as each other. Their wonderfully easy chemistry shines through in every episode. John Inman as Mr. Humphries is often singled out, but my favorite has always been Trevor Bannister as the fast-talking, wisecracking Mr. Lucas.
8. Father Ted
A daringly irreverent sitcom by American standards (it was literally banned in Boston). A trio of Irish priests– Father Ted Crilly (Dermot Morgan), his imbecilic younger colleague, Father Dougal McGuire, and the elder, perpetually inebriated Father Jack Hackett. They have a knack for indulging in various schemes that can be somewhat less than holy, and tend to result in the priests inadvertently humiliating themselves in public. The series boasts surreal black-out gags, ludicrous dialogue, and an anything-goes comic sensibility treats many sacred institutions as fair game. But the comedy here is too absurd to be taken seriously, if you know what I mean.
9. The Fall and Rise of Reginald Perrin
The great Leonard Rossiter’s most memorable role, as a harried dessert company executive on the verge of a nervous breakdown. His lightning fast delivery and jittery mannerisms perfectly convey a man becoming unraveled by life’s pressures. After faking his own death and traveling in disguise for a while, he returns home to embark on a series of bizarre new business ventures. A true classic.
10. One Foot in the Grave
The winner of a dozen television awards, this deceptively simple sitcom actually boasts several innovations in both its storytelling and production. Curmudgeonly Victor Meldrew (Richard Wilson), forced into early retirement, must find ways to keep himself occupied each day. But as he and his long-suffering wife Margaret try to lead a quiet life (that is, when Victor isn’t at war with neighbors, store clerks, and the rest of the world), they find themselves regularly entangled in the most macabre of comic situations and misunderstandings. David Renwick’s intricately plotted scripts–which often allow the characters to react to plot twists before we viewers are made privy to them–are ingenious, to say the least.
11. Red Dwarf
This wildly imaginative cult favorite successfully blends the best of comedy and science fiction as no program has done before or since, on either side of the Atlantic. The series takes place 3 million years in the future, aboard the huge spaceship Red Dwarf. The ship is manned only by David Lister, his cat in human form (long story), Holly, the ship’s computer, Kryten, a mechanoid, and, in hologram form, the late Arnold Rimmer, who had inadvertently killed the entire crew, including himself, many moons ago (Lester’s erstwhile girlfriend Kristine Kochanski joins the show as a regular in its later series). The comedy can be silly, sometimes crude, but always fabulous, as the gang wander through the galaxy meeting new life forms, traveling through time dimensions, and playing juvenile pranks on each other.
Drunk Mess: 9 Great Alcoholic Movie Characters
Every group of friends has a drunk, and every family has an alcoholic. Here at Cinema Blend, we have several. That&rsquos what happens when a company isn&rsquot encumbered by corporate rules of conduct. From the occasional on the job scotch to nine or ten beers at the Christmas party, we make the most of the open bar policy, but even the most hardened boozehounds amongst us were floored by Paul Kemp&rsquos binging in The Rum Diary. How the hell does anyone drink 161 miniatures? With an aggressive zeal for inebriation and a determined fortitude to lumber forward.
His ground and pound strategy might be a vicious fuck you to his own liver, but it&rsquos also impressive in a go-hard-or-go-home Betty Ford kind of way. It&rsquos inspired some of us to start asking for doubles. More importantly, it&rsquos inspired more of us to argue endlessly over Google Chat and Facebook messages about why certain cinematic drunks are better than others. In the end, we couldn&rsquot come to a consensus so, we decided to give everyone a chance to defend his or her favorite.
Some of the members on this liquidy list are mean drunks, others are just occasionally douchey. Whether running toward the party or away from their screwed up pasts, all of them throw back the sauce often and with relish. Here are Cinema Blend&rsquos 9 favorite movie alcoholics&hellip
Doc From Tombstone
It&rsquos hard not to have undying appreciation for a character that can get stone drunk and still have no problem taking all your money in poker, killing you with the fastest pistols in the west and whisper a perfect one-liner as you die. Such is the case of Doc Holliday, as played by Val Kilmer in the modern western classic Tombstone. Unlike a lot of characters on this list, Doc is also one of the few drunks in cinema history that seems to drink with purpose, as he is slowly dying from tuberculosis. Even better is the fact that he isn&rsquot the kind of drunk that uses alcoholism to shirk his responsibilities and is, in fact, a deeply loyal friend. Despite his disease and predilection for boozing, he makes sure that he beats Wyatt Earp to the showdown with Ringo and kills him with a single quick shot to the head. Doc Holliday shows all of the classic signs of a drunk: he&rsquos reckless, sweaty, speaks out of turn and slurs his speech. But there isn&rsquot another character on this list that you&rsquod want more as a close ally. What I&rsquom trying to say is that he&rsquos your huckleberry.
Arthur From Arthur
Dudley Moore&rsquos portrayal of Arthur Bach in the 1981 comedy Arthur is that of a lovable drunk, as opposed to a destructive alcoholic. The heir to a fortune, Arthur is rich, single and enjoying life in New York City. He&rsquos introduced to us as a man who has no reason to be sober. He&rsquos chauffeured around in a fancy car, and looked after by a devoted butler, while his family pays the bills, affording him all of the booze, prostitutes and fancy living he requires. Strangely, he remains likable, despite all of that. Chalk it up to different times, but beyond how it affects his behavior, Arthur&rsquos alcoholism isn&rsquot really addressed as a serious issue. Drinking is just one more indulgence for him as he jokes around and lives a relatively carefree existence. But, when faced with the choice of love or money, he chooses love, preferring to be with someone who makes him happy over being rich with someone who doesn&rsquot, which shows that beneath his playful, occasionally inebriated and in some ways childish exterior, he is a man with character.
Martha From Who&rsquos Afraid Of Virginia Woolf?
Elizabeth Taylor was one of the most beautiful and famous women in the world when she agreed to play Martha, the vicious, sexually aggressive and yes, drunken, wife of George in Who's Afraid of Virginia Woolf? The fact that George is played by her equally famous real-life husband Richard Burton only adds to the intrigue as the two spend the evening scrapping at and destroying each other, all witnessed by the horrified young couple Nick and Honey. The movie is a master class of acting and crackles with the vicious dialogue that only Edward Albee could write, but Taylor's Martha is the malevolent center of it all, spilling out vitriol and endless monologues with the practiced skill of a woman who has spent years berating her husband, and an actress who has spent her life on the screen. Martha isn't exactly the kind of character you can imagine showing up at your next dinner party, but she's not far off either, the kind of woman who's the life of the party until she suddenly, violently turns ugly. Even when she's completely falling apart and sinking into her endlessly refilled cocktail, you can't take your eyes off her.
