Sam Peckinpah
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This movie also borrows from Peckinpah’s school of dark revenge, but this time recalls the likes of the more sordid “Straw Dogs.”
He has designed this film to pay homage both to splatter films and to the better, more complicated movies that he first experienced in youth, such as John Boorman’s emotionally harrowing Deliverance and Sam Peckinpah’s complex, seminal Straw Dogs.
The resourceful Ain’t Rights fend off the onslaughts of a terrifying, determined enemy, echoing other classic versions of defend-the-castle films such as Sam Peckinpah’s “Straw Dogs” and John Carpenter’s “Assault on Precinct 13.”
Saulnier cites Sam Peckinpah's classic Straw Dogs as an influence, and both movies share a knack for taking a very limited space and mining it to full, brutal capacity.
The murder entails stomach-churning sights and sounds rarely found outside exploitation movies, and the rape hews along the lines of male fantasies like that found in Sam Peckinpah's 1971 career low, "Straw Dogs."
The character sketches, which pit (in largely improvised dialogue) Bellucci's impotent old boyfriend up against Cassel's swaggering, mannish party boy, recall Peckinpah's famously off-putting Straw Dogs in their suggestion that even milquetoasts are capable of mixing love and lust for vengeance to devastating, life-destroying effect.
The couple agreed to make a film with Noe but rejected the proposed sex -- though it quickly became clear that they were willing to participate in simulated violence "even when Noe [affirmed] that he [wanted] to make a film more violent than Salo and Straw Dogs combined.
The Hills Have Eyes (2006)
Directed by Alexandre Aja
influenced by Straw Dogs (1971)
Plot Characters Themes
Having made his mark with The Last House on the Left, such as it was, by turning Ingmar Bergman's The Virgin Spring into ultra-sleazy and ridiculously amateurish drive-in horror, it took Craven five years to come up with Hills, which was essentially Sam Peckinpah's Straw Dogs set in the desert with inbred mutants standing in for inhospitable British rubes.
Like Sam Peckinpah's "Straw Dogs," in which meek, bespectacled Dustin Hoffman resorts to his base instincts to repel the British thugs invading his home, Stanford's Doug becomes the vessel for the viewer to work out dormant aggression.
Doug works for a cell phone company and he increasingly resembles the ineffectual character that Dustin Hoffman played in Sam Peckinpah’s "Straw Dogs."
I suppose that may be making light of their violent and thoroughly disgusting predilections, and when Aja steps into Straw Dogs territory the film turns unreasonably nasty, but these aren’t the nameless monsters of the ‘70s.
Just as the recent remake of House Of Wax somehow segued into Texas Chainsaw Massacre territory, Aja seems at some point to have lost interest in remaking Hills, since his movie eventually morphs into a retread of Straw Dogs, with Stanford tackling the Dustin Hoffman role of the nebbishy man of peace forced by circumstances to become a man of violence.
Its notion of tribal viciousness is well developed (marked by some interesting thematic nods to Sam Peckinpah's Straw Dogs), and the other threads are reasonably effective, but by stating its message so openly, the film loses some of the unconscious subversion that defined the original.
The Magnificent Seven (2016)
Directed by Antoine Fuqua
influenced by The Wild Bunch (1969)
Themes Visuals
Meanwhile, Fuqua pays visual tribute to classic Westerns such as The Searchers and The Wild Bunch, but renders the callbacks meaningless by providing no context for them.
Duly recruited by the newly widowed Emma Cullen (Haley Bennett, all grim determination and cleavage), the avenging septet arrives, trains the locals and gets ready for a showdown, which borrows a few moves from another classic western, The Wild Bunch, along the way.
Later, they evolved into the Clint Eastwood Man with No Name films and more violent affairs like Sam Peckinpah’s The Wild Bunch.
In spirit, the truest remake of Kurosawa’s film was not Hollywood’s cornball “oater” version of The Magnificent Seven but Sam Peckinpah’s The Wild Bunch (1969), which confronted America’s new, post-assassinations, Vietnam-conscious era of violence.
The improv mayhem of Saving Private Ryan ’s final battle is a clear touchpoint, as is The Wild Bunch ’s famous climax, but with a 12A rating in mind, it’s an oddly bloodless swirl of bullets even as the bodies pile up.
