In my book, overkill in movies specifically refers to an instance in which one particular individual is killed until they die from it to the point of utter absurdity.
In other words, if the general audience reaction isn’t on par with this:
Then it probably doesn’t qualify as overkill.
That being said, this new series of posts is going to dedicated to presenting you people with the Top 10 Best Overkills in movie history.
First on our list, is the relatively tame, but good enough for a #10 spot comic book action flick: The Punisher.
CLICK HERE FOR CLIP – For the overkill in question, skip to 3:45.
Okay, so the setup for this scene, is that this blond, Tobin Bell lookin’ mother fucker got in The Punisher’s way when he was trying to rescue his wife and son, and so by the time we reach the end of the movie, and The Punisher has in fact become THE PUNISHER, he’s definitely got an itch to get this Arian piece of fuck back for what he did.
Being as this dude is in fact an “ugly henchman,” with a brain roughly the size of a walnut, he of course makes the brilliant tactical decision to enter in the combat by shooting The Punisher IN HIS KEVLAR VEST not once, but twice.
Seriously, at point blank range he doesn’t even think to maybe aim for head at least once?
Anyway, The Punisher of course; isn’t happy about this, so he promptly socks the blond dude in the face, grabs hold of the shotgun, and uses it to blow the dude’s foot off.
A nice start, but I think ‘ole Frank can do better…
With that, The Punisher bashes the blond dude’s head against the wall, and then the 2 go into one of those awkward, not quite strangling, not quite grappling, manly groping sessions.
Before things can get too fruity though, The Punisher decides to reinforce his heterosexuality by grabbing hold of the blond dude’s arm, and wrenching it out of place.
With the blond dude’s face now permanently locked in a comical expression of over-the-top pain, and half of his limbs pretty much immobilized, The Punisher takes this opportunity to take a step back and get a little creative with his overkill.
For seemingly no reason other than to by himself some time to think up a pimp-ass way to fatally, uh, “punish” the sad sack piece of fuck standing before him, The Punisher pins the dude’s arm to his own hip, and then stabs a knife through the guy’s palm.
This of course causes the blond piece of fuck to make just about the goofiest face imaginable:
With the dude now goofy faced, lacking mobility in half of his extremities, and stuck with his hand on his hip like a pissed off mother, The Punisher is finally struck with the inspiration he needs to complete his masterpiece of overkill-ery.
Feeling an urge keep things going with his knife motif, The Punisher then removes the knife from the dude’s palm/hip, and then rams it up underneath the dude’s jaw, through his tongue, and into his brain.
With his tapestry of overkill-ery finally complete, The Punisher leaves the blond dude to make gurgling noises and slide down the wall as he stomps off to chase Babe Ruth’s single season homerun record, kill John Travolta, blow up giant sharks, squish giant spiders, and fuck middle-aged women with his massive dong.
Oh wait, that’s Thomas Jane’s career.
Anyway, that’s the first overkill of our Top 10 list folks.
I’ll probably catch some flack over this one because it wasn’t particularly bloody, or even graphic for that matter, but think of it this way:
We watched The Punisher kill this blond bastard for 30 whole seconds.
This was not a 30 second fight, this was 30 seconds straight of one dude, killin’ another dude.
*Sorry folks, no clip this time. After all, it is a Spielberg…*
Let it be known, The Lost World is just about the most outright savage example of “Spielbergian Spite Killing” in practice.
For the uninitiated, “Spielbergian Spite Killing” refers to the indisputable fact that anyone who is an asshole, or is at all deserving of comeupance in any way shape or form, will; at some point in the movie, FUCKING DIE FOR IT.
For instance, in The Lost World alone we have:
A man doesn’t hear his friend’s cries for help on account of him listening to a Walkman.
HE FUCKIN’ DIED FOR IT.
Then, we have a weasely Brit that’s guilty of… Well, being a weasely Brit.
HE FUCKIN’ DIED FOR IT.
Which brings us to Dieter Stark, played by resident creepy-as-fuck Swede, Peter Stormare.
Dieter Stark seemingly makes it a point to be a douche in every scene he’s in.
The first time we see Dieter, he’s riding around in a jeep and mishears Peter Postlethwaite, thusly resulting in him asking Postlethwaite to repeat himself.
No self-respecting MAN asks Peter Postlethwaite to repeat himself.
That’s strike 1.
After the creature is declared, quote: “not dangerous,” Dieter promptly whips out his trusty cattleprod, (never leave home without it) and zaps the little fucker seemingly just for the sake of seeing it squirm.
That’s strike 2.
Finally, in one of Dieter’s last scenes in the movie, he is seen pacing around in the background while giving Vince Vaughn the goddamn stinkiest of stink-eyes.
This of course results in a brief shoving match between the 2, which for all intents and purposes, Dieter loses, ’cause c’mon:
It’s fuckin’ Vince Vaughn.
No self-respecting MAN starts shit with Vince Vaughn and lives to tell the tale.
And that makes a big-fuckin’ strike 3.
Which brings us to the #9 Best Overkill in our Top 10 list of Best Overills in Movies:
Not long after his littler scuffle with Vince Vaughn, Dieter separates himself from the mercenaries/Team Goldblum in order to go relieve himself in the woods.
Upon leaving, he tells his buddy Carter to wait up for him, only for the camera angle to zoom-in and reveal, *GASP!* Carter couldn’t hear him on account of his wicked awesome Walkman!
In a film where there are crazy fuckin’ dinosaurs boppin’ around in the wilderness, and your character has; up to this point, been a total prick, you can pretty much guarantee that somethin’ bad’s gonna’ happen when you wander off on your own.
Sure enough, just before ‘ole Dieter can whip it out, he hears some chirping in the bushes, which upon further investigation; reveals the source to be:
Turns out, one of those Compsognathus’ found his ass out in the woods and decided to scare the piss out of him, seemingly just for kicks.
Dieter being the kind soul that he, exchanges a bit of silly banter with the Compy, and promptly whips out his retractable cattleprod and proceeds to do what he can to introduce the little guy to the wonders of electricity.
Now, after all this excitement, Dieter discovers that not only has he forgotten that he needed to pee, but he also doesn’t know how to get back to Team Goldblum.
Just how fuckin’ shy can this guy’s kidneys be that he needs to run 3 fuckin’ miles into the wilderness to take a piss!?