Miles From Sideways
No one ever said you had to pound back cheap beer or even the most expensive hard liquor to be a raging alcoholic. If they did, they haven't met Sideways' Miles Raymond, a man whose love for wine frequently tips over from connoisseur to large consumer. Miles, played perfectly by Paul Giamatti, is kind of a loser. Well, he's kind of a big loser. He can't get his novel published so he begrudgingly teaches English. He can't get over his ex-wife even though she's moved on to a new man. And he can't even throw his best friend a bachelor party in the Napa Valley without stealing a few dollars from mom's sock drawer on the way. It's fair to say that Miles drinks too much to drown out his rejection and failure, but since those occur to him so frequently, it makes for quite a lot of consumption. This culminates in a scene where a vineyard server refuses to top off his glass so instead Miles grabs the spit bucket and dumps the entire concoction of varied wines and saliva into his gaping mouth, down his lapping lips and, well, all over him. A sad sight for such a smart, if pretentious, man. but he still won't drink any fucking Merlot!
Alan From My Favorite Year
Hollywood has given us countless variations on the drunk, W.C. Fields and Dudley Moore were social. John Belushi was sloppy. Nic Cage was belligerent and downright destructive. But Peter O&rsquoToole managed to be all of the above while playing fading matinee idol Alan Swann in Richard Benjamin&rsquos My Favorite Year. Ostensibly, it&rsquos the story of a young comedy writer (Mark Linn-Baker) trying to keep his hero on a wobbly pedestal of admiration. But the film quickly becomes a showcase for O&rsquoToole&rsquos loopy, drunken charms. For Swann, alcohol is the solution to (and cause of) life&rsquos problems &hellip though the liquid courage allows him to get away with some spectacular one-liners from Dennis Palumbo and Norman Steinberg&rsquos script. When told the restroom he has entered is for women, O&rsquoToole responds, &ldquoSo is *this*, ma'am, but every now and then I have to run a little water through it.&rdquo Hollywood legend says O&rsquoToole&rsquos character was based on Errol Flynn. Like Cage, O&rsquoToole was nominated for the Academy Award for his drunken antics, proving that one way to stand tall while walking the red carpet at Hollywood&rsquos prestigious awards show is to play a fall-down drunk on screen.
Miss Hannigan From Annie
Carol Burnett&rsquos rendition of Miss Hannigan in the 1982 version of Annie is an exaggeration of a woman who, in her heart, has simple desires. She would like a man to nibble on her ear, she would love nothing more than to stomp on little girls&rsquo freckles, and she would give up all the bathtub gin in the world if prohibition were to end. In the meantime, she is content to concoct noxious liquor in a crusty, crumbling tub and wear lingerie as day-drunk loungewear. It could have all continued this way indefinitely but that dratted orphan Annie and that stand-up, yummy Daddy Warbucks came into play. But the real catalyst eventually leading to Miss Hannigan&rsquos downfall is her brother, Rooster, who schemes to scam Warbucks for a bit of cash. Suddenly Miss Hannigan sees farther ahead than the next interlude with the laundry man. She can&rsquot trip her way through physical comedy routines and drink her way through romantic radio programs. She needs to function enough to see through her brother&rsquos scam. In John Huston&rsquos film, Carol Burnett ends a changed woman. Yet, the moment she dials it down, it&rsquos over for Miss Hannigan. A truly good drunken character only works when she is good and drunk.
Jimmy From A League Of Their Own
The only thing Jimmy Dugan hit harder than a baseball was the bottle. The drinking caused the one-time star to wreck his knees falling out of a hotel window. from a fire he started. Hell, they're so bad he can't even fight in WWII. With all the able-bodied men going overseas, the US does something unthinkable - they let girls play baseball. In an equally desperate move, the league enlists former slugger, future hall of famer and present fall-down drunk Dugan to coach. In the role, Tom Hanks delivers one of my favorite performances. At first, he just shows up pissed, taking long pisses and then sitting in the corner scratching his balls. Sorry, smiling, waving his little hat around and signing balls for children ("avoid the clap, Jimmy Dugan") but when it comes to the games, well, he's not a ball coach because he doesn't have ball players, he's got girls. Of course, he slowly gets into the games and weans off the sauce, both largely thanks to Geena Davis' Dottie. I always loved the moment on the bus when she convinces him to put down the flask and pick up a bottle of coke. It almost brings a tear to my eye but as we all know, there's no crying in baseball.
Willie From Bad Santa
With the amount of boozing that Willie from Bad Santa does, you&rsquod think that he would eventually learn how to control himself, but that just isn&rsquot his way. Instead, Willie&rsquos style is to drink until he&rsquos either ready to pass out or wet himself. While most confidence men partaking in a long con are portrayed as slick fast-talkers, what makes Billy Bob Thornton&rsquos character so brilliant is that he&rsquos the antithesis of that, yet manages to succeed despite himself. He can curse at children, talk to store managers about his &ldquofuck stick&rdquo and illegally live in a stranger&rsquos house, yet somehow everything seems to always go his way &ndash and that&rsquos what makes it funny. In any other circumstance Willie would be seen as a tragic figure. He seems to have at least some desire to quit his drunken ways, he has people in his life that actually care about him and he is actually fairly skilled, but he can&rsquot help stepping on his own feet. What makes it work is that Willie destroys every inkling of sympathy you can muster for him by constantly acting like a belligerent asshole. He&rsquos a character that you absolutely love to hate and when he wins out at the end it only makes it that much better.
Ben From Leaving Las Vegas
With all due respect to everyone else on this mess of a list, they&rsquore fucking amateurs compared to Ben Sanderson, a trainwreck with the stated goal of killing himself via alcohol. By the time we meet him, he&rsquos already chosen liquor over his family, friends and career. By the time he leaves us, he&rsquoll have chosen liquor over a woman who loves him unconditionally, food and life itself. Along the way, you think maybe, just maybe, he&rsquoll find something better than chugging straight from the bottle, but his priorities hierarchy is already etched in stone. If he was offered a chance to start over, to once again be the social drunk, life of the party screenwriter with admirers and a doting wife, it&rsquos highly debatable whether he&rsquod even take it. That, my friends, is an alcoholic.
30 Funniest Movie Characters of All Time
It's one thing to make someone laugh, it's something else altogether to make someone laugh—and then laugh and laugh—for years. With a surefire combination of sharp writing and stellar acting, a few funny movie characters have secured spots in that vaunted pantheon. You know: The fictional folks you quote time and time again, no matter the circumstance. ("This building has to be at least…. three times bigger than this!") What follows is a rogues gallery of the funniest movie characters, from mercenaries and models to nannies and newscasters, who have tickled our funny bones the most over the years. And for more on the echelons of Hollywood characters, don't miss the 30 Funniest Sitcom Characters of All Time.