Aside from the original M7, there are shout-outs to Shane, Hang 'Em High, The Wild Bunch and, most curiously, Blazing Saddles.
Assembling a who’s who of action stars from the last four decades, cowriter and star Sylvester Stallone directs a bloodbath that borrows liberally from such male-bonding classics as Robert Aldrich’s The Dirty Dozen and Sam Peckinpah’s The Wild Bunch, but offers not a whiff of the tragic fatalism and astute critique of machismo that inform those superior dramas.
VIDEO: Watch the trailer Though he's going for a brawny appeal à la The Wild Bunch or The Dirty Dozen, this boring tale of hired guns is more like Rambo With a Posse.
When he set about making "The Expendables" - his nostalgic throwback to ensemble action films like "The Dirty Dozen" and "The Wild Bunch" - he made some smart choices.
And The Expendables could've worked in a Commando meets The Wild Bunch sort of way.
“The Expendables,” while not a perfect movie, is a call back to the classic action films of the seventies and eighties when men were buff, grizzled, hairy and fired off huge guns while also getting the woman in the end, it’s a traditional action film that is also director Sylvester Stallone’s own version of “The Wild Bunch” about old cowboys who have one last stand to reclaim their dignity and self-respect.
What follows is a mix of Sam Peckinpah's classic "Straw Dogs" and Michael Haneke's two "Funny Games" films, as the mild-mannered Sandins must make difficult choices and tap into their inner animals.
Lifting ideas from “Funny Games,” Sam Peckinpah’s classic “Straw Dogs” and apparently an original TV episode of “Star Trek,” “The Purge” also features a wounded black man (Edwin Hodge) Charlie allows into the Sandin house when he begs for help and “Purgers” in masks recalling the “V for Vendetta” face appear, led by a fellow who resembles Heath Ledger (Aussie Rhys Wakefield).
Unlike, for example, Sam Peckinpah’s masterful Straw Dogs (1971), DeMonaco doesn’t spend enough time with the characters pre-Purge to give us much insight beyond the bare necessities, so their eventual devolution into primordial self-protection feels more like genre machinations than psychological intrigue.
DeMonaco has spoken of his debt to Sam Peckinpah's Straw Dogs and John Carpenter's Assault on Precinct 13, the latter providing Hawke with a star vehicle via the DeMonaco-scripted 2005 remake.
Like Sam Peckinpah's "Straw Dogs," "The Purge" challenges liberal pacifism by daring us not to get wrapped up in its demented revenge plot.
His story is a modern “Straw Dogs” about a man pushed to his breaking point in a world where he can’t escape the horrors of violence.
Audiard has said "Dheepan" was inspired by Sam Peckinpah 's "Straw Dogs" (1971) and his focus on Sri Lankan immigrants was chosen largely for narrative purposes.
The filmmaker has said that he and his co-writer Thomas Bidegain wanted to craft a Straw Dogs-style flick and then worked their ways backwards to the diaspora scenario, and you wished the process had been reversed.
13 Assassins (2010)
Directed by Takashi Miike
influenced by The Wild Bunch (1969)
Themes Visuals Plot
But I wonder if it more closely resembles another end-of-an-era picture, Sam Peckinpahs The Wild Bunch.
So too did Sam Peckinpah’s “The Wild Bunch” and Spielberg’s “Saving Private Ryan.”
13 Assassins, Takashi Miike's costume-period retro-cross-cultural updating of Sam Peckinpah's The Wild Bunch (and more horizontal homage to obvious antecedents by countrymen Kurosawa, Kobayashi, and Chushingura), initially seems a surprise choice for someone who's made his name (80+ times in the last twenty years) with transgressive, flamboyantly outré Yakuza and horror pictures.
Nobody (2021)
Directed by Ilya Naishuller
influenced by Straw Dogs (1971)
Plot Visuals Themes Characters
It is most evident in the climax, which is highly inspired by the ending of Sam Peckinpah’s Straw Dogs (1971).
Both directors have similar tastes in kicks, bullets and punches and they respect these main attractions; similar to Sam Peckinpah’s love for carnage in films like Straw Dogs .