I don’t know, maybe he was one of those fat kids that had body image security issues and swam with his shirt on or some shit…
ANYWAY, Dieter starts meandering through the woods repeatedly calling out:
Cut back to Carter, listening to 99.3 FM, La Grande:
After quite literally getting turned around in there, Dieter unfortunately takes a bad step in the woods and falls ass over teakettle down into a creek bed ravine.
Collapsed on the ground, and in a great deal of pain, Dieter once again hears that familiar chirping and finds himself set upon by a bevy of fearsome first-person camera shots!
Thusly begins our overkill.
Composognathus’ start piling in from out of the woodwork, mounting Dieter like a little bitch and busting out some serious ground and pound.
These tenacious little fuckers manage to cover every inch of poor Dieter, biting and clawing at him, and generally putting a cap on one very bad day out in the woods.
Seriously, they get on his neck:
With that, the Compys randomly decide to detach themselves from Dieter, in concert; mind you, leading to a downright cruel sequence wherein the entire swarm of them line up and basically taunt poor Dieter.
This angers the mighty Swede, thusly causing him to chase them off with a combination of manly primal screams and equally manly rock throwing.
While silly looking, these tactics prove effective enough to by Dieter enough time to do some Home Alone Joe Pesci swearing, (“Regit, frigit, midgit, son of a…”) and actually try something practical; I.E. calling for Peter Postlethwaite instead of that sack of fail Carter.
Unfortunately, Postlethwaite is off doing something badass, like killing a fuckin’ T-Rex with his bare hands or some shit, so he doesn’t exactly hear Mr. Dieter.
In his defense, whatever Peter Postlethwaite was doing, I’m pretty sure it was more important than saving the fuckin’ Swede from the Frogger episode of Seinfeld.
Anyway, we then cut back to Dieter, who is now growing desperate, and has regularly begun chucking rocks at the creepy first-person tracking shot that just won’t seem to leave him alone.
Of course, with all that hazardous backwards walking in the creek, Dieter eventually trips over a rock and falls flat on his face.
Then, something silly happens.
Despite his wounds, despite the horde of nasty little fuckers trying to EAT HIS FLESH, Dieter takes a moment, while laying the creek; to GET A DRINK OF FUCKIN’ WATER!
WHAT THE FUCK!!??
Priorities, dude: Get ‘em in order…
Otherwise this happens:
Despite (literally) tearing this sad sack pile of Swedish fuck-sauce’s ass to ribbons, Dieter somehow manages to haul himself up out of the creek, and make a run for a downed tree.
That proves to be his final mistake.
As he reaches the tree, Dieter gives one final look back at his pursuers, as if to say:
And then proceeds to weakly roll over the log, essentially sealing his fate as the Compys follow his ass all the way down:
With that, being as this a PG-13 film, we are treated to a tasteful closing shot of our overkill involving no graphic violence, but rather a great deal of implied nastiness in the form of George Lucas backed sound editing, and a fair amount of blood streaming through the creek bed.
All that carnage and nastiness, resulting in the 9th best Overkill in Movies, from a tiny dinosaur that was considered, quote:
In case you haven’t noticed as of yet, the bottom tier of our Top 10 Best Overkills in Movies list is largely made up of odd and/or controversial kills.
Though one would think that overkill would be commonplace among slasher films, in my experience; this is simply not the case.
Slasher movie kills tend to be gory and over the top, but rarely enacted in the prolonged manner that would suggest overkill.
That being said, while I have a decent background with slasher and horror flicks, I am no expert; so I would like to take this opportunity to apologize if my choice of overkill is not best example the genre has to offer.
All formalities and introductions aside, let’s get to overkill #8: Jason Voorhees killing the ever-living fuck out of a young man named Trey.
Now, what we have here, is the classic: “dude chilling in bed with a beer while his woman’s in the shower, only for Jason to show up and wreck his shit like no other.”
Okay, maybe it’s not a “classic” per se, but seriously man; Jason goes to town on this guy like he stole from him or some shit.
Let’s run a play-by-play:
Trey’s layin’ in bed, watchin’ the game; havin’ a Bud’, nothin’ special,
then outta’ fuckin’ nowhere, an exceptionally zombie-like and rotted to shit Jason FUCKIN’ Voorhees appears right in middle of his bedroom, lit by a conveniently timed thunderclap!
Gaping in horror at the modern spectre of walking -fucking-death looming over him, trademark machete at the ready; Trey does what any self-respecting man in his position would do:
First he screams like a little bitch,
and then rolls over onto his stomach.
Hang on, what?
Now, I don’t know what sort of kinky shit Trey and his girlfriend were into, but where I come from; turning your back to a machete, or any danger for that matter; is never a good idea.
It only serves to give those who may be wielding said machetes ideas as to where they could “insert” such instruments.
Thankfully Mr. Voorhees is not as creative as the Azn Badger, otherwise this overkill would probably have to be ranked #1.
No, instead, Jason decides to the go the more traditional route, and simply ram his machete up and down, repeatedly; into poor Trey’s back and spine like he’s playin’ “Jerk-Off the Elephant” on the mother fuckin’ Wii.
By my count, Mr. Voorhees rams that sucker into that that, uh, fucker, no less than 12 times.
To say that Jason gets a little carried away with the machete ass-rape is, of course, not doing this particular episode justice.
Cut to Trey’s girlfriend in the shower looking off in the distance, quizzically.
Somehow I doubt this particular lady even knows what the word “quizzical” means.
Anyway, after being impaled about a dozen times or so, Trey’s very likely recently expired form lies on the bed doing that which he undoubtedly valued most in life:
Holding a cold beer.
Seriously, for whatever reason; we’re given a random shot of Trey clutching a beer like it’s the fuckin’ Holy Grail or some shit.
Trey twitches for a bit, and it would seem the deed has been done.
With that, Mr. Voorhees plants his machete into the floor, and prepares to put the finishing touches on his masterpiece of overkill-ery…
Seriously man, HOLY FUCKING SHIT THAT WAS AWESOME!
Who the fuck knows why Jason had to do that to poor Trent, but count me among the people that are glad he did!
Honestly folks, that is the definition of overkill.
Doing the deed, but going the extra mile to make it something special.
Kind of like an extended session of two-player Elephant Jerk-Off on the Wii…
*Note: I am aware that they may be better overkills out there, but c’mon; this is Van Damme vs. Ivan Drago we’re talking about…*
Universal Soldier is not a good movie.