He may not know left from right, but Derek Zoolander is more than just really, really, ridiculously good looking: He's really, really, ridiculously funny, too—even though he surely isn't aware of it. Between gasoline fights and "eugoogalies," he manages to bungle basic multiplication, fall in love with a (much smarter) journalist, and take down an insidious fashion maven. And he does it all while showing off an impressive portfolio of signature modeling poses. One look? We don't think so. And if you're looking for some jokes to tell yourself, here are the 75 Jokes That Are So Bad They're Actually Funny.
In the early aughts, a wealthy, chipper, blonde 20-something with a purse-confined chihuahua took the world by storm. No, we're not talking about Paris Hilton we're talking about Elle Woods, the Hollywood-based fashionista who got into Harvard Law with history's least lawyerly video essay of all time. And if she's inspired you to pursue your own studies, you're probably ready for the 40 Facts You Learned in the 20th Century That Are Totally Bogus Today.
Indeed, Leslie Nielsen made a name for himself in the 1960s and '70s as a dramatic actor. But once Airplane hit the silver screen, in 1980, Nielsen's stock changed overnight. Thanks to a career-defining role as Rumack, a straight-laced doctor who unwittingly misinterprets every line spoken to him ("Surely you can't be serious." Rumack: "I am serious. And don't call me Shirley."), Hollywood bigwigs wizened up to the man's innate comedic talent. All told, over the course of his career, Nielsen picked up nearly 250 acting credits. And for more hilarity, don't miss the 30 Funniest Sitcom Jokes of All Time.
Mel Brooks' western spoof Blazing Saddles was such a smash success—three Academy Awards nominations, number 6 on AFI's "100 Years of Laughs," and a box office return of nearly 50 times the budget—thanks to one man: Cleavon Little, who brought an irrepressible, irresistible charisma to his performance as Sheriff Bart. And for more hilarity, don't miss the 40 Facts So Funny They're Hard to Believe.
The Austin Powers series is loaded with magical Mike Myers roles—including, of course, a turn as the titular character—but none compare to megalomaniacal dimwit Dr. Evil, who didn't spend six years in Evil Medical School just to be called "mister." So, pumped for the doctor's fourth outing? That'll be one million dollars. And for more small-scale funnies, try watching any of the 30 Funniest Sitcoms of All Time.
Ghost is, by many measures, a strange film. (Recall the pottery scene?) But the shining star is Oda Mae Brown, who injects essential levity into a film that seriously needs it. In fact, Whoopi Goldberg's performance in the role was so great that she picked up a best supporting actress Oscar for it. And for more seriously weird cinema, try watching any of the 30 Worst Movie Endings of All Time.
20th Century Fox
Near the start of the very R-rated Deadpool, Wade Wilson is incinerated to the point of permanent disfigurement, impaled, and left for dead. Still, throughout the rest of the film, whether he's turning a bad guy into a kebab or kicking back with his blind, geriatric roommate, practically every line out of Wilson's mouth is a quip or a one-liner. For more out of the Merc with a Mouth, watch any of the (far tamer) Most Underrated Ryan Reynolds Movies.
Generally, comedy is a verbal art, more about wordplay and tonal delivery than anything else. But in some instances, good comedy is purely a physical act. Jackie Chan's turn as Chon Wang, in Shanghai Noon and Shanghai Knights, is full of such physical comedy—an almost minute-by-minute sidesplitting display of martial arts, wherein Wong utilizes his environment to beat the pulp out of adversaries in increasingly hilarious ways. And for more pure silliness, don't miss the 50 Puns So Bad They're Actually Funny.
Even when Regina George gets hit by a bus (hey, Mean Girls has been out for 14 years, which means the shelf-life for spoiler complaints has since expired), it's funny. On one part, it's because she only ends up with seriously minor injuries. But it's also thanks to Rachel McAdams' masterful turn as a vicious, pampered, cliquey jerk of a high schooler. And for more fun facts, here are the 20 Celebrities Who Look Like Their Pets.
Throughout his illustrious career, Eddie Murphy has left viewers double over time and again. (Trading Places, anyone?) But one of the man's more enduring rib-tickling roles is as the family-friendly Donkey, who consistently—and hilariously—aggravates his pal Shrek in movie after movie.
Meryl Streep may have stolen the screen with her fierce portrayal of Miranda Priestly in The Devil Wears Prada, but the film's innate humor is best found in Emily Charlton, Priestly's senior assistant. As anyone who's worked in fashion or luxury publishing can attest, lines like "I'm one stomach flu away from my goal weight" and a dead-serious "I can't get sick, I'm wearing Valentino, for crying out loud" effortlessly toe the line between too-real and too-funny. And if you're dying for a laugh right now, Here's the Hilarious Video of David Harbour Dancing with Penguins in Antarctica.
Back in the '90s, Chris Tucker, with his zany antics and one-of-a-kind voice (no man on the planet has a comparable tonal range), cemented his status as a national treasure. And while he burned up screens in The Fifth Element and Rush Hour, his best character to date is Smokey, which allowed Tucker to show off a laid-back yet totally high-strung humor unseen by audiences at that point.
The extremely vulgar Walter at one point forces a duplicitous millionaire out of a wheelchair. Normally, this would be an unconscionable act. But John Goodman portrays the character with aplomb, and the result is a darkly comedic character for the ages.
Fact: Melissa McCarthy is a national treasure. And though she's had many memorable roles over the past decade (Bridesmaids, Identity Thief, Spy), her turn as liquor-swilling, insult-spewing, rule-breaking Boston detective Shannon Mullins takes the cake.
He can drink bottomless amount of Scotch. He can shower, shave, and suit up at the drop of a hat. And he can read a teleprompter like nobody else. Yes, Ron Burgundy may be a bitingly satirical iteration of the '70s-era manly man newscaster, but he's also a multidimensional character (who loves his dog, Baxter, to death) with a suite of talents.
Of all Robin Williams' unforgettable characters, Mrs. Doubtfire may be the most celebrated after his death, in 2014, the San Francisco house that served for exterior shots in Mrs. Doubtfire became a de facto memorial for the dearly departed actor.
Roughly a year after World War II kicked off, Charlie Chaplin unleashed his magnum opus: A scathing satire about a power-hungry dictator hellbent on exterminating the Jews via concentration camps. Chaplin plays the dictator—and a Jewish barber who impersonates said dictator and, through a passionately delivered speech about freedom, saves the day.
It's a question as old as time (or, um, 1994): Who's Dumb and who's Dumber? We posit that Lloyd Christmas, Jim Carrey's character, the guy who willingly trades a perfectly functional van for a moped, is Dumber. And also, obviously, one of the funniest movie characters of all time.
