Friday, May 31, 2019

My 30 Favorite Game of Thrones Characters

MY 30 FAVORITE GAME OF THRONE CHARACTERS

For eight almost painstakingly anxious years, HBO's adaptation of George R. R. Martin's Game of Thrones was the best show on television or at the very least the best one to feature gore, profanity, magic, zombies, naked people, and dragons.  Also incest, rape, dicks getting caught off, and more incest.  The most expensive television program ever produced, (with its final season hitting a staggering fifteen million per episode budget), it was cinematic and what many would call "epic" in every sense.  Spanning several years and following about a trillion character arcs when all was said and done, the show's broad concept was essentially a bunch of people killing and plotting against each other to sit on top of a big chair made of swords.  It was all even more awesome than that sounds.

A show like Game of Thrones was ripe with complex, ever-evolving plot elements and characters that ranged all over the spectrum, many of whom were unrecognizable from when we first meet them to when we say farewell to them.  Also, (spoilers), a whole fucking lot of them got very murdered which gave the show a tense edge to say the least.  Anything could happen to anyone in Westeros at a moment's notice, a hard reality that was proven time and time again and at the same token, made the show obsessively compelling.

Some could not get murdered fast enough amiright?

Many have complained that the quality of GoT went downhill once the writers caught up to George R. R. Martin's books, but I very much defend the later seasons.  For one, it is Martin's infamously slow-ass fault that they had to continue without his finished source material in the first place since fat chance you were going to stop the momentum of a show this popular.  Yet even though some story developments certainly came off as rushed, the one thing that was nearly consistent was how well-layered and explored the main characters were.  With maybe one exception, (cough, Daenerys, cough), every character evolved at a believable rate and I applaud the way that it wrapped up, all things considered.  For seventy-three episodes with so very much riding on each one and so many people's tales to juggle, it never stopped being fascinating to experience.  Well, at least when Sam was noton screen, but I digress.

As I have done before, it is once again time to rank the blokes and blokettes I enjoyed the most on a TV show.  I have made a separate, more silly list of the ten Game of Thrones characters I could not stand, but for now let us stay on the positive and look at the thirty that I could stand very well.  Why thirty?  Well, because of the sheer volume of people on this program alone, I of course left a generous amount of them out, even including some major players, (sorry Bran, but you needed to change your facial expression more than zero times for the last several seasons to even be "a character" at all).  Also, there were plenty of Ladies and Lords to choose from where going any less than thirty would have left too many wonderful entries out.  As always, no one will agree with all my choices or where I put them, but that is where the whole assholes are like opinions, (or something), cliche comes from so without further ado, fuckin' Game of Thrones yo!

30. PODRICK PAYNE

A squire turned pretty competent soldier under the strict tutelage of Brienne of Tarth, Podrick Payne was a likeable minor character in Game of Thrones who ended up doing pretty alright for himself.  Podrick had it somewhat rough for a while, getting by on his family name yes, but also routinely picked on and passed off to squire for various people who would be quick to poke fun at him even if they liked him.  Once he was under the reluctant service of Brienne though, he finally charmed someone over enough to seriously prepare him for some serious battle.  Ever since then, he held his own in the thick of a war far, far, far more believably than say Samwell Tarly ever should have.  Also, he allegedly had a giant, woman-pleasing hog so, go him.

29. EDDARD STARK

While Ned Stark's beheading in season one was the single event that kicked almost-everything in Game of Thrones into serious motion, he certainly did not know that.  By leaps and bounds, Eddard Stark was the most noble and overall "good" person to ever be the Lord or Head of any house or landmass in this entire series it seems.  Of course in hindsight he was far too naive and perhaps too honorable for his or his family's own good, which was a lesson his bastard "son" Jon Snow also took to heart for better or wose.  Yet Ned Stark was not a pussy either.  An unparalleled swordsman to boot, his track record was mighty impressive before it all went to shit.  Granted it all needed to go to shit to begin the game of the show's title proper, but even if Ned Stark was a mere springboard for all that followed, still, nice fella.

28. THE NIGHT KING

Out of all the dangers in Westeros, the Night King and his undead minions seemed to pose the most pants-shitting threat.  Their impending march down south, (once winter had finally come to kill literally everyone and in effect wipe-out the era of man's history), loomed heavier and heavier over every season until the final one where at last the Night King got bested.  Even if it was in the first full-blown battle of their intended takeover no less, duh-oh.  While his death at the hand of superninja leapfrog Arya was as applause worthy, (and kind of silly), a scene as the show ever delivered and the threat of the White Walkers got stumped out surprisingly swift, this guy was still the silent, icy, and terrifying non-living embodiment of actual death.   Especially near his final moments on screen, all of the main arcs of who sits on the throne seemed like a kids game compared to how quickly this guy could get his zombie army up off of the ground and just keep on coming.

27. THEON GREYJOY

Yeah Cercei underwent that whole walk of shame thing, but was there really another character on this show that suffered more unbridled humiliation than Theon Greyjoy?  First his father gives him up after failing to overthrow House Stark where he is then raised, then desperately trying to please said father who could not be more ashamed of the nothing he did wrong, Theon embarrasses himself taking a practically deserted House Stark back, at which point ole Ramsay the bastard kidnaps him and tortures the ever loving shit out of him.  Those moments where he was helpless and broken, (which was only the beginning), at that hands of Ramsay were for my money the most uncomfortable out of several to watch and Theon only just barely regained enough dignity by the series end to redeem himself.  Whether Bran was simply telling him what he wanted to hear by declaring Theon a "good man" seconds before his inevitable death or not, good lord the guy suffered enough at that point.

26. YARA GREYJOY

One of the fiercest female warriors on Game of Thrones not to be fucked with was the Lady of the Iron Islands Yara Greyjoy.  Raised by her evil and rather moronic father Balon to be the warrior son he did not have, (since he got his oldest kin murdered and his youngest Theon taken prisoner by the Starks), Yara eventually became the most respected member of her house, not to mention the only one who survived it all.  She got herself captured yes, but no fool was she either, standing up to those she knew would doom herself and her people, allying herself with those that at least appeared would not.  Yeah it would have been nice to see her slowly and hilariously murder the shit out of her raving scumbag uncle Euron as she very much wanted to do, but at least Jaime took care of that and her and Theon found a mutual respect for each other before the latter's demise.

