This film is about as good as it gets. I dunno what shit was going on in the cosmos when this was made, but something was flying about because films like this are few and far between. It’s so out there that it is amazing to me that it ever got made! It reminds me of a more cohesive and enjoyable Performance. It has that askew Roeg quality to it, but I find his films too obscure to truly enjoy, and more something to marvel at. But The Wicker Man somehow walks the line between being weird and being riveting. And I personally think that has a lot to do with Woodward’s performance, which is so grounded all the flamboyant stuff seems to bounce off him.

I remember talking to Mark Kermode one time about this film, and he told me that it was basically made by Lee, the writer Anthony Shaffer and the cinematographer, Harry Waxman, which I can well believe having seen director Hardy's other movie The Fantasist which is, frankly, shit. I was surprised to hear Hardy was making another film with Lee, as they famously don't like each other at all, and consequently unsurprised when it didn't happen!

The script here is flawless, the acting amazing, the music is so off the wall its genius... the cinematography is beautiful. The style is out there on its own, incredibly cinematic but with a strange, almost documentary feel to it that draws you in.

I dunno - this really might be my favorite film of all time. It would be between this and Withnail And I, which to me has a strange similarity to The Wicker Man which I can't really explain properly. I suppose I mean that they are both truly original, in the way that nothing else around is like either film. They really stand alone.

Willow's song is one of my favorite movie moments.... If you haven't seen it check this out, if you have, check it again, if for nothing else than to ogle at Britt’s spectacular tits.

That scene with Eckland is so well shot and brilliantly edited. It was one of the worst days of my life when I realized Eli Roth had raped this song for Hostel. Not to say that I hadn't thought of doing it myself over the years! In fact about five years ago, I was going to rip it off for a music video, but the sexy female singer (who will rename nameless!) refused to be naked! So that was the end of that.

The whole film is kind of like a musical if you think about it... just the weirdest musical of all time! And I HATE musicals... but here it works so well because it is believable. Most musicals are utterly ridiculous, but in The Wicker Man it blends seamlessly with the story. You buy the fact that these weirdoes might burst into song at any time.

When I made Devils Chair the first person I wanted to play the old professor was Edward Woodward. He was great in Hot Fuzz. In Wicker Man he plays the prudish cop virgin to perfection. I love the way he plays off Christopher Lee. It’s one of those films that really grabs you when you first see it. The ending made me feel physically sick. Which is great!!

The remake would feature strongly on my 'worst' list. It is truly an abortion. The sooner someone stops Nick Cage the better. Has no one realized that he hasn't been good since the 80's and even then he was only good cause he was a bit weird?? He literally kills movies. Time after time after time, one after the other. Anyway - I digress.

HELLRAISER

I'm not convinced this is a great film, more of a series of great scenes intertwined with some pretty shoddy ones. But as far as make up FX goes this is absolutely top notch. The world Barker creates is incredible. The cenobites are such feats of imagination. Pinhead is a stupid name though. I can't believe Barker came up with that somehow.

When I was 19 I went out with the daughter of the actor who played Frank the monster. This brilliant guy called Oliver Smith. Where I grew up, no one made films... literally no one! So it always felt like a totally impossible dream to be doing what I’m doing now. And he was the first actor I ever met. That was the coolest thing for me back then. He was the reason I decided to go to filmschool, and really why I went down this whole path - so, Mason haters, if you want someone to blame, blame him!

ANGEL HEART

I've been saying for fifteen years that Mickey Rourke was the greatest actor of his generation.. and now it seems like he's going to finally win the Oscar for The Wrestler. And here he's at his very best. Its not often you get to see DeNiro getting acted off the screen, but with Rourke's magnetic charisma, he not only does just that, but also makes it look fucking easy! The script is brilliant, the direction spot on, and the cinematography probably my favorite ever, along with Seven. But it's Rourke's film and he walks away with it. I remember when I first saw it I was probably fifteen or sixteen. I had a month where I saw this, The Wicker Man and Jacob's Ladder. If every month was like that, I’d be a happy man! I think I see about one great film a year these days. I tried to make a top five last year, and got stuck at three with Let The Right One In being the ‘classic’. Its really pretty depressing.

Alan Parker’s an interesting one. He's done fuck all since '03. He's really never done a bad film. I thought I saw him the other day, in a Pavilions car park. But then I also thought I saw Charlize Theron as well that same day, and it was probably just some valley porn star! If I did see him I’d bow before him.