There's a sweeter, chicer, hipper, funnier wealthy blonde high school senior in Beverly Hills than Cher Horowitz? As if!
"I am your father's brother's nephew's cousin's former roommate." Rick Moranis' Lord Dark Helmet is simultaneously a mockery and celebration of another powerful, dark helmet–clad man: Darth Vader. Just look at where Dark Helmet chokes people. (It's not the throat.)
Synopsis: An FBI agent has to go undercover as a Miss America contestant to thwart a terrorist plot against the pageant. Even with a merely competent actress in the lead role, a plot like that was sure to be a smash. With Sandra Bullock, however, Gracie Hart became a household name, even nabbing a Golden Globe nomination for Bullock.
Owen Wilson inarguably has some comic chops. (Indeed, he costars alongside many of the hilarious actors we've mentioned.) But his turn as Eli Cash, with all the zippy one-liners and fringe-tinged getups, takes the cake for sheer winking subtlety.
We all cheered when Blutarsky smashed the guitar.
Here's one for your next round of trivia: In addition to blowing it out of the water with an equal parts sidesplitting and heart-wrenching performance, Kristen Wiig also cowrote the screenplay for Bridesmaids.
We all know Mary Shelley's Frankenstein. But what would it be like to be that guy's grandson? And what would happen if he inherited everything—the spooky mansion, the otherworldly experiments—overnight? If you're Gene Wilder, you'd shun the pedigree and insist that the surname is, actually, "Fronkensteen."
Yes, on its face, Wedding Crashers is nothing more than a comedy vehicle for Wilson and Vince Vaughan. But the true screen-stealer is Isla Fisher, who portrays a seemingly innocent, naive "stage five clinger" (Vaughan's words), before pulling off a slow reveal that she's no demure after all.
As the snobby villain in this golf comedy, Ted Knight had the best lines and the most memorable performance in this timeless classic. Yes, that's in a movie that also stars Chevy Chase, Bill Murray, and Rodney Dangerfield.
"I know who I am. I'm the dude playing the dude disguised as another dude." Robert Downey Jr.'s makeup, while inflammatory and controversial at first glance, served as a biting commentary on the Hollywood machine, and the degree to which actors will go to win golden trophies. In the film, Kirk Lazarus isn't done up in makeup it's a "pigmentation alteration" procedure. Method actors of the world, you've been one-upped.
Hilarious haikus, inventing the so-called "Skux life," unwittingly mispronouncing certain syllables in "caucasian," a fervent devotion to both the Terminator and Tupac—Ricky Baker is just funny enough to charmingly counteract the weirdness in Hunt for the Wilderpeople. There's a good chance you may not have yet seen this film. Remedy that—immediately.
When it comes to Bill Murray's best and funniest movie characters, you may think of roles in Caddyshack, Groundhog Day, or any Wes Anderson film. But we posit that his Zombieland cameo, in all its brevity, is his strongest, if only for how convincible it is: Bill Murray dressing up like a zombie to stay hidden from zombies is astonishingly in character with a bunch of his other hilarious, IRL hijinks.
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Animals Names Beginning with "D"
There are many animals, both real and imaginary, that have names beginning with the letter "D." Animals are always a fun choice, and there are many ways that you can make it work. You can go over-the-top and wear a full-body jumpsuit and mascot head, or wear your own plain-coloured clothes with a face bob or mask. Pair a face bob with a grey top and trousers, and you&aposve become an ass! Oops, meant to say donkey (wink).
Here are some animals that have names beginning with the letter "D."
This looks right except her pants are pulled up too high.
Kate started her Instagram account in June 2019 and now it boasts over 214k followers. The fashion expert said that she still can&rsquot believe she has so many fans.
Kate told us that she has a pretty big closet: "A huge one I customized to my needs from Ikea, the PAX wardrobes. I have a lot of clothes so I don&rsquot necessarily need new pieces to make character-inspired outfits. When I need a certain specific piece for a look I usually pick something from Dollskill or one of the brands that sponsors me. I don&rsquot spend money on clothes anymore. I get them all through collabs."
We wanted to find out if the fashionista had any advice for women on how to dress this summer. "Well, let&rsquos hope the quarantine will be over by summer. My advice? Dress however you&rsquod like, not how others tell you to dress. In this world, being unique is admirable and there are always gonna be people who like your style and relate with it. Fashion and dressing up is a kind of art. Hence, all artists have a different style."
The Concept: Jack-o'-Santa : Tim Burton’s new movie for Disney isn’t exactly a steal-Christmas-kind-of-thing. It’s more like a borrow-it-and-give-it-a-weird-twist-kind-of-thing
“Tim Burton’s Nightmare Before Christmas” is different from the Walt Disney Studios’ previous animated movies in just about every way. Where they were cute, “Nightmare” owes its arty pizazz more to German Expressionism than to Mickey Mouse. Where they dazzled the eye with color, “Nightmare’s” subdued palette showcases texture and depth. Where they featured Broadway-style show tunes, “Nightmare” has a musical score that’s more “Three Penny Opera” than “Zip-a-Dee Doo-Dah.” Where their humor was ingenuous and their protagonists warm and cuddly, “Nightmare” has an off-center, adult wit and some truly grotesque creations.
The film’s most important difference is the animation itself. “Nightmare” is not a cartoon. Instead of drawings, its characters are three-dimensional articulated figures that move and emote like live actors, thanks to a process called stop-motion animation. Stop-motion is best known from commercials--think Speedy Alka Seltzer or the Pillsbury Doughboy and you’ve got the idea.
But the level of stop-motion animation in the 72-minute “Nightmare” has never been attempted before. Only George Pal, a stop-motion pioneer who produced a series of shorts called “Puppetoons” for Paramount in the late ‘40s, came close in terms of innovation. Pal’s technique of substituting different faces and limbs on characters in each frame of film to give them more streamlined movement has been borrowed and expanded upon by the “Nightmare” crew.
Burton, the creator and producer of the movie, talked about it early one morning on the set of his latest picture, “The Ed Wood Story.”
What possessed the studio to take such a leap of faith on “Nightmare Before Christmas”? The answer slouches--rumpled, yawning, trying to wake up--on a couch in the director’s trailer. With his unruly mop of black hair, wrinkled clothes and long striped Pippi Longstocking socks, Burton looks like an overgrown illustration from a children’s book. Who better to lead Disney into a different style of animation?
In fact, “Nightmare Before Christmas” began at the studio more than 10 years ago, long before Burton became the director of such box-office bonanzas as “Beetlejuice,” “Batman,” “Edward Scissorhands” and “Batman Returns.” At that time, he was still toiling as an apprentice in Disney’s animation department and had just made his first film, a six-minute short about a 7-year-old who reads Edgar Allen Poe and wants to be Vincent Price. “Vincent,” one of Burton’s most personal films, used stop-motion animation, and it inspired the filmmaker to write and design a more ambitious story.