25. DAVOS SEAWORTH

One of the most logical fellows to ever be an advisor to any would-be King(s), (all without the ability to read for most of his life), Lord Davos Seaworth was also one of the most all around benevolent and good characters in the entire series. A master smuggler yes which may not be the most lawful thing one could excel at, but he was also pretty damn skilled at killing things with a sword and always acted as the voice of reason, wisely counseling many in their darkest, most difficult times to not only do the smartest thing, but also the best thing for the largest amount of people.  His relationship with Stannis Baratheon's deformed daughter Shireen was so heartfelt that the, (of course), horrible way it ended hit even harder.  This made Davos even more determined to get behind the right man or woman for the whole ruling the Seven Kingdoms thing everybody was always talking about.

24. YGRITTE

The wildling Ygritte, (and also real life Mrs. Jon Snow), had two things going for her early on.  She was Jon Snow's first love and made him break his sworn vow to never get his wiener tickled by a lady and in typical free folk fashion, she was a mighty exceptional warrior.  Her demise was one of the show's most bullshit moments, (fuckin' Olly), but as we naturally witnessed, there was plenty more for Jon Snow to do at least romantically afterwards so it probably would have been impractical to keep her around anyway.  Something her and another ridiculously awesome character had in common, (read on).  Stubborn and proud yet awesome at killing people, even if it was irritating that Ygritte would not chill out a bit sometimes, she was still an easy one to approve of.

23. JORAH MORMONT

Khaleesi's endlessly loyal cuckold Jorah Mormont had a rather rough ride long before we were even introduced to him in season one.  A disgraced former Lord who bankrupted himself and eventually had to flea Westeros to please his tirelessly spoiled wife, (who ended up ditching him for a wealthy merchant anyway), Jorah willingly put himself at the forefront of much danger and many battles.  Though he initially was a spy when he met Daenerys Targaryen, he quickly fell once again in unwavering love and spent the rest of his days doing all that was humanly necessary to stay in the Mother of Dragon's good graces.  Then she exiled him for a bit and he got leprosy so yeah, no stranger to misfortune was he.  As a veteran fighter, Jorah was a pretty goddamn solid warrior and his death at the hands of countless undead White Walker minions while hopelessly trying to save Daenerys was absolutely fitting.  His was a character destined to die fighting at the service of the woman he loved and that he did.

22. JAQUEN H'GHAR

Besides maybe Ricky Henderson, the one guy who made talking in the third person sound cooler than it should was Game of Thrones' premier Faceless Man who for the sake of calling himself something besides "a man", at one point went by the name Jaqen H'ghar.  One of the most mysterious figures in all of Westeros and easily the most cryptic, the no name guy consistently seemed to hold way more answers than he would ever divulge.  Just how large of a preordained role he played in the entire outcome of the series was wisely left open-ended, (did he put himself in the exact location and time to meet Arya in the first place, knowing he would train her for what she would later accomplish?), and the last time we ever see him was kept equally ambiguous.  It certainly would not have been surprising at all to see him at the Great War, silently smirking and nodding like a proud papa at Arya after she stabbed the shit out of the Night King.

21. OBERYN MARTELL

Red Viper of Dorn, we barely knew ye.  Prince Oberyn Martell showed up solely in season four and was hilarious and awesome for the handful of episodes we got him in.  He was an almost insultingly dashing fighter who proudly fornicated with any and everyone, drank, partied, and then kicked the every loving fuck out of the Mountain with the type of showmanship that no one else in this show possessed.  In the quite cruel world of Game of Thrones though, brutality ten times out of ten wins the day over pizazz and naturally that did end up being the case.  Oberyn's head-liquifying was by far the most gooey and unwholesome death scene in Game of Thrones history, (saying something), made even more awful by how absolutely close he got to coming out on top.   Yet for one brief season at least, this pussy and man-ass hounding gentleman was impossible not to rally behind.

20. JON SNOW

For the first handful of seasons, I honestly did not care all too much about the doings of Jon Snow. When the show was frantically trying to balance itself between dozens of character arcs before most of them got killed to make more room, every trip to Jon and the Night's Watch got me closer to tuning out.  Yet when he died in a brutal cliffhanger and then...came back to life just as dramatically, it was a testament to how good Game of Thrones was that such a comic book-worthy moment derailed nothing and instead served as a perfect catalyst to instill that this guy was undoubtedly important.  What made him so compelling was that even though it was revealed he was a Targaryan, he upheld the values and morals of the man who raised him, (Ned Stark), more than anyone, which meant doing the moral and honest thing even when it was the most illogical thing.  Jon got himself in some deep shit and kept getting saved in the nick of time, which though annoying after awhile, further proved that whatever godlike, fate-protecting magic was going on in this universe, the plans they had for him were ultimately paramount.

19. BRIENNE OF TARTH

Though most of us are sad face that Brienne of Tarth and Tormund Giansbane never got around to making gargantuan warrior babies, her nearly unrequited love for Jaime Lannister proved a powerful if preordained moment late in the series at least.  Before all that of course, she was yet another Game of Thrones asswhooper who also happened to be taller and stronger than most men she ever came across.  Having her become the first woman in Westeros to be knighted and then the first to be given the title of Lord Commander of the Knights Guard was thoroughly fitting and when it came to staunch loyalty, Brienne of Tarth was second to none.  She killed lots of guys, (and zombies), in lots of battles and throughout her life was in the fiercest of pursuits to prove herself to virtually everyone out there, making her a driven force to persistently be reckoned with.  It was hard not to cheer for everything she accomplished and thankfully, she was one of the few that made it all the way through the series alive.