Hell, it’s not even a good Van Damme movie.
Despite this, I doubt any of us will forget the supermarket sequence,
or watching Van Damme kick the shit out of truckers for absolutely no reason.
Anyway, this list isn’t about hero worship; it’s about overkill, so let’s get to it.
The overkill in question occurs during the final battle of the film between the 2 crazy, roided-out Universal Soldiers of the title.
Well, maybe Van Damme isn’t, but Dolph is ‘roided out at this point anyway…
Being as this is a Van Damme film, the first half of the fight belongs to the villain.
For several minutes straight, Dolph kicks the ever-loving shit out of Van Damme, making the stunt crew and wire team work for their money in the process.
Unfortunately, just as victory seems certain for the uber-Swede, he makes the BIG FUCKING MISTAKE of diverting his attention to Van Damme’s lady friend in the background.
By “diverting his attention,” of course, I mean “chucking a grenade up her ass.”
There are only 3 things in this world you don’t do when Van Damme’s in town.
First, you never throw white powder in his eyes.
That’ll get you kicked in the head, REPEATEDLY.
Second, you never, never, travel through time without the proper authority.
That’ll get your ass Ron Silver-ed.
And third, you never, ever, EVERRRR, ogle/threaten/rape/blow-up the woman that Van Damme is into, but isn’t actually in a legit relationship with on account of them not fucking, or not having known each other long enough for their feelings to amount to them wanting to fuck.
Seriously Dolph, you were home free until you chucked that grenade up that pretty ladies’ ass…
Not only that, but you know that fire your grenade just caused?
Well, it serves to give Van Damme ample opportunity to stand up heroically in front of it, thereby solidifying this part of the fight as his “comeback moment.”
Needless to say, Van Damme gets back in the fight, managing to land his first noteworthy blows.
Despite Van Damme’s angst/kicking power, there’s still the matter of Dolph’s ‘roid enhanced powers…
Due to the vast disparity in strength levels at this juncture, Van Damme still finds himself on the receiving end of a lot of downright silly Full Metal Jacket-esque taunts, in between eating a lot of Swedish knuckle-sandwiches, of course.
In fact, Dolph puts even his ass through a wall at one point.
No matter, Van Damme is in “comeback mode” at this point, thereby making any attacks only serve to enhance, rather than deplete his Belgian man-strength.
At some point, Van Damme manages to snatch an extra syringe of ‘roids off of Dolph’s tactical vest.
Now, these ‘roids have to be just about the fastest acting chemical substance found on this Earth, as after no more than 5 seconds, Van Damme’s strength level seems to shoot right past ‘ole Dolph.
With that, Dolph’s days of landing noteworthy blows, or even trying to defend himself come to an end, as things may as well have just shifted from the traditional martial arts movie “comeback mode,” to “Van Damme kicks people in the face mode.”
Needless to say, Dolph gets shown all 4 corners of the, uh, barn; and then some.
It all comes to a head when Van Damme gets a hold of Dolph and decides to throw technique and variation out the window in favor of throwing the same punch about 50 billion times.
Seriously, virtually every drop of blood, and every bruise inflicted on the giga-Swede in this fight were the product of said punches, and seemingly nothing else.
Anyway, the Van Damminator gets his first bit of revenge by putting Dolph through a wall, thusly bringing the fight back outside into the rain.
Anyway, mass face-kicking ensues, resulting in Dolph falling backwards onto a harvester, and the true beginning to our #7 best overkill.
Here are the results of said fall:
Wow, that’s a lot of holes!
As one would expect, Dolph doesn’t get up from that one.
Well, not in the traditional sense anyway.
Anyway, with his un-impaled hand, Dolph grabs hold of the back of Van Damme’s head, and in one final attempt to finally make our hero a “dead soldier,” tries to pull Van Damme’s face into the harvester blade protruding from his own chest.
If that’s not savage, I don’t know what is.
Unfortunately, Van Damme still has some of that ‘roid sauce in his blood, thusly allowing him to deftly snap the big Swede’s forearm out of place.
Being as Dolph is still impaled and stuck to the harvester blades, and now has no operational limbs, I’d say his threat level just dropped to zero.
Even so, Van Damme doesn’t like loose ends, so being as this is a 90′s action flick, he runs on over to the power switch for the harvester, and unflinchingly turns that sucker on!
While we aren’t treated to the gloriously gory details of the Swedish slice-o-matic extravaganza,, we do bear witness to a tasty little tidbit of the carnage in the form of a shot of the harvester’s expulsion duct blowing bits and chunks of Dolph out into the night sky.
Rest assured, the next harvest on this particular farm will grow inordinately large and blond from the trickle-down effect of laying Dolph’s liquified form onto the fields…
Oh yeah, and it turns out the chick didn’t get blown up.
#6 on our Best Overkills in Movies list, is what we call a “gimme.”
That is, something that is a given; something that is so obvious that it’s pretty much obligatory to the subject matter.
Bonnie and Clyde is well documented as a game changer in Hollywood cinema, setting a precedent with it’s graphic, flamboyant, and borderline pornographic portrayal of violence, as well as it’s rapid-fire editing style.
You see, in 1967, bullet hits and violence were generally staged in a very theatrical fashion I.E. man mimes getting shot, clutches side in agony and falls down after doing a silly dance.
Kind of like this, but with guns:
Unlike most other films of the time, Bonnie and Clyde employed extensive use of squibs for it’s bullet hits, greatly enhancing their visual and dramatic impact in the process.
Take for example this squib hit from Total Recall:
While I haven’t personally seen Bonnie and Clyde, I’ve been shown it’s historical overkill sequence numerous times, usually in school of all places.
Anyway, that’s enough film school bullshit, let’s make with the overkill:
The setup couldn’t be more classic.
Basically, we have the pair of bank robbers taking a leisurely drive down a country road, celebrating Clyde’s impotence, you know; the usual.
Anyway, eventually they run across an old man changing the tires of his truck on the side of the road.
I’d just like to take this moment to point out that this particular old man has a habit of nervously twitching and looking off into the nearby foliage every couple of seconds.
Hmm, I wonder; why on Earth would a seemingly inconspicuous old man act like this?
Surely not because the cops paid him off to help them lure Bonnie and Clyde into a overkill death trap…
Of course that’s why, dumbass.
Pretty much as soon as Clyde hops out of the truck, leaving Bonnie to sit alone; some crazy shit starts goin’ down.