For Burton, who had been a lonely child growing up in Burbank, holidays were a time of wonder and escape. “Anytime there was Christmas or Halloween, you’d go to Thrifty’s and buy stuff and it was great,” he recalls. “It gave you some sort of texture all of a sudden that wasn’t there before.”
With his favorite children’s TV special, “Rudolph, the Red-Nosed Reindeer” (also made with crude stop-motion techniques), and other holiday literature in mind, Burton wrote and drew illustrations for his own rhyming television classic. Stimulated by Clement Clarke Moore’s traditional holiday poem, he added a twist: this time, “Twas the night mare before Christmas. . . .”
Although as a movie it has been embellished--it is now a musical, with a lush score by Danny Elfman, the Oingo Boingo musician who has created music for Burton’s five previous films, and a script by Carolyn Thompson, who wrote “Edward Scissorhands"--the basic story is still much the same as Burton’s original tale.
In a world where all the holidays have their own kingdoms, the elegantly tall king of Halloween Jack Skellington is a tormented artist who is bored with putting on the same old holiday each year. One day, Jack stumbles into Christmastown and is captivated by the bright colors and happiness of the place. He rushes back to tell the ghoulish citizens of Halloweentown that they will produce Christmas this year. They’re excited by the idea but a little unclear on the concept, and of course they get it all wrong. Pandemonium ensues after Santa Claus is kidnaped and little children all over the world wake up to find nasty presents, gleefully created by the Halloweenies, under their Christmas trees.
Elfman voiced all the parts as he wrote the music, and in the process, became so fond of Jack Skellington that he remains his singing voice in the film. (Actor Chris Sarandon does Jack’s speaking voice.) Catherine O’Hara, who had worked with Burton on “Beetlejuice,” did the voice of Sally, Jack’s rag-doll girlfriend. William Hickey (“Prizzi’s Honor”) was cast as the voice of Sally’s creator, a mad scientist. Two other voices, a two-faced mayor and a naughty trick-or-treater, were supplied by past Burton collaborators Glenn Shadix (“Beetlejuice”) and Paul Reubens (better known as Pee-wee Herman).
“I find the mix of Halloween and Christmas beautiful, and I just liked the idea where it’s like a reversed ‘Grinch’ character. Where Jack’s not a bad character,” Burton says, referring to another influence, Dr. Seuss’ “The Grinch Who Stole Christmas.” “I like that kind of character that’s passionate but doesn’t know what he’s doing. I think it’s a reaction against the kind of society you grow up with, where people don’t feel a lot or go out on a limb a lot and just kind of remain in the shadows and judge others. What’s nice about these characters is they just get swept up into something, even if they don’t know what they’re doing.
“This was written right around the time I did ‘Vincent,’ and I thought it would be nice to do it stop-motion. . . . I think at the time I was trying to do anything. Maybe get Vincent Price to narrate it, maybe like a 20-minute film. I went around to the networks and pitched it as a half-hour special--Home Shopping Network, anything. I just wanted to make it.”
But the project didn’t get off the ground until about three years ago, when Burton quietly made some inquiries about the story and found out that Disney owned it. Alerted to what it had, the studio jumped at the chance to produce it. But there were lingering doubts on Burton’s part. There was the question of his other commitments--among other things, he was working on “Batman Returns,” which didn’t allow him the three years needed to direct a stop-motion feature. And he worried that Disney wouldn’t give the film the creative freedom Burton demanded.
The dilemma was solved by Henry Selick, an animator and former colleague of Burton at Disney, who signed on as the film’s director. Like Burton, Selick had been something of an outsider at Disney and had left in the early ‘80s to pursue his own projects in San Francisco. While Burton became famous in Hollywood, Selick navigated the byways of the Bay Area’s special-effects community, directing “Doughboy” commercials, some animated MTV channel-ID spots and contributions to the channel’s “Liquid TV,” among them an award-winning stop-motion short called “Slow Bob in the Lower Dimensions.” Selick and Burton were reunited through their mutual friend Rick Heinrichs, “Nightmare’s” visual consultant, who had sculpted Burton’s first designs for the film.
In essence, Selick created a complete highly specialized studio in San Francisco for the movie. The city was chosen for production, he says, because “I was here and a lot of the animators come from here. George Lucas had Industrial Light & Magic, and a lot of stop-motion professionals were up here because of that--like Tom St. Amand, who makes the little metal armatures, the ‘bones’ for all the characters. You can’t underestimate the skill that guy has. It makes our characters move fluidly and able to hold fantastic poses.
“The other side of it was that it was important to me to stay away from Los Angeles,” Selick said. “I think that if Disney and even Tim had too much access to us, they would have gotten too nervous and gummed up the works.”
Over the past three years, Skellington Productions, situated in a 40,000-square-foot former studio space, has been a kind of parallel universe for the 120 employees who have spent most of their waking hours putting Burton’s vision on film. Its otherworldly air begins with the sidewalk outside, where the late Herve Villechaize’s handprints are embedded, for some reason, in the sidewalk.
The mostly youthful crew of men and women within the cavernous space--animators, puppet and prop-makers, set builders, art directors, camera operators, lighting designers, editors--all have one thing in common: a ghostly pallor induced by too many hours indoors. And unlike most movie sets, this one is unsettlingly quiet. It is dark around the actual stages (there are 20 of them, each like a miniature version of a typical Hollywood sound stage) with long black curtains enclosing each set.
Stop-motion is a time-consuming process that requires the animators to move their characters (usually called puppets) one frame of film at a time. It takes several days to do what might be a couple of seconds on film. Fourteen of the top stop-motion animators in the world, working simultaneously on all of the sets, manage to complete about 70 seconds of film a week.
With his phosphorescent skin, black clothing and rats-nest hair dyed candy-apple red, Paul Barry is a fairly typical “Nightmare” crew member in both looks and talent. A stop-motion animator who was nominated for an Academy Award this year for his own short film, “Sandman,” Barry is animating a scene in which Jack tries to explain Christmas to Halloweentown. “The film’s definitely been cast in terms of each animator has a particular character they work with,” he says. “There’s some major acting involved in my scene--singing, dancing, jumping around--trying to make Christmas sound so exciting.”
Even a short scene can take a week to do because the animators start from scratch, with only the character’s prerecorded voice and the storyboard drawings. “It might be a really simple shot where Jack picks up a square present with a bow on top and he says, ‘This is a thing called a present, it all comes wrapped up in a box . . .’ and it’s five seconds long,” Barry explains. “But there are so many ways you can pick a present up. Do you do it with both hands, or one hand and then describe it with the other? The cameraman will be involved as to what kind of shot it’s going to be, whether it’s a close-up or a wide shot. Do we tilt down on him when he bends over? All these things happen during the shot.”