I'd love to know what Mickey Rourke was like to work with in this era. Parker said he was an absolute nightmare. I love it when you get an actor who can be that intense without really trying. Its like great virtuoso musicians, Hendrix or whoever - who beyond any kind of technical training just burn with passion. Rourke is by far the best for me - perhaps ever. And yes - that means better than DeNiro and Pacino. If you like Rourke I would recommend this movie, Barfly and Rumblefish. He was the best thing for me about the 80's. Not that that is saying much. Number two is Patrick Sawyze. Three is John Hughes! There you go.

SE7EN

I am actually obsessed with this film. I think it is perfect. There is not a single thing wrong with it. If I was going to level any kind of a criticism on it, it would be that it is actually too good. Most of the other films here have some rough around the edge virtues that make them more appealing somehow, kind of like the Hendrix analogy I just used - where the feeling and passion within the film, regardless of the fact they are sometimes a bit messy, is what makes them great.

Seven is just technically astounding to me. Every department is as good as it gets, from directing, to writing, score, Bottin's exemplary FX.. the acting... Did I mention the lighting?? Khondji is just fucking ridiculous here. It was the first time I ever really noticed really great lighting. The way he lights darkness, if that makes any sense, is astonishing. In retrospect, it must have been more Fincher than Khondji because he has gone on with that gloriously dark style, where as nothing Darius has done since has come close to Seven.

There is a sense of doom that hangs over Seven that I love. Shore's music is this oppressive death rattle that just continually whispers to you 'all these people here are fucked' from the start. For an American movie, and a blockbuster at that, the script is incredibly literate, with nods to Dante and Milton. And there is not an inch of flab on it - it just grabs you and turns the screw perfectly. Fincher is a director I’d put up there with Kubrick. In American cinema he is probably my favorite ever. He suffers from the same problem as Kubrick, which is that he can leave you a bit cold. I'd fathom that he's quite an angry man, cause his best films seem steeped in rage and nihilism. I just saw Benjamin Button, which I thought was great - but was so dark it left me depressed for two days! Only Fincher could take a script from the writer of Forrest Gump, that probably began as a love story, and marinade it in death! I have never seen a film, with the possible exception of Irreversible that seemed to view life with such emptiness. But maybe I got it all wrong.

If you look at the way Seven is shot - its a master class in direction, I think. Fincher uses the camera like a surgeons knife. The way it flows is wonderful, each shot seems so purposeful, as if editing it was just a question of slotting the various pieces together. You can see how it was all in his head before an inch of film was exposed. You want the best title sequence in film history... check. You want the greatest on foot chase scene ever (yes, it's better than Point Break ... much better) - check.... you want the greatest ending EVER - yes, it has it all.

Fincher takes movie icon Brad Pitt, and fucks him over and over again. I love its message. I love the fact that the good guys loose. If Hollywood could just make one film a year with the integrity and intelligence of Seven I would be so happy. I seem to remember that the script was different... the ending. I read it years ago.. I think Freeman killed himself at the end, thus breaking John Does perfect circle... and was probably the studios stab at a happy ending! Ha! No chance!

But good God! That ending - the first time I saw it... My heart was racing. I felt sick in the cinema. It was one of those moments where you're thinking... 'they’re never going to do it'. But they do ... These days I’d love to see Paltrow's head in a box. Back then it was heartbreaking, bold and brave as fuck. I saw the film ten times in the cinema when it came out. The most I’ve seen any film in a theatre.

Fincher has done it three times for me now - with this, Fight Club and now Button. And I suspect he'll continue to, around every five years for the next few decades. I thank god for David Fincher every night before I go to sleep.

THE EXORCIST

This is going to sounds really odd, but I am convinced this film is actually cursed. I got it into my head ten years ago and haven't seen it since. I used to watch it about once a month as its pretty much a ‘how to’ guide in building suspense.

I remember the first time I saw it was in this kooky old movie theatre in Lyme Regis. I was 15 and went with this dead sexy 18 year old chick, which was a real coup for me at that age. Anyway - that is beside the point. About halfway through, during the injection scene, this girl behind me stood up, screamed and fainted. Then she tumbled down a bunch of stairs. They had to stop the film and call an ambulance. I thought 'this is what filmmaking is all about'. It's happened a couple of times to me personally with my films - at some festival in Leeds someone passed out during Broken, and a Japanese buyer threw up during the end of The Devils Chair in Cannes. Its moments like that that make life worth living.