18. MARGAERY TYRELL

Hardly ever will I admit that a character finding their religion will equal them being even better, but thus was the case with Queen Margaery Tyrell.  Married thrice to as many Kings or men who claimed to be as such, Margaery made no qualms to us viewers as to her power-lust and charitable for the sake of public appearance nature.  She wanted to be the Queen and she wanted as many people to like her as possible, no matter who the King was or what the cost was.  Yet her late conforming to the Faith of the Seven seemed wholly believable, even if it was most likely just one more sneaky move by her to get herself out of a jam.  Whether sincere or not, either scenario makes just as much sense and makes Margaery just as much of a likeable, smart, and missed ex-Queen.  All of that said, Cercei still kinda owned and deserved the last laugh.

17. STANNIS BARATHEON

For reasons I still do not fully comprehend myself, I always liked this guy.  Even by Game of Thrones character standards, the middle brother, Lord of Dragonstone Stannis Baratheon was a tremendously flawed, would-be King who got swept up with the Fire Witch's mojo, converted to the Lord of Light, and then proceeded to commit a number of unforgivably horrid acts on his quest to take what he and about twenty other people logically assumed was rightfully there's.  Yet amazingly, Stannis never once comes off as being manically insane.  From the second we meet him, he is just a desperate, emotional mess.  By the time that he is done in, he has been so close yet also so consistently far from victory and gone so very far to achieve it that it is hard not to feel or even champion him.  Even if his demise was rather preordained and well, justified.

16. MELISANDRE

The Red Witch Melisandre was one of the many Game of Thrones people whose arc shifted considerably, at least for the emotional backbone of the audience.  When we first meet her advising Stannis Baratheon with an ominous combination of black magic and nakedness, she was a conniving, unlikable, smug, and frightening presence who seemed to be leading her almost King either to prophesied victory or a staggering defeat, (spoilers, it was the latter).  Yet once the reality set in that she was backing the wrong horse, Melisandre underwent an almost immediate change, becoming brutally humbled and using her fire god-given powers far more cautiously and without the fanatical blindness she once had.  As it turned out, she was a mere victim of her psychic abilities and once she was proven very wrong, she then only did right in her Lord of Light's eyes.

15. TORMUND GIANTSBANE

If there was a single bloke to emerge on this show that one logically could put money down on surviving the entire ordeal, it was the delightfully red-bearded Tormund Giantsbane.  This guy was probably killing things mere moments out of the womb and his random and hilarious speech bragging about being fed giants milk as a baby, (whether that was just a put-on to get in Brienne of Tarth's pants or not), is easily believable.  While the writers understandably had fun at Tormund's expense with him being a wildling fish-out-of-water for a good amount of his time on the series, he was so barbaric in battle and ridiculously tough that ultimately whatever side he was fighting for was not likely to lose. The growing respect he and Jon Snow had for each other ended rather excellently, giving us the final shot of the entire series as they slowly ride off together back into the far north to presumably kill more things and drink more ale.

14. OLENNA TYRELL

House Tyrell matriarch Lady Olenna was a splendid, hilarious, wise-ass old lady who acted as the Game of Thrones equivalent of your cool grandma who has no filter on her opinions on everybody and consistently had the best one-liners during Thanksgiving dinner.  Played rather awesomely by none other than Dianne Rigg, she was great even before the bomb was dropped during season seven which revealed that her, (and not solely Little Finger as we were all willingly led to believe), was the one who orchestrated Joffrey's death, which is still probably the single most satisfying moment this show ever had.   So she may not have made it to the end of the series and her entire family may have been successfully snuffed out by those crafty Lannisters, but she took it all with a well-earned nod and a wink and again, by killing Joffrey, her legacy got one last severe, (if unneeded), lift into enduring territory.

13. SANSA STARK

Presenting a character where from the moment we meet them, they become a whole different person by the last time we see them was the case in point with the eventual Queen Sansa Stark.  A bratty, wining teenager who made some of the absolute worst decisions imaginable in hindsight besides maybe those of Theon Greyjoy, Sansa learned her lesson and then some the very hard way.  Held hostage by two enemy families and nearly married to the two most sadistic and vile people who ever breathed air in Westeros, (in the end she was only married to one such raving scumbag), Sansa like many was also played like a flute by Petyr Baelish.   Yet along the way, she picked up every trick she needed to know and which ones not to use to become the Queen of the independent North, reclaiming her home land in her family's name once again.  Hers was the kind of fantastic transformation that this show did best and now she sits where she most rightfully belongs.

12. TYWIN LANNISTER

Big Pappa Lord Tywin Lannister was that rare kind-of-not-really-bad-guy that I regularly found myself nodding my head in agreement with. Yeah he treated his son and everyone's favorite drunk Game of Thrones dwarf character Tyrion with utter disdain, (and was relentlessly demanding with the rest of his spawn as well), but he rather got his comeuppance for that anyway with his Elvis-esque death scene.  Huh, huh, dying on the toilet.  While he was alive and championing his mostly-despicable family name around with an iron fist though, he was one of the smartest and most intimidating Lord's in Westeros even if he did not foresee his rather funny demise coming.   It also helps for me that the actor who played him, (Charles Dance), was the villain in The Golden Child, so admittingly I fancied him before he even said or did anything.

11. THE HIGH SPARROW

On the long list of Game of Thrones villains, the High Sparrow is probably the only one who seemed like a genuinely benevolent person.  Which is the major thing that was so creepy and excellent about him.  What this program had in spades and perhaps the single thing that made it so very compelling was how not black and white nearly every character consistently seemed.  On that note, there may not have been a more gray player than the Sparrow's high leader.  The moment where he unflinchingly tells a ravenously pissed and murder-happy Jaime Lannister that when united, his religious army can "even topple an empire" is one of the absolute best and this is juxtaposed with the tale of his humble origin into selflessness a mere two episodes later.  Also his death was the result of the absolute coolest thing Cersei ever did, so he even gets points for that in my book.