The old man’s eye twitches!
A flock of birds fly out from the bushes!
Bonnie gives Clyde a last second “fuck me” glance!
And then shit goes from choppily edited craziness, to insanely brutal OVERKILL craziness…
Virtually unseen from their sniping positions in the bushes, the police open up on Bonnie and Clyde with one helluva’ Ultra Combo of gunfire.
Unfortunately, neither Bonnie nor Clyde remember the command inputs required to execute a C-C-C-Combo Breaker, thusly resulting in their grisly demises at the hands of a few hundred bullets.
Seriously, when it comes to, literally; “painting” a target with gunfire, these cops get an “A.”
Needless to say, Bonnie, Clyde, and their sweet-ass truck are torn to ribbons, with Clyde getting sprayed so bad he ends up being spun around on the ground like a dog trying to cure a nasty itch.
In all, we are treated to just over 20 SECONDS STRAIGHT of Great Depression era overkill savagery.
Do the math son, 20 seconds is a motherfuckin’ eternity when it comes to simply showing 2 people get shot.
While hardly creative, or even all that graphic by today’s standards, Bonnie and Clyde’s climactic overkill sequence is well remembered as a revolutionary moment in film history.
Why then, with all this overkill savagery; and all these pimpin’ credential is Bonnie and Clyde ranked so low on the Top 10 Best Overkills in Movies?
Because this is my fuckin’ list, that’s why.
Like I said, while I respect the legacy attached to the film, I haven’t even seen it, so honestly you should be happy this one even made the list.
Besides, this is supposed to be a list of the BEST Overkills in Movies, not the bloodiest, or the most famous; the BEST.
That being said, Bonnie and Clyde sits atop the bottom 5 on our list, and trust me; once you’ve seen the top 5, you’ll think twice about questioning my judgment…
Seriously, good shit’s to come.
Really, how could we have a discussion about overkill without mentioning Steven Seagal?
Seriously, half of the man’s success as an action star stemmed from his propensity for protracted, and gloriously savage kill sessions at the end of his earlier (and better) movies.
Almost makes you forget that he runs like a feeb:
Hell, I bet half of you didn’t even know he could run.
Anyway, as #5 on our list of the Top 10 Best Overkills in Movies; it needn’t be mentioned that the end fight of Out For Justice is a truly exceptional overkill; even by Seagal-ian standards:
The overkill in question takes place during the climactic confrontation between Seagal’s Gino Felino, and a massively bloated William Forsythe’s Richie Madano.
Honestly man, I don’t know what the fuck was up with Forsythe in this movie, as I can’t really recall having seen him in anything earlier than this movie, but Jesus-fuck he was HUGE.
Anyway, this particular overkill gets brownie points due to dramatic tension between the 2 characters.
Did I really just use the phrase “dramatic tension” in regards to a Seagal movie?
What I mean to say, is that the whole movie is essentially about Seagal chasing Forsythe, who killed the former’s partner and is otherwise guilty of being a crackhead, a homicidal maniac, and for being fucking HUGE when his character is supposed to be on the crack.
Things come to a head as Seagal finally catches up to Forsythe as the latter is living it up at a house party.
Casey-Fucking-Ryback, I mean, Steven Seagal; of course, crashes the party like the massive tool that he is, and manages to kill off Richie’s entire gang despite taking a nasty bullet to the gut.
Cracked out of his mind, Forsythe makes the rather foolish decision to march out into the open to greet Seagal, citing the fact that he is out of bullets, and thusly should be placed under arrest.
Seagal? Doing actual police work?
Not bloody likely!
With the atmosphere in the room rife with the man-stank of impending physical conflict, Forsythe rushes Seagal, and the overkill officially begins.
As does Richie Madano’s lesson in futility.
Or at the very least, thrown into a shit ton of hard surfaces and/or furniture.
With his prey laying in shambles on the floor, Seagal readies himself by spreading his arms and attempting to pinch a loaf right then and there.
Still reeling from the savagery of Seagal’s uber-savage aikido throw, Forsythe eventually manages to pick himself up and…
Attempts to bum-rush Seagal for the 2nd time in a row.
On the side we also get a nice shot of the diaper/back pad that Forsythe was wearing for this scene, probably to keep from shitting himself in awe of the sheer epicry that was 1990′s Steven Seagal.
So let’s recap:
Forsythe: 0. JUSTICE: 2.
Despite the odds being heavily stacked against him, to his credit; Forsythe manages to pull a fast one on ‘ole Stevie.
As Seagal is picking Forsythe up from the floor, presumably to prep him for another trip to Ikea hell; the fat man somehow summons the strength to send the both of them through the nearby hand-railing, and off the balcony!
Scrambling to their feet, the 2 men once again lock-up and grapple with one another.
That is, only if you call Steven Seagal grabbing William Forsythe by the head and kneeing him in the face “grappling.”
Stunned, but not terribly injured, Forsythe stumbles back against the wall, and proceeds to totally lose his shit as he makes the meanest of mean faces and tosses a fuckin’ shelf at Seagal.
Now, based on what’s come before, what kind of shit do you think Forsythe tries to pull this time?
Unfortunately, you’d also be
This of course, results in more aikido tossing and furniture realignment.
His face now covered in blood, Forsythe finally decides to change up his tactics a little, this time throwing a punch at Seagal.
This of course results in Seagal blocking said punch and returning it with a swift combination of punches, topped off by a tasty kick to the Jimmy.
Protip: DON’T try to fight Steven Seagal.
After a pretty savage stomp on the head, Forsythe somehow manages to reach up from the floor to thumb the shit out of Seagal’s gut wound from earlier in the movie.
Despite the white-hot, searing pain that said sausage-thumb in his gut must bring him, Seagal summons all of his man-strength and grabs hold of Forsythe’s neck runs his ass backwards a few yards and into the kitchen.
After chucking Forsythe into a nearby table, Seagal once again readies himself with another impromptu giga-deuce.
Thus begins the stage of the fight where Seagal’s opponent grows desperate and begins grabbing hold of whatever blunt instuments/bladed objects are readily available, only to have said weapons turned against them.
Forsythe’s first attempt in using said tactic, is to grab hold of a kitchen knife, and start winging it around like a damn fool.
This of course results in Seagal grabbing hold of Forsythe’s arm, and wrenching his wrist out of place.