The Exorcist is an incredible film. I particularly love the beginning in Iraq. That little sequence somehow opens up the whole film to me, makes something that is in actual fact quite intimate, epic. Friedkin is one of the greats. I quite liked Bug recently, but it was very up its own arse, if you'll excuse the pun. He's got a right reputation hasn't he. Supposed to be a real cunt. But then so did Kubrick, so does Fincher... Peckinpah...Maybe that’s the way you gotta be to do this stuff, to be great?

DUST DEVIL

I’m not really at all sure this film is really one of the ten best of all time... but for me it was very significant. I ripped it off royally in Blood River. There are so many things I absolutely love about it, and several things I really don't like! The script is incredibly pretentious, but brilliantly so, I would say. Hearing about how it was made, I can see now that the version that is available is not what Stanley intended at all, and the weirdness came from not having the material he needed to do it right. The shoot sounded a total nightmare. All the way out there in Namibia, right around the time Apartheid ended in South Africa. A bold man indeed.

The casting is really bad, the guy in it acts like a plank of wood pretending to be Clint, and the woman does a terrible South African accent, is not fit and cannot act. On the plus side, the direction is incredible. Stanley shoots like a hybrid between Peckinpah, Tarkovsky and Kubrick. The locations are stunning - and never before seen on film. I was so obsessed with the ghost town at the end I actually went there and wrote Blood River based around it... which is no mean feat if you consider it's in the middle of no where in Namibia, 1000 miles from Cape Town.

I spent a lot of my adult life in South Africa, and I think this film was the first thing that lead me there, and a decade where I was deeply immersed in South African culture. There is something about the landscape and people that compels me. Someday soon I’ll shoot a movie there. Its a magical place, utterly conflicted, full of contradictions and rage. But really amazing. If you haven't been there, you really should.

I think Stanley is probably the great, undiscovered director. If you add the word 'horror' into that mix, then definitely so. Even though he's made two great films, he never came close to his potential, and its fair to say he probably never will! Which is a real shame. You see him back when he made Hardware - so fucking young. Twenty four or something. Amazing really, what he achieved, coming from South Africa when the place was still a four letter word to the rest of the world. But he really fucked it up. Living and working in Hollywood now, I realize how small the film community is. I can see how it would be pretty easy to get blacklisted and not work again. My DP on this Dodge commercial I did last year was telling me some horror stories after he heard one of me and Simon's pod casts. He took me aside one day and had a chat with me where he basically said 'be careful with the slagging off'... Stanley is living proof that careless talk costs lives.

The music as well in Dust Devil is extraordinary. What the fuck happened to Simon Boswell?? His scores for Hardware and Dust Devil are up there with the best of them. Iconic themes. Incredibly bold and iconic. I should track him down. I’d love to work with him!

My friend Carl McCoy told me Richard is supposedly making a new film.... but that’s been the rumor for years. There is nothing I would like more than to see that happen. But I fear it maybe too late for the geezer. Fingers crossed though. He’s a mad genius.

IRREVERSIBLE

I own this film. Its one of my favorites - like each time I see it in my collection I’m proud to see it there. But I’ve only watched it once. In the cinema. And I never plan to see it again! Ever! It is the most disturbing thing I have ever seen. As far as horror goes this is where it’s at for me. It pushed me to my absolute limit, from the killer intro inside the rectum, to that rape scene, to the end which is stunningly beautiful and incredibly disturbing because of it.

The idea of time destroying everything is my idea of hell really. This is a brave fucking film, utterly punk rock in the sense that is does not seem to give a fuck what you think about how its shot (it's mental), what its saying (we're all doomed), or how you feel afterwards (you'll feel a little bit raped yourself).

This is another angry film. And I can relate to that! Noe really rubs your face in it. This is totally fearless filmmaking. I remember when I saw it - the ending, where the screen just strobes for what feels like minutes, I felt like he was trying to fuck my mind! Audacious. A real divider this one... I’m getting excited now and repeating myself, but I love the way he just doesn't care. Anyone who doesn't respect this film is a moron., plain and simple. I feel like this took cinema forward in a lot of ways, although I’m not sure it will ever be repeated.