10. VARYS

As always, Varys was right all along.  Severing under various rulers and would-be Kings, (and Queens), the "Spider" Varys' network of spies garnished him with more information than  anybody else in the Seven Kingdoms.  This essentially made him arguably the smartest guy in the entire series.  Varys knew when to support the winning team just as much as he knew when to jump ship, whether it was motivated by keeping himself alive long enough to do the just thing or knowingly putting himself at terminal risk by sticking to his guns.  No decision he made was without the backing of all of the pieces to make it and he saw more of the ins and outs of monarchy at its worst/potential best to be a man worth listening to until his final moments.  He was also the best male character on the show who did not have any testicles so there is that.

9. BRONN

Making his way from a, (not so), humble mercenary all the way to being a Lord, Warden of the South, and Master of Coin, Bronn of the Blackwater rather humorously charmed, fought, defended, double-crossed, and even sang through most major dangers that befell Westeros in general.  All the while, he was one of the show's most brutally honest players, hardly ever hesitating to do what was in his best interests at all times while having almost as cynical and blasé an attitude towards getting murdered as the Hound did.  He still always protected his neck first and foremost, but when being employed or promised a great reward by someone he was fond of, he would also vigorously oppose whatever was about to kill them.  Say like jumping in front of Jamie who was a second away from getting BBQed by a dragon, per example.  Not sure he can be trusted with the job he holds at series end, but at least his proposing that Kings Landing needs new whore houses was perfectly in character.

8. DAENERYS TARGARYEN

By leaps and bounds, the most controversial character on Game of Thrones, (and possibly in all of television?), ended up being Daenerys Targaryen.  The Mother of Dragons, Breaker of Chains, (and about forty-five other titles), was poised to be the greatest hero in the Seven Kingdoms while at the exact same time, little clues were dropped both subtle and not-so that her family's ancestral madness would end up getting the best of her.  I admit as many do that her eventual turning to the dark side could have been handled better and seemed a bit too abrupt to really connect the way it should have, making her an unfortunately tragic case in the sense that she could have been a superb or even the best example of a character believably becoming the worst version of themselves so gradually before our eyes.  Instead, it felt more like a harsh rug being yanked out from under us.  Along the way though, she was still extraordinarily captivating and her very final moments seemed like the most predictable at the time.  If only the road to get there was peppered with a few more cracks in her psyche.

7. CERSEI LANNISTER

If judging Game of Thrones villains by their unwatchable despicableness, Cersei Lannister lags a bit behind her unbearable son Joffery, Ramsay Bolton, and even her obnoxious rebound lover Euron Greyjoy.  Yet as far as the show's most compelling bad guys go, she easily triumphs.  Cersei was endlessly antagonistic and every time her unwavering narcissism ended up putting her on top, the consequences would always come right back to fuck her over worse than before.  Her extreme selfishness caused her to be so short-sighted yes, but the flipside of that was that she inadvertently became a diabolical mastermind at the same time.  If only for a little while.  Ultimately none of her acts went unpunished and when her ego truly suffered was when you saw the smirking, arrogant, revenge-obsessed facade obliterate and all that was left standing was a defeated and helpless monster who could not accept her defeat until it was all too overwhelming.

6. JAIME LANNISTER

One of the most interesting character transformations amongst all of the major players was that of the Kingslayer Jaime Lannister.  As vile, arrogant, spoiled, and awful as anyone else in his mostly shitbag family, Jaime started out as a straight-up villain, a clear "this is what's wrong with the family in power" example for House Stark particularly to rile against.  Yet Jaime was yet another one who got severely humbled and had a conscious that ever so slowly emerged to the point where he temporarily could no longer stand beside the love of his life Cercei; the woman he saw himself doing his most horrendous acts for.  In the end, he was a broken man and when push came to life-ending shove, he could not deny it to himself and had to take every conceivable effort to once again be reunited with his sister-lover-Queen, (eeewww), and die rather pathetically in her arms proclaiming, (or more or less desperately trying to convince both of them), that "Nothing else matters. Only us.".

5. TYRION LANNISTER

There probably was not a single person on this show that more people wished with bated breath was not going to die than its tiniest one, the Hand of the King Tyrion Lannister. "That's what I do; I drink and I know things" is possibly the finest line of Game of Thrones dialog as well.  Born as a dwarf and tormented by nearly all of his power-hungry family, Tyrion grew up rather bitter as many others did, but he chose to prove himself gradually over time with his alcohol-laced brain.  Both due to his physical limitations and consistently intoxicating wit, Tyrion was likeable whether or not he was efficiently defending his villainous bloodline, consulting Daenerys to do or not do whatever she was doing, or having heartfelt, funny, and logical moments with pretty much everyone at one point or another.  No one waxed poetic the way Tyrion did and he probably turned more ears and heads to his side than one could count.  It was all rather fitting that he single-handedly, (whilst in chains no less), convinced the surviving Lords of Westeros to begin electing their Kings instead of letting grossly unqualified royal spawns fight over such a position.  At the same time, he got his old job back with that ever present, "Welp, I'm still alive so let's just keep on being alive" attitude.

4. KHAL DROGO

I have very conflicting feelings on the fate of Khal Drogo.  Really, his death rather needed to happen to launch the rest of Daenerys entire arc, an arc that seemingly made her the single most important person in the Seven Kingdoms. Otherwise, she simply would have been liberating, conquering, and murdering a few thousand people along the way with her Khal at her side.  The conundrum lies in the fact that all of that still would have been fucking great.  If his screen time was not so ultimately minuscule, (one season, wah), Drogo could have been this show's most ridiculously brutal badass.  Jason Momoa was probably born to play him, (being all cartoonishly scowly and enormous looking), and he went down as my very first favorite thing on this entire show.  Plus he ripped a dude's fucking throat out with his bare hands and was responsible for two of the greatest speeches and murders in this entire program.  All of these years later and AquaConan is still sorely missed.