Once the animator has figured out his puppet’s performance, he auditions it for Selick, who directs both the action and the cinematography much as he would on a live-action film. The sequence is then shot in trial runs at several frames a second, and “loops” are made of the film so that the bit can be viewed over and over and the bugs worked out before the final shot is done in one take.
On another Halloweentown set, animator Justin Kohn is preparing a scene in which a vampire is about to make a point by pulling one of his eyes out of his head. (The scene was the most popular in the movie among a class of fifth graders who saw the storyboards.) As Kohn and cameraman David Hanks work, it’s almost impossible to see anything actually happen.
In order to do this kind of animation, Kohn explains, “you have to be able to just touch the puppet and move it a small amount you can’t even see--that a gauge wouldn’t even see.”
A 10-foot-tall metal apparatus called a motion-control device surrounds the cameras on most of the sets. Although the technology was popularized by “Star Wars,” it is being used in new ways for this film, in combination with computers that allow technicians to lock in camera movements in advance. So instead of the static fixed cameras of traditional stop-motion pieces where the puppets did all the moving, “Nightmare’s” cameras soar.
A stop-motion wizard who made his own “King Kong” at the age of 10, director of photography Pete Kozachik invented and made much of the equipment used to film “Nightmare.” After cornering the market on old Mitchell Standard cameras he designed mounts and computer hookups that would allow the technicians to film without disturbing the animators.
“Stop-motion has traditionally put the camera far from the puppet so there’s plenty of room and the puppet doesn’t have to be conscious of hitting marks. We did just the opposite thing. That’s a dramatic tool that the live-action crowd gets to use and we wanted it. Had to have it. Kind of jealous in a way,” he said, deadpan.
Though gruesome--there’s a happy family of corpses and a pleasant zombie who walks around with an ax in his skull--the puppets themselves are quite delicate in their construction. At almost 10 inches of articulated steel covered with foam and cloth, Jack pushes the envelope for thinness with his Fred Astaire-style grace. The villain, Oogie Boogie, on the other hand, is literally a sackful of mechanical insects who does a Cab Calloway-like dance in his black-lit inner sanctum. Jack has 400 different heads that are replaced each time he changes expression, but Oogie’s innards required 3,000 different mechanical bugs.
“I’d get shocked every week when the film would be sent to me. It would be like a burst of energy because it was so beautiful,” Burton says. “The animators did a brilliant job of taking a lot of hardships that people don’t understand in doing this kind of work. Besides the movements, the puppets’ designs are such"--he giggles, thinking about this--"that the characters don’t have eyeballs and most of the things that people traditionally use in animation to convey emotion. We’ve either decided to sew their eyes shut or remove them.”
Some are concerned parents will think the film is too scary for their young children. “I have a real thing about that,” Burton complains. “Maybe I was different from other kids, but I don’t think so. Like from day one, I was never scared of monster movies. People forget that kids are intelligent. The other thing is that (“Nightmare”) isn’t really scary, and thematically, this story is about perception. These characters are not bad at heart, they just look a certain way and things shouldn’t be judged by the way they look. That’s something I’ve resisted all my life.”
David Hoberman, the president of Disney’s Touchstone Pictures division, calls the story “heartfelt.” But even he seems unsure about who, exactly, the film’s audience will be. “I’m hoping, and I think we’re going after that sort of 15-to-25 age group and then also a more sophisticated kind of upscale group,” he says. “But I think it’ll go down well below that, frankly. We’ve had screenings for everybody, and at a certain point--age 4, 5 and 6--some kids have been scared and yet some of them have loved it. (The audience has) been very difficult to ascertain.”
However it turns out at the box office, making the movie has been anything but a nightmare for Burton. “I was really glad it wasn’t made 10 years ago because I don’t think it would have been done that well. . . . Animation’s pretty specialized as it is, but this is even more so because it’s kind of a lost art, in a way. There are not that many people to do it, and there’s not that many good people who do it. So the timing was just right.
“It’s so weird in Hollywood,” Burton notes. “There’s always this gray area I can’t predict. What’s weird is that people think if you’re lucky enough to be successful that you can predict what’s successful. And the thing is, any movie I’ve ever worked on could have been the biggest bomb and up until the day it opens, you never know."*
If you look at this list, there’s a big gap between Butch Cassidy and Unforgiven. And that’s not a mistake, as the American western experienced somewhat of a drought in the 70s and 80s. But then Unforgiven came along and reinvigorated the genre. Clint Eastwood returned to the wild west as the star and director of the film, which he dedicated to Sergio Leone and Don Siegel, who he considered mentors who helped catapult his career. Unforgiven is a classic story for modern times, a tale that, like many other westerns, obscures the oftentimes thin line between justice and revenge. It was a seamless transition for Eastwood to dive head first back into the genre, and it paid off when he picked up Oscars for best picture and best director that year.
All 23 Pixar Movies, Ranked From Worst to Best
There are so many Pixar movies to choose from, but after reading our list, you'll know which ones to watch first.
Let's start with this premise: All Pixar movies are good. It's nearly impossible to find a studio with as good of a track record: Pixar has put out 23 feature-length movies since 1995, and none of them are total duds &mdash each one has something to recommend, be it a technical achievement, an emotional ride or unforgettable characters. But that doesn't mean they're all created equal. Some dazzle with state-of-the-art visuals, others get the tears flowing and many of them make you feel good with tales of unlikely friendships. Here's where all 23 Pixar feature films currently stand. (Disagree? Put your own ranking in the comments!)
If you have any gaps in your Pixar viewing, there&rsquos never been a better time to catch up (or rewatch to see if you can spot all those Pixar Easter eggs!). For one thing, all of the movies are widely available on streaming services. (Compare that to the longstanding Disney practice of &ldquothe vault,&rdquo where they took movies out of home-video circulation to increase demand for the VHS tapes and DVD/Blu-rays when they did become available.) But fans might wonder if all of the Pixar movies are available on the Disney+ streaming service. The answer is yes &mdash finally! When the service launched, there were still a couple of Pixar movies not on Disney+, either because they were too new or because they were finishing up streaming contracts elsewhere. Since July 2020, the last of the Pixar movies &mdash Incredibles 2 &mdash ported over from Netflix to Disney+. And Pixar's newest film, Soul, released on Christmas Day 2020, is only available on the streaming service. Only time will tell if that will be the case for Luca, the studio's planned kids' movie for 2021.
The fact that Lightning McQueen wrestles with aging in this movie &mdash and is teamed up with a younger, charismatic screen partner (with the voice of Cristela Alonzo) &mdash gives this something for the adults to latch onto, but there are still a lot of animated cars zooming around to sit through.