With his wrist now considerably FUCKED, Forsythe’s next bid for victory employs the use of the deadliest of all kitchen utensils:
A pepper mill.
Disarming him, and knocking Forysthe’s fat ass to the floor AGAIN, Seagal follows this up by putting the obese fuck’s head through the nearest window.
Sliding down the windowsill, and back into the kitchen, Forsythe’s scrambles to his feet and grabs hold of Seagal’s sleeve, only to be clubbed over the head with, *GASP* the pepper mill!
Forsythe’s next weapon of choice proves to a classic of kitchen warfare: a frying pan.
Unfortunately, he only really gets to swing it once before Seagal slips behind him, snatches the pan, and bashes the poor fat bastard over the head with it.
Now, let it be known, Steven Seagal is not a punchy/kicky kind of guy.
As mentioned previously, his fighting generally consists of throwing people into things/people, but seldom does he ever find a need to throw a punch.
That being said, after the knife, pepper mill, and frying pan, Seagal get a little overconfident, and decides to uncork some of the wimpiest punches of his long career on Forsythe’s face.
Speaking of “uncork,” as Forsythe lies on the floor, chuckling at the fanciful display of feeble combination punching just unleashed on his face, he very slowly begins to make a move for a corkscrew/wine opener!
As Forsythe hobbles to his feet, muttering an ominous “fuck you,” we enter the grand finale of our #5 Best Overkill sequence.
With one deft move, Seagal evades Forsyth’s lunge with the corkscrew/wine opener; and promptly jams that fucker into the fat fuck’s face:
Thus concludes our decidedly Seagal-ian overkill.
Oh yeah, it should also be noted that, moments after finally killing Forsythe, Seagal also takes the time to shoot the ever-loving-fuck out of the poor fattie’s dead body, ’cause you know; the plot.
#4 on our list of the Top 10 Best Overkills in Movies comes from the 2009 remake of the 1972 Wes Craven horror film, The Last House on the Left.
While both films are remembered in the annals of horror film history mostly for their graphic rape sequences, (and little else) the remake has the distinction of having some truly brutal kills to go along with them.
The basic concept of both films is based around the rather unique idea of incorporating a role-reversal in a horror film, involving a couple of (initially) totally innocent parents, turning heel and going balls-out psychopath on a group of rapists/murderers that sexually assaulted their daughter.
That being said, the overkill in question involves the parent’s revenge on a member of the trio of rapists/murderers, Francis, played by Aaron Paul, who looks a whole helluva’ lot like an uglier version of Justin Chatwin AKA Goku from the live-action Dragonball: Evolution.
For the purposes of this article, Francis shall henceforth be referred to as “Goku.”
Anyway, enough talk, let’s get to the overkill:
At this point in the film, the daughter has just dragged herself across a lake, through the woods, and back into her parent’s house, thusly revealing to them the devilish nature of the group of strangers presently taking up residence in their home.
Our overkill begins immediately after an uncomfortable sequence wherein the mom, played by Monica Potter, pretends to come on to Goku with the promise of wine and sex so as to divert his attention away from some family photos on the fridge.
For reasons I honestly don’t remember, Goku walks into the living room, and happens upon the shivering and terrified form of the young girl he helped rape just a few hours ago.
Taking advantage of Goku’s epiphanic moment of incredulity, Mrs. Potter sneaks up behind his Saiyan-ass and bashes him in the back of the skull with a wine bottle.
Being as he was caught off guard, and was thusly unable to summon his ki to put up a protective barrier, Goku is pretty well rattled by the blow to the head.
Even so, he manages to keep his wits about him and chase Mrs. Cameron Poe into the kitchen.
Unfortunately, the wife of Poe grabs hold of a kitchen knife, and though she doesn’t have enough time to lash out and strike with it; Goku proves to be shit-headed enough to walk right into the business end of it anyway.
Goku takes this opportunity to stumble around the kitchen with the knife still lodged in his chest, only to forcefully extricate it a few seconds later.
Not like he was in any sort of hurry or anything,
Now armed with the very knife he was just shanked with, Goku takes it upon himself to rush Mrs. Poe and shove her ass onto the dining room table for a savage beatdown.
Well, that’s probably what he was hoping to do.
Unfortunate for him, he really only gets to call her a “bitch,” and smack her in the face maybe once before Mrs. Poe kicks him in the Jimmy and crawls back into the kitchen.
Despite the kick to the Jimmy, being as he is still armed with the kitchen knife, Goku is still very much the aggressor in this particular conflict.
Anyway, Goku comes charging into the kitchen with knife at ready only to be smacked across the face with a hammer.
At least I think that’s what happened.
The very Bourne-esque cinematography makes it kind of hard to tell what actually happened.
Regardless, Goku; in a desperate bid for survival, gets up and chucks what looks like a fancy toaster into the face of the Man with No-Eyebrows.
Once again capitalizing on the shock and confusion generated by his actions, Goku runs out of the kitchen and into the dining room again, this time in an attempt to call for help to his compatriots in the guest house next door.
Unfortunately, the crazy fucking storm going on at the time prevents anyone from hearing his pleas for help, ultimately resulting in Captain No-Brows catching up to him and grabbing hold of the poor guy’s previously broken nose.
It should be noted that ‘ole Brow-less is in fact a doctor in this movie, one who was actually responsible for treating said nose injury.
With that, Dr. No-Brows puts Goku in a choke-hold and drags his ass, kicking and screaming, back into the kitchen.
Man, whoever did the blocking for this movie needs a dick slap from Michael Clarke Duncan or some shit.
Once again back in the kitchen, the good doctor is suddenly struck with a jolt of inspiration taken straight from the Seagal-ian school of revenge.
Needless to say, Dr. No-Brows takes Goku and chucks his ass into a fuckin’ chair:
Dragging himself across the kitchen floor and over to the sink, Goku almost manages to get to his feet before Mrs. Poe jumps his ass and starts, well, pulling his hair or some shit.
Seriously man, I know she was supposed to be trying to dunk his head into the sink, but really it just kind of seems like she’s outright blanking on what she should be trying to do.
Anyway, Mrs. Poe proceeds to do what she can to try and drown Goku, however, as tends to be the case whenever Goku is involved, he proves to be too strong to succumb to such an attack.
Thankfully, No-Brows shows up and lends a hand, resulting in the 2 parents exchanging a MEANINGFUL glance between one another:
Despite Goku’s head now being very much underwater, Doc Brow-Less once again takes it upon himself to access his more creative instincts as he reaches across the counter and flicks on the sink’s garbage disposal.