3. PETYR BAELISH

If I were to dub Game of Thrones' actual greatest villain, (which I now am), Little Finger would assuredly be that recipient.  Born into a meek family and forced to build himself up from ground zero, the eventual Lord Petyr Baelish worked his diabolical ways even before the first season began.  He masterminded more fiendish plots against practically everyone in Westeros than any other character.  The War of the Five Kings, the death of Ned Stark, the framing of Tyrion Lannister against Brandon Stark, the feud between the Lannisters and Starks, and in some capacity, good ole Joffery the Ass Cancer's death, were all the work of this beautiful, perpetually smirking, dangerous, dangerous man.  His conniving would have continued to go on endlessly it seemed, but his undoing at the hands of the Stark girls was both inevitable and wonderfully fitting as it marked the only time in the show's history that he acted both genuinely surprised and terrified.  I gleefully looked forward to every scene with Little Finger in it, but surely the world of Westeros is much safer place without him.

2. ARYA STARK

Sure Bran survived a fall, got chased by White Walkers, got turned into the Three-Eyed Raven, and then became King, but fuck all that.  Arya Stark had the best story out of anyone on this show, let alone in her family.  The youngest daughter of House Stark, Arya was never once cut out for wearing gowns and being a proper Lady of anything.  She wanted to kill things with pointy things.  So many elements played into her revenge-seeking assassin adulthood, (from witnessing her father get beheaded, to seeing the cruelty of House Lannister at close range, to training with the master-swordsman Syrio Forel, to being on the run with the Hound, to then getting tutored into becoming a Faceless Girl), that by the time she was ready to unleash her vengeance upon the world, she was a straight-up superhero.  She never abandoned her family's just and lawful heritage either and eventually finished her "list", (or at least tweaked a few names off of it), to be one of the last surviving Starks who still refused to take a seat.  Once her work in Westeros was done, having Arya decide not to stay put was the only move she could make and though we will probably never get a spin-off of Arya Columbus "Discovers" New Lands, one can only imagine how many bad guys who deserve to die that she is still going to brilliantly keep putting down.

1. SANDOR CLEGANE

As this series went on and on, the Hound consistently became the greatest thing about Game of Thrones.  When pretty much every other character was solely motivated by doing the right or selfish thing, bickering about who is on the Iron Throne or who deserves to be, or fiendishly concocting various schemes, Sandor Clegane knew it was all just a waste of time.  Everyone ends up dead in the end and life in Westeros is shit, pure and simple.  Having far and away the most nihilistic attitude was no fluke for Sandor as he was tormented by his brother so much throughout his younger years that by the time he became a man, his was not a choice to make.  He had to become the living, breathing, unstoppable hard-ass to rival all others.  There was no finer relationship to watch on this show than the surrogate father/daughter one between he and Arya Stark.  Sure Arya trained as a no name assassin, but her time spent under the, (lets just call it what they would not admit it was), "care" of the Hound was what really gave her the brutal, honest dose of reality that she needed to become the beyond diligent warrior that she ended up as.  Their final moment where Arya called him by his real name for the first and only time just before Sandor completed his arc, (finishing the all-consuming business against his literally monstrous brother the Mountain), was the most beautiful farewell of all of them.  This guy just fucking ruled, pure and simple.

Tuesday, May 28, 2019

80's American Horror Part Twenty

SILVER BULLET
(1985)
Dir - Dan Attias
Overall: MEH

Here be another Stephen King adaptation where the author penned his own screenplay and the end result is a sloppy mess with oodles of tone and structural problems.  Silver Bullet was based off off Cycle of the Werewolf, a story where very similarly to Salem's Lot, a small town is inhabited by people who know everyone with their own drama going on that now gets besieged upon by a supernatural menace that is up to a teenage boy and one lone adult that nobody believes to stop it.  King's script is a borderline disaster here though.  The dialog is exceptionally poor, characters are introduced and then forgotten about, the twist comes thirty minutes too early and completely changes the behavior of the antagonist, and other lazy, illogical scenarios are brought up.  Like why would a kid who thinks a monster is murdering people every night willingly go out alone also at night and in the middle of nowhere to blow up fireworks?  Also, if the werewolf has been a member of the town this whole time and presumably always a werewolf, why now all of a sudden is he murdering people?  Also again, the usual four or five day long full moon cycle that only exists in lycanthropian horror movies is very much a thing here as well.  Still, Gary Busey is an alcoholic hick, (i.e. not aware that he is in a movie), and the transformation effects look pretty good.

TRICK OR TREAT
(1986)
Dir - Charles Martin Smith
Overall: GOOD

This is a positively strange debut for character actor/future kids movie director Charles Martin Smith, not just because it is a horror film, but because it is a rather singular one to say the least.  Trick or Treat on paper sounds like the dumbest movie possible and one that should by all conceivably logic be front-to-back obnoxious.  It has got another "kid gets picked on in high school by bullies that look like they are pushing 40 and he wants revenge on them" premise, plus with the added, eye-ball rolling fact that said teenager of the jock's scorn is an loner heavy metal fan.  Such a premise certainly deserves a hard pass, (cough, Deathgasm, cough).  Yet it is all in the presentation.  You would assume that such uninspired cliches left and right coupled with a kid listening to Judas Priest and playing his records backwards while parents, concerned newscasters, and teachers act horrified and confused would be too much to bare, but the cast oddly plays everything very straight.  Even the film's flamboyantly goofy monster/ghost/heavy metal drag queen villain astoundingly comes off kind of creepy by how he is gradually introduced.  The fact that Smith takes his time with the material, letting many scenes play out with no cheap, keyboard-drenched music, and actually manages to build quite an eerie atmosphere even as the film's plot spirals into ridiculousness is quite remarkable.  Throw in a funny cameo by Gene Simmons and Ozzy Osbourne and this is indeed quite a good time.