While the more cartoonish designs of Arlo, the apatosaurus star of this movie, and his human cave-boy friend are entertaining to watch, the tale &mdash which covers young Arlo trying to reunite with a lost family &mdash feels overly familiar.
Dory trying to find her family &mdash despite her memory loss &mdash is a true story of triumph over adversity. But, to do so, she has to travel through a lot of aquarium tanks. We love these familiar characters, but the plot gets a little bit repetitive.
In this Cars sequel, there's a lot of focus on Lightning McQueen's buddy Mater, who is sent on a spy mission. Your mileage my vary depending on how entertaining you think Mater is, but a little Mater goes a long way.
Mike Wazowski heads to college hoping to be a champion scarer, only to find that he's not as good at is as he thought. That's a tough lesson for a kids' movie &mdash that you're not going to be good at everything, no matter how hard you try or practice &mdash but thankfully there are enough Animal House-style antics (this time from monsters!) to soften the blow.
Pixar's second feature film gets ground-level and follows a young, awkward ant, Flik, as he gets himself into all kinds of trouble. In an unlikely series of events, Flik calls on the help of a bug circus to help defend fellow ants from an evil grasshopper, if you've seen Seven Samurai (or, you know, The Three Amigos, or Galaxy Quest), you can see where the movie is headed long before the climax.
It's crazy how often mothers are absent (or dead) in kids' movies (think Bambi, Nemo, Cinderella). Finally, there's an adventure movie about mothers and daughters, starring a princess with a rebellious spirit (and hair that's basically a character of its own). It's a shame the mom spends so much time transformed into a bear!
Onward has to juggle a lot of elements &mdash there's an epic quest, a world where the fantastical and the mundane blend into each other, a story about two brothers and the loss of their father &mdash and, at times, it feels like the balance is off. But the action is great, and the heartwarming parts really land their emotional gut-punch.
Ka-chow! Cars may be about Lightning McQueen, the fastest racer around, but the story really gets going when he heads to Radiator Springs and things slow down a little. There, McQueen gets a lesson in appreciating the little things &mdash a reminder we can all use every now and again.
This may be Pixar's most gorgeous film to date, and there's a fun, body-switching adventure to go along with it. But there's also a lot of introspection about the difference between your life's passion versus your life's purposes, and kids (and adults) may find that a bit hard to relate to and heavy to wade through.
The fourth installment in the Toy Story franchise introduces a bunch of new characters &mdash Forky, Gabby Gabby, and Ducky and Bunny &mdash and gives them meaty plotlines. But it also answers a question that was already very elegantly answered in Toy Story 3, about what toys do when it's time to move on.
Finding Nemo proves the lengths a father would go (well, swim) for his son. In this case, he also meets some fantastic friends, like the forgetful Dory or chill turtles Crush and Squirt, along the way. It's these characters, rather than the run-of-the-mill plot, that give Nemo its charm.
Pixar has a knack for pulling off the unexpected. In Monsters, Inc., it sets up a backwards world where monsters are believably scared of kids &mdash and it makes a movie about office politicking that isn't boring. (Lots of adult movies can't pull that second thing off.)
Toy Story started it all way back in 1995, and showed the world that a completely computer-animated feature film was a viable prospect. But, re-watching it now, you can see just how far the technology has come, and the animation here looks much rougher.
Just like Incredibles 2, this movie has a ton of exciting superhero action that sees the man characters lift, stretch, disappear, and run their way to victory. But they also have to learn to work together as a team, which is something all families can relate to at one point or another.
The third film in the Toy Story franchise examines what happens when people outgrow their old toys, which requires about 10,000 tissues each re-watch.
A cowboy and a space man, a rat and a chef, a girl and a monster &mdash Pixar always does great work when it comes to unlikely pairings. In Up's case, a cranky old man, an earnest young scout, and an overeager dog head off on a gorgeous, globe-trotting journey and wind up being just the trio needed to defeat some unwitting foes.
There's nothing more complex than the emotions of a pre-teen, but Pixar not only treats this subject with empathy, it creates entertaining (and moving) story about the feelings in control of a whole world inside a young girl's mind.
There's plenty to laugh about when a starry-eyed rat teams up with a hapless chef to get cooking in the kitchen, as Remy and Luigi do in Ratatouille. But there's also a heartwarming lesson tucked in there about how greatness can come from even the most unexpected places.
IMO, Toy Story 2 is the pinnacle of the franchise. With the character dynamics already established, this film can hit the ground running, sending the toys on a mission that's remarkably poignant (Jessie's "When She Loved Me," sob) and hilariously gag-filled (Buzz and Zurg do their own Star Wars reveal).
It'd be easy for a movie about a young boy traveling through the Land of the Dead to turn maudlin, but, in Pixar's hands, Coco remains uplifting &mdash and the candy-colored underworld is a treat for the eyes.
Director Brad Bird has such a facility with action sequences, he finds delightful ways to mix up all the different superpowers of all the heroes in this movie. But the family story at the center ensures that there's heart behind all the mayhem.
Wall-E is a truly impressive feat, because you feel for the lonely little robot on his Earth cleanup mission from the very beginning &mdash which is mostly wordless, so even really little kids can understand his plight. The movie builds from there, sending Wall-E into space, where he gets to be a brave little hero. (Plus, its message of eco-friendliness couldn't be more prescient.)
26 TV Stars Who Look Nothing Like Their Characters
One of the coolest things about Hollywood has to be the makeup and wardrobe geniuses who work hard behind the scenes to transform an actor into their character. These beauty and style gurus can take someone famous and make them look completely different than they do on the red carpet, and it's pretty incredible to see. In fact, the celeb transformation is sometimes so good that you might even find it hard to believe that the character and the celebrity are the same person. Here are some of the most intense examples out there of TV transformations and stars who look nothing like their infamous characters.
The world of American Horror Story is no stranger to bizarre and extravagant makeup effects. In season 6, American Horror Story: Roanoke, Lady Gaga portrayed Scathach, a bloodthirsty witch from the 15th century. The character was exiled from her own village and was forced to live in the woods, hence her disheveled appearance. The character's ragged look is a far cry from Gaga's glamorous and over-the-top red carpet attire.
In Schitt's Creek, Moira Rose is an over-the-top, ex-soap star. She has a taste for the finer things in life and appears to have a different wig for every day of the week. But Catherine O'Hara, the comedy legend who plays the Rose family matriarch, is much more subtle in her real-life appearance than her television counterpart.
The Hollywood starlet has been in the spotlight since she was a teenager, so it's wild to see the actress aged several decades for the present-day scenes in This Is Us. In reality, Moore is in her 30's, but through the use of incredible makeup effects, the show manages to successfully age her character as the Pearson family matriarch by several decades.