Now, despite the fact that the 2 parents clearly had Goku’s head fully submerged with little fuss, for whatever reason it seems like they ease up on him just for the sake of watching him scream like a… Well, like a dude with his hand caught in a garbage disposal.
Anyway, like pretty much any man on the planet, Goku starts tweakin’ like the mother of all mother fuckers.
Seriously man, he goes into convulsions, he screams, I’m guessing he shits himself, and all because he thought it would be a good idea to shove his hand down the drain while people were trying to kill him.
I don’t know, maybe he saw a shrimp down there or something…
Anyway, amid all the chaos, we are treated to a truly horrendous shot of Goku’s skinny jeans:
Now, a good thing to keep in mind when watching this sequence, is the fact that we spend a whole helluva long time watching this guy freak out at the sink.
Seriously, this whole overkill is about 3 minutes long, and a little more than 30 seconds of it are solely devoted to Goku losing his shit and most of his hand.
Anyway, after standing around like an idiot for the past half minute or so, Doc Brow-Less FINALLY wakes the fuck up and grabs hold of the hammer he dropped previously.
Summoning the last of the savage man-strength imparted to him via the astral form of Steven Seagal, Doc Brow-Less heaves the hammer up over his head, and drives the claw end of the hammer into the back of Goku’s skull and into his brain.
This was just #4 folks.
Lots more brutality and awesomeness and/or brutal-awesomeness to come!
Bio-Booster Armor Guyver (Kyoshoku Soko Guyver) will always hold a special place in my heart.
Introduced to me by my cousin from Hawaii, it was the first manga I ever read, and consequently; one of the most influential in regards to my personal creativity.
To this day, I still find myself saying:
“Oh, it’s kind of like Guyver, but…”
Anyway, as well know, anime and manga we’re very much en vogue among the videophiles of the late 80′s and early 90′s, resulting in several fringe production companies making a mad dash to dub/subtitle that shit and bring it over to the states.
By 1991, sufficient interest in the anime/manga subcategory of entertainment had bloomed in the states, to the point that New Line Cinema actually produced a live-action adaptation of Bio-Booster Armor Guyver, called The Guyver.
Well, as much as I was excited for this one as a kid, it pretty much took everything awesome about Guyver, and shit all over it.
Sure, the monster costumes were brilliantly designed for the time, and the soundtrack was actually kind of pimpin’ in a heavily electronic and embarassingly 90′s sort of way, but outside of all that; the movie took my heart and threw it in a blender.
My guess is, somebody over at New Line took a look at the success that they had with the previous year’s live-action Teenage Mutant Ninja Turtles film, (a legitimately good movie) and figured that another movie with guys running around in rubber monster costumes would be a recipe for success.
Sadly, it was:
Flash forward 3 years to 1994, and New Line decides to put out a direct-to-video sequel to their giant pile of Guyver ass-rape.
Now, while Guyver 2: Dark Hero is just about on par with it’s predecessor in terms of shitty screenplays and equally shitty acting, the one thing it got right, was the action.
Directed by Steve Wang, a former director of Power Rangers episodes, the under-appreciated American action movie masterpiece, Drive, and a heavy proponent of martial arts in movies, Guyver 2 was a bloody and extravagant fighting fiesta.
That is, when it wasn’t too busy being overly-talkie and a half an hour too long…
Anyway, despite the fast-paced martial arts fighting of the movie being somewhat contrary to the more samurai/chanbara-esque “one shot, one kill” fighting style of the Guyver manga and anime, this was one case where I appreciated the divergence from the source material.
Enough nerd masturbation, let’s get down to the #3 Best Overkill in Movies:
SKIP TO 2:35 FOR OVERKILL-ERY
Okay, so this particular overkill begins a few minutes into a rematch between the Guyver and some porcupine/rhino lookin’ Zoanoid (monster) that for whatever reason sounds like a cross between a cow and a kitty.
Good job sound editor, really took the most logical course of action on that one…
Anyway, the Kitty Zoanoid starts off the fight by rushing the Guyver, only to be flat-out juked like a bitch as his intended target vaults over his head.
Despite this, Kitty responds quickly enough to turn around and get off the first punch, only to have it parried and followed-up with a 3-kick combination topped off by a savage boot to the top of the head.
What do you think?
Several more rapid-fire boots to the face:
Finally, after what had to have been 8-9 unanswered boots to the brain, Kitty finally works up the nerve to actually try to avoid one of the innumerably strikes being directed at his decidedly un-pretty face.
Immediately after having succeeded in making the Guyver look like a chump by making him miss, Kitty capitalizes on the opportunity presented to him by reaching down and SWEEPING THE LEG!
With Kitty’s foot positioned squarely on his chest, Guyver reaches up and curls back the Zoanoid’s toes, then wrenches the fucker’s ankle so hard that he flips onto his side like a really lame-ass dreidel.
Just before Guyver can hop to his feet, Kitty decides to repay his ass for all the kicks to the face with a big boot of his own.
Now officially on his way to mounting a Rocky-esque comeback, (Rocky IV, not II…) Kitty scrambles to his feet and grabs hold of Guyver and chucks that fucker into the nearest wooden surface ala Steven Seagal.
As if that wasn’t savage enough, Kitty hulks-out and goes ape-shit on Guyver, busting out a 4 punch combo that would make Sylvester Stallone proud.
Not only that, but things start to look bleak for our hero as Kitty finishes off his savage-as-fuck haymaker combo with a quite possibly the most devastating, Bradshaw-esque Clothesline From Hell in the history of hellish clotheslines:
Seriously, he gets up, Kitty mounts a leaping attack, and then we’re back to square one as Guyver kicks Kitty out of the air and pretty much across the whole fuckin’ forest.
Nah, just kidding.
He lays into the poor Kitty with another barrage of kicks to the face, punctuated by one particularly savage, and slow-motion inside spin-kick to the spine.
That being said, after a brief moment where we cut away from this SUPER-AWESOME FIGHT in order to get back to the UBER-GHEY plot, we finally get to the #3 Best Overkill in Movies.
Things start out fairly pedestrian as the Guyver runs Kitty backwards into a nearby tree, (sadly, there was no furniture in the immediate surroundings) thusly causing him to toss his cookies all over our hero’s shoulder.