I love the way it is shot, I love the sound design, I love the acting which is as brave and real as you'll ever see, I think the fractured (well backwards) narrative is way more effective than in other similar films, Memento being the obvious one.

When I bought the DVD years ago on import from Korea, it came with a 35mm film strip. About four frames of the rape scene! I'm not sure what that says about Korea! Or me for keeping it!

Irreversible is genius. If you haven't seen it, handle with care. Like I said - its a real divider. Show this to the wrong type of person and they'll never speak to you again. Its on a par with Ellis’s American Psycho (the book, not the film) for how far a medium can push violence. I love Cassell in everything he does, but its Bellucci's movie. Her performance is so convicted, and she looks so hot its ridiculous. No one has ever looked hotter. Ever.

I can't wait to see what Noe does next.... he's an 'artist', innit. Not many of them about these days.

THE TEXAS CHAINSAW MASSACRE

This is another film that I remember seeing for the first time very specifically. It was great in the 80's and early 90's in the UK 'cause all the good films were banned. And what was so cool about that was that it made films dangerous. These days there's none of that, and I think it’s a real shame. The internet has made it too easy to see things.. nothing is obscure and hard to find anymore, and it's all seconds away, literally at your fingertips. Some obscure show from 1982 you kind of remember??? Of course it's on youtube.

But back then, if you wanted to see Texas Chainsaw, or The Exorcist or a bunch of other stuff it was REALLY hard. And illegal, which made it all the sweeter.. I'd order VHS tapes from addresses in the back of dodgy horror magazines like Darkside. You'd have to write to the people to get a response. In the post! Email was a postman’s wet dream back then. You'd write a letter like 'I’d really like to get hold of Opera and The Beyond... you got them?' - and two weeks later you'd get a scrawled almost unreadable note in the post, probably from Fred West himself... saying 'yes... plus I’ve got Maniac and Necromantic and......' 200 other titles.. This is all stuff kids today probably cannot imagine. But - after waiting for weeks, a package would arrive through the post.. containing a couple of seedy looking VHS tapes... and the feeling of having it - in your possession.. a bootleg, a copy of a copy of a copy, was such a rush.

Anyway, I watched Chainsaw at a friends house at 1am and was utterly terrified walking home in the pitch dark a few hours later. TERRIFIED. The film looked like shit, and amazingly so, the bad quality added so much to the experience. You felt like you were watching something you shouldn't, a snuff movie, like 'this film is so dangerous, your government banned it'! Priceless.

What was even worse with the copy of Chainsaw I had was that half an hour after it ended there was about 15 minutes of some horrible S&M porno.. really horrible hardcore stuff. Sinister. I saw a bunch of classics this way, I got Argento's Opera, The Beyond... and all the others... and the best thing about it was that you felt like you might stumble across a genuine snuff movie or something! There was a genuine fear of that happening. The closest thing I can equate it to is buying drugs! Naughty naughty. Bring back the days of censorship and banning I say. The world is a boring place these days... everything is permitted. Fuck that. Give me a load of rules so I can break them.

Chainsaw is probably my favorite low budget film. That and Blair Witch.

There's all this shit said about how its not a violent film - which is a fucking stupid thing to say because it is probably the most violent film I can think of. Once it gets going, it's relentless in its portrayal of violence. The film isn't gory at all, but its a sickening and very realistic portrayal of madness and sadism. Powerful stuff. I've been in some hairy real life situations - someone tried to kill me once, amongst other things I’m not going to go into here - and I can testify that the feeling you get watching Chainsaw is pretty similar to the real thing! I've always tried to get close to it with my own movies, but never near the success of this classic!

Hooper never reached those heights again and is now peddling shit. One of life’s great mysteries to me - how someone can make a classic like Chainsaw, and then churn out such mediocrity. I guess Carpenter is the king of that scene. The fact that the same man made The Thing and Ghosts of Mars completely blows my mind. It wouldn't surprise me if there were two John Carpenters, and one of them died about 15 years ago. The new one needs to be stopped, that’s all I know.

THE SHINING

Ok - for about six months of any given year I’d say this is my all time favorite film. It’s another one I’d suggest is actually very flawed. The pacing, for example, is all off, especially in the third act where it meanders and feels like it gets a bit lost. And the end feels tacked on. The last shot is kind of bewildering, or at least I’m not afraid to admit that I don't really get it! BUT - its fucking Kubrick!! Doing horror! It’s amazing. Simply amazing. I always marvel at the beginning. I have spent a lot of time wondering why the great master kept the shadow of the helicopter in. He shot so much footage that he was able to give a load of it to Scott for Blade Runner - but he couldn't cut that shot? Its stuff like that that makes Kubrick my favorite of all time! For such a perfectionist his mistakes are fascinating to me.