BRAIN DAMAGE
(1988)
Dir - Frank Henenlotter
Overall: MEH

The sophomore effort from Frank Henenlotter, Brain Damage is sadly a disappointment compared to most of the filmmaker's other ridiculous work.  The cameo by Kevin Van Hentenryck with his large basket in tow is amusing, but most of the other humor is more quirky and awkward than funny.  Once again, Henenlotter has concocted a story about a guy living in Manhattan with a weird pet creature thing that he is essentially a slave to, but this one is even weirder and grosser than that in the Basket Case franchise.  It is a problem Brain Damage is laughably amateurish from a visual perspective, even more so than many low-budget genre films of the time period.  The monster looks like an icky Sesame Street puppet except less convincing.  Performance wise, soap opera actor Rick Hearst does not posses any likeable charm and the rest of the cast is either clumsily hammy or clumsily stiff.  More problems are apparent in the lazy ending and a silly exposition scene that seems forced to say the least.  There is plenty of nasty, even x-rated set pieces though and the plot is so ridiculous that one might find themselves cackling at it periodically.

Sunday, May 26, 2019

80's American Horror Part Nineteen

BLOODY BIRTHDAY
(1981)
Dir - Ed Hunt
Overall: MEH

This low-level slasher movie was sat on for five years after it was made, getting a limited release as late as 1986 before being mostly and deservedly forgotten about.  Whether the long wait was do to its uncomfortableness which made ideal fodder for suburban soccer moms to disapprove of in the age of video nasties or just because it is a shitty movie is unclear.  The concept of three kids being born on the exact same night during a solar eclipse would have been better suited for a more adventurous, atmospheric presentation.  Bloody Birthday is so blandly directed and photographed with only the minimalist effort to create a cliched, foreboding mood that the only thing it can manage to do is have a bunch of horrible brats smile and murder people for fun.  That said, the final showdown is a hoot as it takes place in a teenager's bedroom that has a lone Ted Nugent poster hanging up while the evil little scumbags shoot both guns AND use a hunting bow.  Still though, the film is neither clever nor entertaining.  It basically just makes you want to beat several children within an inch of their lives which is never the type of feeling a movie should leave you with.  Even a horror one.

THE INITIATION
(1984)
Dir - Larry Stewart/Peter Crane
Overall: MEH

This textbook slasher does not necessarily do anything more incorrectly than others of its kind, but it does not offer up anything remotely unique either.  It marks the second appearance and first lead one for Daphne Zuniga and was filmed on location in Dallas, Texas, through British director Peter Crane had to be swapped out for Larry Stewart early in the production, the former having fallen behind schedule.  Not that this is noticeable mind you since The Initiation is too by the books to warrant any auteur qualities from whoever is behind the lens in the first place.  The idea of a sorority house cruelly initiating some of its members, a bunch of horny doofuses trying to get in their pants, a reoccurring nightmare that is actually a repressed memory, an insane asylum, a disfigured guy used as a red herring, and even an identical twin sister out of absolutely nowhere makes the whole ordeal both unremarkable and silly.  No one is particularly over the top in any of their portrayals and on the same token, no one is too obnoxious to anxiously await their gruesome murder.  This was done possibly in an attempt to make the cliched details and ridiculous twist seem more plausible, but instead, it all just feels lazily put together in the most mediocre of fashions.

CRAWLSPACE
(1986)
Dir - David Schmoeller
Overall: MEH

It is a shame that David Schmoeller and his cast and crew suffered such infamous tyranny at the hands of the perpetually insane and impossible to work with Klaus Kinski, especially considering that the resulting film Crawlspace is not very good.  The original and better sounding premise revolved around a battered Vietnam veteran who recreates a prisoner-of-war camp in his apartment complex, but studio heads convinced him to make the antagonist a Nazi and secured Kinski in one of the many roles he was ideally suited for.  Not that Kinski was a Nazi mind you, but he was German and certainly a lunatic both on and especially off screen.  Schmoeller's short film Please Kill Mr. Kinski that was shot during the production of Crawlspace shows just a smidgen of well-documented proof of how difficult Kinski was to work with, but the actor's Col. Kurtz approach here does not work on account of how underwritten the story is.  The beginning is awkward, none of the characters have any definable arcs whatsoever, the ending is a snooze-fest, and Kinski looks bored when he is not rambling unexplained nonsense or putting on make-up while hailing Hitler for a reason.

Wednesday, May 22, 2019

80's American Horror Part Eighteen

ROAR
(1981)
Dir - Noel Marshall
Overall: WOOF

What a strange, terrible movie.  What can essentially be chalked up to having a one sentence premise, (family gets awkwardly and sometimes frighteningly cuddled by lions and tigers until their dad gets home, the end), Roar is the infamous wackadoo quasi-documentary by Noel Marshall who put his real life family in all the danger while making it.  This is an example of the behind the scenes reality of a movie being far more fascinating than the finished product.  Filming took place over eleven years and resulted in no less than seventy cast and crew members suffering major, life-altering injuries due to literally living with and shooting alongside real, wild fucking lions and tigers.  The pure insanity you witness on screen is something else alright and some of the actual real-life maimings that took place made the final cut.  As an actual movie though, it is just awful.  Besides being extraordinarily boring, saying it has tone problems is a severe understatement as it is occasionally an embarrassingly unfunny comedy, occasionally some kind of pompous, wild life awareness propaganda, occasionally a people being trapped horror movie, and consistently bizarre and uncomfortable.  The dialog is atrocious and Noel Marshall is easily one of the most annoying main characters in any piece of celluloid you can imagine.  Considering the fact that he was not acting but was just a pretentious, clueless douchebag makes the whole ordeal even more unpleasant.

SLEEPAWAY CAMP II: UNHAPPY CAMPERS
(1988)
Dir - Michael A. Simpson
Overall: MEH

More stupidity follows, (surprise, surprise), in Sleepaway Camp II: Unhappy Viewers I Mean Campers, another chapter that picks up five years after the first one and once again murderizes a bunch of young, horny people with mom hair and mullets.  The comedic aspects are more emphasized for this round which is nice that the filmmakers realize that they are making something so bottom barrel as to not be taken seriously at all.  In typical slasher movie sequel fashion where we already know who the killer is, the film does not bother with any mystery, getting right to the killing before the opening titles even hit.  Bruce Springsteen's sister Pamela plays a now slightly older, officially transgender Angela, (now a dorky camp counselor), who is more liberally unpicky with her/his victims than most serial killers even would be.  Though some of the murders are particularly nasty, (drowning a woman in an outhouse toilet full of leaches and feces ranks pretty high up there for maximum unpleasantness), the ending actually seems like a mistake which is all the more disappointing considering that the original Sleepaway Camp's only redeeming quality was its shocking final shot.  In this one, there is virtually no story and then everybody dies.  Which is probably for the best really.