In response to Kitty’s decidedly uncouth display of drunken douchebaggery, Guyver promptly extends his High-Frequency Swords AKA Elbow Blades, and jabs them into the bad Kitty’s bad Kitty flanks.
As if that wasn’t bad enough for poor Kitty, Guyver decides to slash him across his belly a few times, you know, just for kicks.
Despite his guts very likely starting to fall out of his midsection, Kitty somehow continues to put up some resistance, offering up his hands to the Guyver to lock up for a pro-wrestling style, well, lock up.
Unfortunately, this tactic proves to be utterly foolish, as the Guyver easily overpowers him and does what everyone in these overkills seems to do with people’s joints I.E. bending them the WRONG way.
I feel it best to consult the immortal paragon of ACTING TALENT, Eric Roberts; for a dramatic re-enactment of Kitty’s reaction to the above sequence:
With Kitty now suffering about 4 different abdominal lacerations, and a pair of broken to shit hands, Guyver decides to make use of some of one of the more obscure weapons in his arsenal, his Head Beam.
Way to make with the eye bid’ness Guyver!
With his opponent now utterly battered, broken, and blinded, the Guyver quickly lunges forward to put the pièce de résistance on his Mona Lisa of overkill-dom.
Slamming his palm against Kitty’s face, Guyver pins the poor Zoanoid’s head to a tree, and proceeds to crush the fucker’s skull into cherry Jell-O.
A friendly reminder folks, this is just #3, imagine how brutal shit’s gonna’ get by the time we get to #1…
Well, well, well, it’s good to see you again Steven Seagal.
While Out For Justice was far and away the superior Seagal film, Marked For Death managed to carve a niche for itself in the vast timeline of Seagal-ian film history by featuring the best overkill in the entirety of his career, as well as being the only film in which Seagal actually kills the same man twice.
Also, it’s one of maybe 2-3 movies in which Steven Seagal is forced to run:
Tee hee, I’ll never get tired of that…
Anyway, Steven Seagal doesn’t actually double-kill a man in Marked For Death, (although one could argue he does more than that by the end of this overkill) rather he kills a pair of twin brothers who just happened to be played by the same man.
The brothers in question are the heads of a Jamaican voodoo cult/drug cartel that just happens to have fucked with Casey FUCKING Ryback’s, I mean, Steven Seagal’s family.
Oh yeah, and they killed his partner.
Protip: DON’T try to fight Steven Seagal, and DON’T fuck with his family.
That being said during the dual-conclusive battles of the film, Seagal recruits the aide of a pimp-ass posse of ass-kickers consisting of Tom Wright AKA The Biggest Fuckin’ Eyebrows EVER,
and Keith David AKA The Pimpest Voice on the Planet.
Being as this is a Steven Seagal film though, neither of these guys will play any sort of role in killing off the 2 major villains in the film.
Seagal doesn’t share his kills…
Anyway, the villains of Marked For Death share a persona going by the name of Screwface.
Screwface I engages in a brief melee battle with Seagal, only to have his package sliced open,
and then promptly have his head lopped off for the purposes of further desecration later in the film.
While the death of Screwface I was indeed tasty, and quite epic in it’s own right, it was by no means an overkill, least of all by Seagal-ian standards…
The real overkill in Marked For Death, the one worthy of the title of #2 Best Overkill in Movies, takes place during the final climactic battle (there were several…) of the film, wherein Seagal takes on Screwface II.
The battle begins as Seagal and his posse raid Screwface II’s nightclub, with a wounded Keith David opting to handle the majority of the underlings and fodder while Seagal goes for the big dog.
Skip to 2:18 for an abridged version of the fight (Sorry!)
Our battle begins as Screwface lunges from the shadows and takes a swing at Seagal with a sword.
Being as Seagal himself is armed with a sword, he naturally deflects the blow.
After a bit of sword-clinking and bladed-patty cake, Screwface II steps back and declares:
This of course results in Seagal flipping ‘ole Screwball II onto his cracked out, colored contact lense wearing ass.
Shrugging off his trip to the mat like a champ, Screwface immediately scurries out of the hallway and into the bar section of his nightclub palace.
Seagal promptly follows him, assuming quite possibly the fruitiest/most impractical sword stance the world has ever seen.
Hang on, he did what to Seagal?
ANYWAY, naturally the 2 lock-up and make a move towards the nearest hard surface so Steven Seagal can…
Okay, now I know something’s up.
Luckily, the grappling continues and Seagal manages to…
WHAT THE FUCK JUST HAPPENED!!???
Seriously man, this is a fuckin’ Steven Seagal movie!
Steven Seagal doesn’t get beat up!
Well hang on, let’s take another look at this, I think I just found the problem…
Nothing more than a Steven Seagal impersonator, getting his fool-ass whupped tryin’ to be THE MAN.
Finally back in the fight, the REAL Steven Seagal scoops up Screwface II and promptly flips him on his head.
With Screwface II now halfway across the room, Seagal takes this opportunity bad ass-ily recover his sword:
As with earlier in the fight though, Screwface II once again makes the mistake of stepping into range one of Seagal’s big mitts, thereby resulting in him taking a shot from the hilt of our hero’s sword.
This discourages Screwface II, but ultimately doesn’t stop him from lunging forward with a sluggish and truly ugly thrust.
We all know what happens when you charge straight at Steven Seagal:
Okay, maybe Seagal’s not really the best at posing, but whatever, a crazy stare counts.
Anyway, the 2 do some more of that sword-patty cake bullshit you see in movies all the time, until Seagal gets frustrated with his lack of hand-eye co-ordination and calls off the game:
Oh well, as they say:
Anyway, Screwface II’s sword gets knocked out of his hands, but even so he manages to battle back by charging Seagal with a bar table.
With Seagal now pinned against the wall, Screwface II proceeds to bash his opponent’s head against the pillar behind him.
After STUNT Seagal, (I refuse to believe Seagal took a hit in this fight…) gets his head bashed against the wall about 50 billion times, the REAL Seagal finally steps in and calls an end to the image-killing madness.
With one deft move, the REAL Seagal grabs hold of Screwface II’s face and…
Well, you’ll see:
Oh yeah, did I mention that this was where our #2 Best Overkill in Movies officially begins?
That being said, with Screwface II now eye-less, and therefore mostly helpless, Seagal decides to take his usual tactic of throwing his opponent into hard surfaces, and turn it up to 11:
That was just about the coolest thing ever.