Article content Going into Nobody , I’d thought it was one of those films where a non-violent dude has an extreme change of heart – picture Charles Bronson in Death Wish , Dustin Hoffman in Straw Dogs , Choi Min-sik in Oldboy , or any of their various remakes.
Sam Peckinpah took it to its extreme with his 1971 movie “Straw Dogs,” wherein Dustin Hoffman’s meek mathematician can’t stop roughnecks from raping his wife, yet ultimately learns to take a stand.
But its 90 minutes fly by, and it’s a canny vehicle for Odenkirk, the unlikeliest star of a righteous macho bloodbath since Dustin Hoffman got his bear trap on in “Straw Dogs.”
Logan (2017)
Directed by James Mangold
influenced by The Wild Bunch (1969), Bring Me the Head of Alfredo Garcia (1974)
Themes
Logan uses violence, profanity, and other unnerving, shocking artistic choices the way a film like Bonnie and Clyde, The Passion of the Christ, The Wild Bunch, or RoboCop for example pushed boundaries as statements and to speak to greater truths about the characters and the world they inhabit, to evoke responses that make the moments of violence resonate within the viewer as expressions of the themes and how we connect to them personally.
Here, he imbues Logan with elements of Shane as well as the likes of Sam Peckinpah’s The Wild Bunch (especially in its use of elegiac violence) and Clint Eastwood’s Unforgiven with a touch of the more contemporary likes of the Coen brothers’ No Country For Old Men.
There’s even a touch of Peckinpah’s Bring Me the Head of Alfredo Garcia in its sweaty desperation – and in its violence.
Staged in homage to the opening of Sam Peckinpah's The Wild Bunch , the fight is a protracted slow motion bloodbath seen through the eyes of the wary little boys who stand at the sidelines and watch the snow turn to pink muck as their fathers slash and bludgeon one another.
Cinephiles will find echoes of The Wild Bunch, Heaven's Gate, Leone and Visconti in the mix, yet the director has modulated the nervy syntax to fashion what is meant to be his most accessible movie - the percussive rock score and wan romantic clinches between DiCaprio and Diaz are firmly in the blockbuster idiom.
Unforgiven (1992)
Directed by Clint Eastwood
influenced by Ride the High Country (1962), The Wild Bunch (1969)
Characters Themes
The graying gunfighters of David Webb Peoples's acutely observant script recall such classic films as John Ford's Searchers, Howard Hawks's El Dorado and Sam Peckinpah's Ride the High Country.
What Eastwood does with that anti-character here is similar to what Sean Connery did with the James Bond character in "Never Say Never Again" or what Sam Peckinpah did with the aging western heroes in "Ride the High Country."
For "Unforgiven," the story of a reformed killer who re-confronts his past, is very definitely an old-guy Western, as elegiac in its own way as such classics as "The Wild Bunch" and "Ride the High Country."
In other movies that have studied the outlaw spirit -- "Bonnie and Clyde," "The Wild Bunch" and even "Thelma and Louise" -- the bad boys, no matter how lovable, have followed the dictates of their melancholy profession, taken their wages and have died.
For "Unforgiven," the story of a reformed killer who re-confronts his past, is very definitely an old-guy Western, as elegiac in its own way as such classics as "The Wild Bunch" and "Ride the High Country."
Then they settle down to tell a vivid story of a vengeful, explosive showdown, with echoes of "Shane," "The Wild Bunch" and Henry King's wonderful 1950 Western about a reluctant legend, "The Gunfighter."
With a title whose clumsy brutality echoes a Steven Seagal film, Death Sentence is a roiling nightmare of Straw Dogs meets Taxi Driver at the Death Wish corral, and it may be the most depressing action movie ever made.
Brokeback Mountain (2005)
Directed by Ang Lee
influenced by Bring Me the Head of Alfredo Garcia (1974), Ride the High Country (1962)
Visuals
Absolutely true -- the movie has the blood of Sam Peckinpah running through its veins (and I'm not referring to its violence but its lifeblood) -- particularly "Bring Me the Head of Alfredo Garcia" and "Pat Garrett and Billy the Kid."