I love the fact that King hates The Shining. His success baffles me anyway, the way he waffles on in his books..... don’t get me started. Anyway I'd love to have heard the conversation he and Kubrick allegedly had where Kubrick could not get his head around the notion of ghosts being scary as they would, to him, signify the existence of an afterlife and thus alleviate his own inherent fear of death! King, apparently, was baffled. Ha ha. Moron.

If you doubt what I’m saying about King go and watch Kubrick's Shining then immediately after watch the one King wrote and was heavily involved with for TV. Utter shit. End of story.

I love Duvall’s performance. When I first saw it she irritated the fuck out of me, and I think its clear that Kubrick didn't like her at all and put her through hell. But ultimately she pulls it out of the bag . It must have killed her - filming that material for NINE MONTHS!!!!! And Jack is at his career best which is really saying something. When he dies this will be the role he is remembered for. Rumor has it that Kubrick considered Jack, DeNiro and Robin Williams for the part. He decided that DeNiro wasn't psychotic enough, and Williams was too psychotic! So went for Jack. I love that story. Then there is also the rumor about Kubrick going over budget and torching the sound stage at Pinewood, getting seen with a gerry can and some matches just before it went off.... Buying himself another few months to shoot on insurance money.

Kubrick is a fascinating geezer. Anyone wanting to learn about the director's process should read up on him. I think Fincher probably studied all those books twenty years ago and modeled himself on the great master. But if you're going to steal - you might as well steal from the best...

And let's not forget, The Shining is FUCKING SCARY. Whenever it’s on late night TV and the scene in the bathroom comes on, I turn it off because it scares the shit out of me! The Shining is in a different league. Its a great way to judge character too. If someone doesn't like it, they should be avoided at all costs. As should anyone who claims that Kubrick is over-rated. And anyone who sides with King!

JACOB'S LADDER

This film is an underappreciated masterpiece. It’s not really a horror film I guess, although it is terrifying and horrific. Lyne has directed a bunch of good movies, and is super commercial when he wants to be. This is not one of those films though. When it came out, people wondered what the fuck it was! I don't like Tim Robbins much, but here he's a revelation in what I consider to be one of the great performances of the 80's. Elizabeth Pena too is great. Dead sexy and weird.

The best thing about Jacobs Ladder is how beautiful it ultimately is. The thing it most reminds me of is a bad trip on mushrooms! The film is incredibly intense, and goes through phases where it rushes, again like a drug experience. The imagery, which ripped off Francis Bacon and Witkin back before it was fashionable to do so, is insanely good. Visually nothing compares to this. It is more intense than The Shining even, which is really saying something.

But, ultimately the trip passes and as Jacob makes peace with himself, the intense darkness of the movie lifts, flooding Jacob in a glorious golden light. That such a dark film manages to have a happy ending is some achievement in my book. This film makes me cry every time. It touches something inside me like nothing else can. It seems to be about how lost we all are in life. It’s about spirituality. It’s about loss. It’s about identity. It’s about coming to terms with the fact we are going to die. Try saying that about Hostel! That’s what I mean about all of these films here! In the main - they are all about much bigger stuff than just 'there’s some CGI monster loose in NYC'.

This film has its issues too. The first half is a tightly paced conspiracy thriller, that turns the screw on Jacob's paranoia and is utterly compelling. In the second half though the film gets weighed down somehow and looses its way. But it doesn't matter. Its still a 10/10. Totally uncompromising. I cannot recommend it enough. Absolutely love it.

SILENCE OF THE LAMBS

This film is not shown enough respect. I know it always gets five stars, won best picture and stuff (I’m not selling this respect thing well am I), but people don't seem to realize how great it actually is, probably because of the terrible 'sequels' that followed it and have almost ruined its legacy. You gotta hand it to Foster for not coming back on Hannibal. I guess she must have read the fucking awful script. What a piece of shit. And the less said about Red Dragon the better. Ratner needs to be stopped, Cage style.