In the case of Hulu's limited series, The Act, stars Patricia Arquette and Joey King had the heavy task of playing real people. For her role as the overprotective mother, Dee Dee Blanchard, Arquette had to trade in her signature blonde locks in exchange for a brunette hairdo. The transformation paid off as Arquette won an Emmy for her portrayal of the character.
The Walking Dead is one of the highest-rated shows in cable history, so it's no surprise that the zombified makeup effects are top-notch. But even some of the living characters within the show's universe get a taste of gnarly side. For example, the character of Dwight dons a nasty burn that covers the entire left side of his face. In real-life, Austin Amelio, the actor who plays Dwight, is quite handsome, and although his long blonde hair might be real, the burnt face makeup effects are merely a touch of Hollywood magic.
British actress Phyllis Logan looks almost nothing like her character, Mrs. Hughes, on Downton Abbey. Mrs. Hughes tends to be more straight-laced, tidy, and looks super conservative, while Logan always looks trendy and fresh on the red carpet&mdashand she looks a lot younger than Mrs. Hughes, too!
In Modern Family, Alex Dunphy is known as the super-smart, kind of nerdy, awkward, and shy sister&mdashespecially when compared to her older sister, Haley. But Ariel Winter, who plays Alex very well, seems to almost be the exact opposite in real life (at least according to her social media pages). In fact, it seems like Winter is more like Haley Dunphy than Alex! Without the glasses and the casual clothing, Winter looks like a different person.
You wouldn't even know that Ewan McGregor plays Emmit Stussy in Fargo if you didn't read the credits. That's how different the character and the actor really look. McGregor must spend quite a bit of time in the makeup chair before going on screen as Emmit. In real life, the actor looks younger and has a considerably better hairline.
Naomi Grossman does an incredible job playing Pepper, a woman with microcephaly, on American Horror Story. Grossman, who does not have this medical condition in reality, is another celebrity who must spend hours in the makeup chair to achieve this look.
In Orange Is The New Black, Uzo Aduba plays Suzanne Warren, better known as "Crazy Eyes" to many of the women in the prison. In the show, Crazy Eyes is always in a neutral prison jumpsuit and is known for her super wide-eyed look. Aduba is the total opposite on the red carpet&mdashsleek, stylish and composed.
When Matthew McConaughey played Rust Cohle in True Detective, he looked nearly unrecognizable thanks to his straggly long hair, weird handle bar mustache, and dead, unhappy eyes. While McConaguhey has had his fair share of interesting hair moments, he usually looks a whole lot more put together (and happier!) in reality.
Claire Foy pulled off playing a young Queen Elizabeth in The Crown so well that it was almost hard to imagine her looking any other way. In real life, Foy has darker hair and her style isn't nearly as old-fashioned as her character's. Actually, she doesn't really look like Queen Elizabeth on the red carpet at all!
In Game of Thrones, Daenerys Targaryen is well-known for her long, white-blonde hair that brands her as a typical member of the Targaryen family. She's also known for her intricate braids and her warrior outfits. Emilia Clarke, the actress who plays her, has much shorter and darker hair that couldn't be more different&mdashand she also has a completely opposite personality, trading Daenerys' steely disposition for her bubbly demeanor, always with a smile on her face.
As Blair Waldorf's maid/assistant (and also maybe her closest and only true friend) on Gossip Girl, Dorota always looked exactly the same: hair pulled tightly back in a black and white outfit. But in real life, Zuzanna Szadkowski looks much more laid-back, stylish, and radiant.
Most of the celebrities who appear in The Handmaid's Tale look quite different than they do in real life, but that's especially true when it comes to Madeline Brewer, the actress who plays Janine Ofwarren. Janine only has one eye due to a dispute in season 1, and she hides herself behind the red robes and large white hats the handmaids have to wear. Brewer, on the other hand, is your typical glamorous Hollywood actress.
Looking at Conleth Hill, you might think he seems vaguely familiar. and then you'd probably be pretty shocked to find out he plays Lord Varys on Game of Thrones. Varys was reguarly on screen with a completely bald head, black robes, and a very serious expression. Hill, on the other hand, seems more animated (and less plotting) and has much more hair.
On Downton Abbey, Daisy Mason plays a maid/housekeeper who looks a lot more dowdy and unkempt than the actress who plays her. It's not surprising that Sophie McShera looks so different, considering the show is basically a period piece, but it's still interesting to see how opposite the actress seems from her character.
Orange Is The New Black is another show that features a lot of characters who look almost nothing like the celebrities who play them. Another one who particularly stands out is Tiffany Doggett, better known as Pennsatucky to the other inmates. Pennsatucky has only a few yellowed teeth and messy hair, while the actress who plays her, Taryn Manning, is a lot more put together, and usually rocks a platinum blonde look.
On Game of Thrones, The Hound is known for being, in many of the character's words, extremely ugly. The same cannot be said for Rory McCann, the actor who plays him. This is another actor who definitely spent an extraordinarily long time in the makeup chair for filming&mdashhis character had some gnarly scars.
Many of the Game of Thrones characters look different than the stars who play them, but aside from Daenerys and The Hound, Cersei Lannister is another one who especially stands out. Lena Headey, the actress who plays Cersei, has dark hair and a friendly face in real life that makes her look completely different from her smirking blonde character.
In Big Bang Theory, Johnny Galecki is known as another science nerd, with thick glasses and zero facial hair. In reality, the actor who plays him, Leonard Hofstadter, is often rocking a beard, and looks especially unrecognizable without his own pair of specs.
Who could forget Barb Holland from Stranger Things season one? The character was known for being one of the more nerdy girls in school, with large glasses and hair that gave off an extremely '80s vibe. The actress who plays her, Shannon Purser, is decidedly more chic and stylish.
Arrested Development's Kitty Sanchez is known for being a slightly crazed woman with out-of-control curls and a ridiculously dramatic cross-eyed look without her glasses. The actress behind her, Judy Greer, couldn't be more different.
Another Stranger Things character who looks quite different than the celebrity playing her is Eleven, especially from season one. In the beginning, when Eleven had a shaved head, she looked unrecognizable from Millie Bobby Brown. Even in season three, with a messy short bob, Eleven could still be a completely different person than Brown, who is known for being fashion-forward.
In Breaking Bad, Bryan Cranston plays Walter White, a science teacher who becomes an unlikely criminal. With his shaved head, thick facial hair, and infamous glasses, Walter White looks totally different than Cranston.
America Ferrera and her character Betty Suarez from Ugly Betty might share long dark hair, but that's pretty much the extent of it. While Betty is always seen in braces and red glasses, Ferrera is more glamorous, mature and put-together in the public eye.