PET SEMATARY
(1989)
Dir - Mary Lambert
Overall: MEH

Never one of the more renowned Stephen King adaptations and for plenty of just reason, Pet Sematary is primarily a disaster.  King not only wrote the script yet also hand-picked the director Mary Lambert, (who also helmed several early Madonna music videos), took a cameo as a minister, and remained heavily involved in the production for much of the way.  How it turned out so sloppy is indeed a mystery then.  There are pretty sufficient tone problems first of all.  It is difficult to tell how many moments were supposed to be ineffective camp on purpose and which ones are so by accident.  Three year-old Miko Hughes makes an unintentionally adorable zombie when he is not clearly a dummy being tossed around at least, Fred Gwynne's accent is ridiculous, the two leads in Dale Midkiff and Denise Crosby ham it up inappropriately, there is a ghost that gives off cryptic warnings who becomes more and more of an clown, and too many scenes are directed rather ridiculously.  These include all of the clumsy flashbacks and a laughable, lightning fast moment at a funeral that immediately erupts into a fist fight.  King's premise is anything but terrible and a few very brief moments are handled acceptably, but there is very little else flattering to say about it.

Sunday, May 19, 2019

80's American Horror Part Seventeen

CAT PEOPLE
(1982)
Dir - Paul Schrader
Overall: MEH

There are a number of good ingredients to Paul Schrader's remake of Cat People and the director does not fudge up his serious, erotic tone.  Still, the film is a mess.  The first obstacle not to be overcome is Alan Ormsby's script.  It takes way, way too long to get going and Schrader is left with no choice but to let the pace drag considerably.  At just shy of two hours long, you would think this would be ample enough time to explore the mystical, feline mythology and make Natasha Kinski's inevitable, willing werecat transformation more compelling.  Instead, everything is clumsily explained if it is explained at all and most of the characters come off as half-baked.  Also, the refilming of iconic sequences from the original seems quite forced and out of place, more than ever with the just as random and illogical pool scene.  The cast is solid though, particular Kinski and Malcom McDowell as her creepy yet underwritten brother.  Also, Giorgio Moroder's score is quite captivating, helped even more by David Bowie's vocal prowess on the title song.  Considering that the original Cat People is an overrated and flawed movie to begin with, this version is not so much a sacrilege as much as just another botched attempt at a similar enough story.

CHOPPING MALL
(1986)
Dir - Jim Wynorski
Overall: MEH

Meant to be nothing more than a dumb, cheap, and silly horror-comedy with enough boobs and blood to keep the viewer from yawning, Chopping Mall is still a little too cheap and dumb at least.  Produced by Roger Corman's wife Julie, (was well as having some input from her husband as well, naturally), and directed by Jim Wynorski who would go on to make about seven hundred more straight-to-video, cheap, often sleazy horror movies, there is very little interest on display here to be all that clever.  The characters are idiots from top to bottom as most of them are just horny, California bros and bimbos, we get two scenes of control technicians getting killed by robots in the same manner when only one is necessary, the dialog is routinely terrible and when it is trying to be funny, (which it does often), it is not.  The movie is hardly a total waste though.  The cameos from B-movie players Dick Miller, Mary Woronov, and Paul Bartel, (playing their same characters from A Bucket of Blood and Eating Raoul no less), are fun, the premise is so stupid that it is a hoot, and some of the death scenes are quite chuckle-worthy, including a rather superb and surprising head exploding.  Being a Corman production which always had a "Yeah, that's good enough, let's shoot!" spirit to them, yes the script could have underwent some more drafts and some scenes could have used some more takes, but time is money people so hey, at least someone's head blows up.

PUMPKINHEAD
(1988)
Dir - Stan Winston
Overall: GOOD

It stands to reason that a film with Stan Winston behind the lens would first and foremost look pretty damn good at least so in that respect, Pumpkinhead is a success.  Serving as the legendary special effects artist's directorial debut, the title monster gets plenty of screen time and looks superb, but Winston also pulls no punches with the textbook, horror scenery.  There is oodles of fog, an old, gross hag, orange candlelit cabins, woods full of dead trees, a burned down church, barren cemeteries, over the top death scenes, and gore that would unmistakably qualify the film as a horror one and nothing else.  On that note though, Winston also indulges in more obnoxious genre cliches like countless jump scares, psych-outs, and some poorly-written secondary characters that are only there to get brutally murdered to death.  As opposed to other such horror movies that become too obnoxious to appreciate due to some of their laziness, Pumpkinhead mostly gets a pass.  One could argue that the story is far too derivative of a whole lot that came before it, but still, it is mostly a solid offering with the simple, fairytale premise being appropriately creepy and also one that Winston manages to move along at a satisfactory enough pace.

Thursday, May 16, 2019

80's American Horror Part Sixteen

GALAXY OF TERROR
(1981)
Dir - Bruce D. Clark
Overall: MEH

This lighthearted, 50's sci-fi throwback, Roger Corman produced Alien knock-off has halfway decent gore and impressive enough set design, but make no mistake; it is still a sluggish piece of shit.  The familiar faces including Sid Haig, Robert Englund, (pre-Nightmare on Elm Street), Grace Zabriskie, (Twin Peaks), Erin Moran, (Happy Days), and Ray Walston, (plenty of stuff), are hardly A-list, but they are also not treating the material any better than it deserves, which is good for them.  Galaxy of Terror is just pathetically uninspired is all.  The script gives off an aura of being churned out in about a day and with Corman steering the ship in his steadfast diligence to make something very cheap and very fast, it is nearly impossible to give a shit about all of the atrociously boring and cliched nonsense going on.  Always one to mentor future filmmakers, James Cameron got his second job behind the lens in a Corman production here, acting as set designer and second unit director.  Speaking of ripping off Alien, coincidentally, Cameron would go on to helm Aliens five years later of course which you would be correct in guessing is a rather wildly better film than this one.