Silence is another perfect film I think. It has almost become too iconic for its own good I fear. Its easy to forget the enigmatic power Hopkins had when it first came out, because his stunning Lector has been parodied so many times. When you watch it now, he feels like a pantomime character. But that’s not how it was back in the day. I love Manhunter too, and feel bad not putting it on this list - but its simply not as good a film as Silence. Manhunter has dated as badly as an episode of Miami Vice, but you can't say that about Silence. It’s just a really fucking good movie. I don't like it as much as Seven, and I’ve only seen it probably a couple of times the whole way through. But it’s powerful stuff. I especially love the ending.

When we were filming Luster a few months ago, Matthew Rhys came onto set to do his part and was putting on this weird accent.... and it took me a while to realize, 'You're doing Buffalo fucking Bill, man!' . Genius.

And I think it is Bill's film really. Levine's performance is very layered and really a lot stronger than Hopkins, I think. Goodbye Horses (the song in the infamous dick scene) is one of my fave songs of all time. In fact, I got Martin Grech my composer to do a cover of it a while back.. which I listen to on repeat.

You gotta wonder what happened to Demme. He's made some real shit since then. I hear Rachel Getting Married is very good. With Silence he really put himself up there as one of the great directors. The way he shot in particular. I love the way he has the actors speaking directly to camera in key scenes - with their eyeline right at the audience. Thats the kind of thing that could be so distracting, and must have been a bitch for the actors, having to perform to some beast of a 35mm camera! But it’s a ballsy move that pays off in spades. I've never seen it done well before or after. But Demme just nails it.

I also love the bit where Starling goes to Buffalos house and you realize the FBI have gone to the wrong place and she is alone with the monster. That is simply brilliant writing and directing. That is an Oscar right there!

Thomas Harris is a weird one too - Red Dragon and Silence are such good books. Hannibal is dreadful. Maybe he was just cashing in, like I assume Hopkins was on the wretched movie adaptation. Oh well. Fuck it.

STRAW DOGS

Ok. Last one. I like this film so much I spent two and a half years making a god awful rip off of it called DUST, which you must NEVER WATCH. EVER. It is literally unwatchable.

But Straw Dogs, on the other hand, is just a brilliant, brilliant movie. Peckinpah is hit and miss for me, but all of his film have parts of them that are amazing. Having read quite a bit about him, I suppose he found it hard to really focus on what he was doing a lot of the time, being generally out of his mind on booze and living life to the extreme. He was a real man, doing real things with his life, not some nerd sat behind a camera, or like Tarantino, dreaming of being one of the cool guys. Sam WAS the guy. And when you watch his films, especially I think Straw Dogs and The Wild Bunch, you can see him all over the screen. His personality. Bring Me the Head of Alfredo Garcia is also a must see, and is brilliantly dark as well, but Straw Dogs is my favorite. I found it in my video store, hidden away when I was about 15 or 16 – it had been released on video in the UK, and then subsequently banned and taken off the shelves, but not, it seems, from the shelves of my little video store! Much to my teenage glee.

I don’t like Dustin Hoffman much at all, but you’ve got to admit he was great in this, great in The Graduate, great in The Marathon Man … He’s top notch here, playing the nerdy American pacifist whose fit wife is just way to hot for him to hold onto.

I don’t know if it’s because I grew up in a little village like the one in the movie, and always felt like such an outsider there, that I can relate to this film so much. But either way it’s a brilliant portrayal of England. And that is the England of 30 years ago. These days it’s probably more Dead Mans Shoes (another real classic). England’s a dangerous place! People over here in the US never believe me – but you’ve way more likely to get beaten up or stabbed on a night out in small town England than you ever are in the states.

It's also worth watching Straw Dogs if only to get a good look at Susan George’s tits. Amazing. Look at her now. Bonkers old hag. Looks like a horse. Rubbish too. She’s great in Straw Dogs though. I’d imagine Sam terrified a performance out of her. It’s the only explanation.

I love the way this film builds. Its slow but never boring, because you just know from the sinister opening montage and clarinet-at-a-funeral soundtrack that things are going to go pear shaped for poor Dustin. And so the rest of the film is like watching the lead up to a car crash. It’s amazing to see one of the great masters of the western take everything he learnt on those movies, and stick it in boring rural England. And it works SO well! Its just a magical film. The guy whose talking about remaking it should be put up against a wall and shot. But lets not get into that. This film is perfect as it is. If you haven’t see it – get to it!