NEW YORK - "Peckinpah's Ride the High Country," says James Schamus, producer of Brokeback Mountain and right-hand man for Ang Lee for his last nine movies.
It's a potent scenario, whether used for psychological explorations of manhood, as in Sam Peckinpah's Straw Dogs (1971), or simply as a taut exercise in form and formula, like You're Next.
(Earlier examples of the sub-genre include Straw Dogs, Desperate Hours, Panic Room, and Funny Games.)
Whether that be this year's "The Purge," or the earlier "Straw Dogs," "The Strangers," "Funny Games" or the most popular if older one, "Panic Room" (with Jodie Foster and a young Kristen Stewart) they feature a variation of the old "Three Little Pigs" tale where the old wolf threatens, "Then I'll huff, and I'll puff, and I'll blow your house in" while trying to get to the title characters to eat them.
Just that one character transforms "You're Next" from a formulaic gore fest into a female version of "Straw Dogs," with maniacs trying to get into the house and a mild-mannered person inside, blossoming into a homicidal genius.
In fact, it all but wears its influences proudly on its sleeve (with nods to Scream and Straw Dogs, among others).
It covers the same bloody ground as Peckinpah�s superior "Straw Dogs" (71) and Haneke's more effective unpleasant psychological thriller "Funny Games" (97), capturing only the nihilistic trappings of the latter but failing to bring together a compelling story that holds up to scrutiny when the sun rises and we see how vacuous this sociopathic killing spree plays out.
Debut feature from writer/director Bryan Bertino is clearly influenced by everything from The Desperate Hours, The Shining and Straw Dogs to the more recent Funny Games and Vacancy.
It's not nearly as gruesome or upsetting as Haneke's movie and it has almost none of the agonizing suspense of the genre's classics ("Straw Dogs," "The Desperate Hours").
Beyond Them, debuting director Bertino has done his homework, riffing on home invasion classics Straw Dogs and Funny Games, borrowing jumps from Halloween and Night of the Living Dead, and lifting the “based on a true story” tag and sombre opening narration from The Texas Chain Saw Massacre.
Similar premises were played out to more disturbing effect in films such as Straw Dogs and the recent The Devil's Rejects; and in more dated but effective fashion in The Desperate Hours (the 1955 William Wyler-Humphrey Bogart version).
From Deliverance to the new Straw Dogs, elitist Hollywood hasn't shown rednecks any respect.
But with this bright comedy , Eli Craig and co have revived it by giving a devilish twist to films such as Deliverance, Straw Dogs and endless B-movie horror flicks that demonise rural rednecks who prey on unwary city visitors.
Movies based on fear of leaving the interstate date to Norman Bates and beyond, but the trend has accelerated in recent years with remakes of 20th century countrified slaughterfests - "The Texas Chainsaw Massacre," "Straw Dogs" "Last House on the Left," and on and on and on and on and on.
As recently as the rotten remake of Sam Peckinpah’s Straw Dogs, anyone below the Mason Dixon line has been portrayed as a predator, a bloodlusting lunatic who just can’t wait to unleash his or her own internal demons.
Two weeks ago, " Straw Dogs " tiptoed its way around the Southerner-as-a-brute stereotype, with varying degrees of success, depending on whom you ask.
Straw Dogs is another good example of that genre, and the ending of Men seemed high reminiscent of the famous home invasion climax in that controversial Sam Peckinpah film.
Soon, she finds herself cornered by intruders, and like the yuppies trapped inside a country house in Sam Peckinpah’s Straw Dogs (1971), she defends herself with savage violence.
Later, following an encounter with a razor and a stolen wardrobe, he emerges as a fragile nebbish, an uncommunicative antihero alongside whom Dustin Hoffman's nerdy mathematician from Straw Dogs (to which this pays passing homage) seems like a man of muscular action from the outset.
That’s only part of the excitement of “Blue Ruin,” a film that veers from Coen brothers territory straight to the siege hell of Sam Peckinpah’s landmark “Straw Dogs” when Wade holes himself up in the Cleland family’s home in the woods.
I'm not saying that Verhoeven and Peckinpah are in the same league (really, will they be watching "Total Recall" instead of "The Wild Bunch" in film schools anytime soon?), but this is probably a good way to describe Verhoeven's films.