PSYCHO II
(1983)
Dir - Richard Franklin
Overall: MEH

Respectfully done in some respects, Psycho II is still another unnecessary sequel to a property far better left alone.  Returning to Alfred Hitchcock's seminal masterpiece nearly twenty years later seems more ill advised now after the original Psycho has continued to be lauded as arguably the greatest thriller ever made.  At least at the time of its sequel, there was a good amount of care taken with the material though.  Director Richard Franklin studied Hitchcock closely and screenwriter Tom Holland, (who would go on to pen a handful of other memorable to not-so-memorable horror outings), both concocted a film that is occasionally very suspenseful and makes it a priority to explore the psyche, (har, har), of Norman Bates ever further.  Anthony Perkins helps tremendously in this regard, making Bates appropriately sympathetic for such a story to work.  Still, Psycho II is hopelessly forgettable compared to the landmark film that it is impossible not to compare it to.  The twists seem even more ridiculous considering that without them, there really would not be a movie to make and this further emphasizes the point that such a film would have been better left unmade in the first place, despite the talent on hand in making it.

DOLLS
(1987)
Dir - Stuart Gordon
Overall: MEH

Taking his first step outside of Lovecraftian territory after the rather excellent Re-Animator and From Beyond, director Stuart Gordon's Dolls shifts its tone further by having a childlike sensibility even while still offering plenty of gruesome violence.  Focusing primarily on a young child Judy, actress Carrie Lorraine is kind of one of those textbook, horror movie wiener kids who looks physically uncomfortable in every shot.  She is actually the least annoying participant though.  The fact that every character is either top to bottom horrible or obnoxious in their every utterance and mannerism is what ruins the entire film, making all of the intended humor fall uncomfortably flat.  Half of the death scenes are more stupid than anything and the logic is flimsy at best, further complicating measures.  Visually, this is certainly cheap yet also pretty splendid as it is set up in a creepy old mansion.  The stop motion animation and animatronics used to make the chipmunk voiced goblin dolls come to life gets the job done nicely as well.  If some more care was taken with the story and the cast was either completely replaced or their performances not so on the nose, Dolls could have been a proper, gruesome fairytale.  Instead, it is just a failure more than less.

Tuesday, May 14, 2019

80's American Horror Part Fifteen

EVILSPEAK
(1981)
Dir - Eric Weston
Overall: MEH

A somewhat amusing, "Satanic panic" wet dream for any overly zealous, Christian housewife at the turn of the 1980s who thought the devil was real and corrupting America's youth, Evilspeak is shamelessly brimful of absurdity.  Loaded with every unholy as well as "bullies picking on dweebs" cliche in the book, it also throws in the ridiculous notion that a computer can converse with demonic spirits and even spout some one-bit, early videogame graphics of pentagrams, demonic faces, and fire.  Silly stuff in every conceivable fashion.  It is also a bit too unpleasant at times.  While taking the movie seriously enough to make Clint Howard's pathetic protagonist sympathetic, the flip-side of that is that the barrage of scenes involving horrendous douchebags endlessly torturing him, (and very unnecessarily murder his adorable puppy), becomes a miserable chore to sit through.  By the time the hellish, over the top finale hits, you are rather more exhausted with how goofy and nasty it all is than rooting for the evil forces that get the last laugh.

CAT'S EYE
(1985)
Dir - Lewis Teague
Overall: GOOD

Serving as both Stephen King's second screenplay adaptation from his own previously published works as well as director Lewis Teague's second film based off of one of the famed authors books, (Cujo being the first), Cat's Eye is a partly light-hearted, party dark presentation.  King's stories are often strongest overall when they are condensed to a short story format and "Quitters Inc." and "The Ledge" from the Night Shift collection of such stories, (most of which are excellent), work wonderfully here.  The recognizable cast is fun with James Woods and Alan King particularly enjoying themselves in the opening "Quitters Inc." segment.  Though a ten year old Drew Barrymore shows up in each story, she does not become the main protagonist until the final one "General" which incidentally is both the weakest of the three and the only one that was written specifically by King for the film.  Still for an anthology horror outing, nothing comes off weak here as King was in one of his better, less cocaine-fueled phases.  Though to be fair, having a house cat engage in epic battle with a doll-sized troll that magically comes out of the wall to steal kids breath while they sleep easily qualifies as something drugs would have probably played a part in concocting.

SLUMBER PARTY MASSACRE 2
(1987)
Dir - Deborah Brock
Overall: WOOF

What in the goddamn fuck is this shit?  For whatever preposterous reason, Deborah Brock styled her sequel to the highly mundane Slumber Party Massacre as a hopelessly sloppy musical, (yes, you read that right), that also pathetically tries to be Nightmare on Elm Street at the same time.  The tone problems are astronomical here.  High school girls who look like they are in their mid 30s have a band, (because sure why not?), that smile, sway, and terribly mime their terrible songs before easily the worst horror movie villain in the history of space and time shows up whenever he wants and then not really being there whenever he wants as well.  The movie does not bother setting up any logic to ignore let alone to follow.  Then all of a sudden people are getting murdered for real, (maybe?), before Andrew Freddie Dice Elvis Crooger literally breaks the forth wall and starts singing and dancing while fake laughing, shredding on his guitar-drill bit weapon, and cracking himself up with lines like "Hey baby, light my fire" and "I can't get no...satisfaction" which is legitimately sickening to even type here.  Meanwhile, all of the other characters are being parodies of valley girls and jarheads while screaming for their dear life.  Forgoing the boring, textbook slasher route would seem like a wise move yes, but this is honestly so humiliatingly bad that you actually crave something more like the completely unmemorable first one to get the rotten taste out of your everything.