I stand corrected…
Anyway, once both fighters get to their feet, and by that I mean Steven Seagal grabs Screwface II by the hair and hauls his ass up, our Jamaican drug lord somehow summons the strength the throw a punch at Seagal.
While that might’ve worked on STUNT Seagal, this is the real deal we’re talkin’ about, so naturally the punch gets slipped quite handily.
With his opponent off balance, Seagal slips under Screwface II’s arm and grabs hold of his neck and package, and proceeds to snap that fucker over his knee like a popsicle stick:
Not to be outdone by himself in Out For Justice, Seagal decides to go for the gold and truly push the limits of overkill-ery.
With Screwface II now paralyzed, eye-less, and very likely already dead, Seagal takes the poor Jamaican clone and chucks his ass into a wall, again.
Whoops, did I say “wall?”
I meant, “elevator shaft.”
That’s right folks, our overkill ends with a dude getting chucked down an elevator shaft.
Not only that, but when he finally hits the bottom, there’s a conveniently placed hunk of metal that serves to elevate this kill from a mere “fall,” to a full-fledged “falling impalement.”
With that, our #2 Best Overkill in Movies comes to an end, but not before Steven Seagal plays us out with the classiest of one-liners:
‘Cause they were twins?
Ah fuck, whaddah’ you know….
Tune in tomorrow for the long-awaited BEST OVERKILL IN MOVIES!!!!!!!
Come to think of it, overkill is something that Robocop has a great deal of.
There’s the famed ED-209 overkill sequence:
There’s the slightly more obscure, but no less brutal “melt man” overkill:
But standing head and shoulders above it all, putting all of the competition to shame, is the horrendously brutal death of Alex Murphy (Peter Weller):
While many of the other overkills on this list have a sense of excess that could be considered humorous by some, (I.E. me) the death of Alex Murphy is an overkill that has a sense of urgency and dramatic weight that goes a long way towards legitimizing it.
Unflinchingly brutal and perhaps more importantly, graphic; watching Clarence Boddicker (Kurtwood Smith) and his gang torture, humiliate and ultimately, dismember Alex Murphy always brings a haunting, and alarming sense of wrongness to my conscience.
I love Robocop, and in particular, I love this scene; but that doesn’t keep me from understanding that this sequence was intended to be regarded as
Without a doubt; the death of Alex Murphy is easily the most greatest, most brutal, excessive, and utterly fucked-up Overkill in Movies.
That being said, what say we do a play-by-play of the carnage?:
The scene begins as Officer Alex Murphy stumbles into an ambush.
Surrounded by 5 armed men, Murphy is forced to give up his arms as Clarence Boddicker beats on him a little to try and get him to spill the beans on the whereabouts of his partner, Ann Lewis (Nancy Allen).
After whacking Murphy in the leg, and bashing him in the spine with the butt of his shotgun, Clarence finds himself interrupted as his fellow gang member, Joe (Jesse D. Goins), walks into the room declaring Lewis previously deceased by his hand.
Yeah, Joe’s a dick…
With the threat of any remaining police presence now completely removed, Clarence and his gang lighten up and decide to have some fun with Murphy.
Kicking Murphy onto his back on the floor, Clarence paces about and starts talkin’ shit:
Throughout this sequence, it’s worth noting that Clarence, despite sounding downright chummy at times, consistently keeps his gun trained on Murphy’s head.
Placing one foot on the inside of Murphy’s forearm, Clarence stands up, looks down the barrel of his shotgun, and points it at Murphy’s groin.
While making a faux computerized targeting system tone, akin to the tone of a jet fighter’s missile lock tone, Clarence slowly brings the gun to bear, first on Murphy’s head, and then down to his still pinned right arm.
The first shot of our overkill results in Alex Murphy’s right hand being rendered into chunky red mush.
Being as Clarence Boddicker is a certified, grade-A DICK, a pun is his natural response to the violence:
Following this, Clarence steps back for a smoke, leaving Murphy’s fate in the hands of his underlings.
Most likely in shock from having just lost his hand, Murphy lurches to his feet and immediately begins to slowly walk away from his assailants.
Being as Clarence’s gang is made up of coke-heads and Junior DICKS, their first act is to ask Murphy where he’s going, and then yell at him to turn around.
For whatever reason, Murphy does just this:
Now missing an arm, the very same arm that he was previously missing a hand on, Murphy does just about the only thing he can:
First, they shoot him in his kevlar vest:
And they finish things off by shooting him enough times in the vest to tear it to ribbons and take some tasty chunks out of his torso to boot:
Now, on any normal day, Alex Murphy would’ve been dead long before Clarence’s gang ran out of ammo, but this is a Paul Verhoeven film, so we’re not allowed to question the violence.
That being said, Murphy finally falls to his knees just as the gang pumps the last of their shells into his poor vest.
Seriously man, that thing had 2 days til retirement…
With Murphy left lying in pool of his own bodily fluids, one of Clarence’s gang, Emil (Paul McCrane), takes this opportunity to state the obvious:
Not only that, but *GASP!* Joe takes this opportunity to be a DICK!
Despite all the laughter and hijinks of his underlings throughout this scene, to his credit, Clarence finally steps forward and decides to put Alex Murphy out of his misery.
Well, either that or he was done with his cigarette and wanted to go home…
Either way, Clarence promptly walks up to Murphy, and casually puts a bullet through his head to call it a night:
Thusly concludes, the Best Overkill in Movies.
It’s brutal, it’s equally difficult and entertaining to watch, and in my mind, it’s simply the only top choice for this particular Top 10 list.
Anyway, thanks for reading, maybe we’ll do another Top 10 sometime.
With that, I’ve decided to end on a high note by closing with this Robocop Rap:
Hello all, I decided it would be a good idea to follow-up my list of the Top 10 Best Overkills in Movies with a short list of some of the kills that didn’t quite make the cut.
Hopefully this will preemptively kill some of the nasty comments or disagreements that no doubt will spawn from my choices of the Top 10…
Anyway, the first runner-up I’d like to mention, is one that I really regret omitting.
Hah, I still can’t get over how Jet Li just can’t seem to get out of the way of Danny Glover’s girlie punches.
Anyway, outside of that; the fight was great.
This movie was one of the first DVD’s I ever bought.
Not only that, but it was crazy savage watching Jet Lit get impaled with a rebar and then shot to shit with an AK-47, especially considering the relatively tame nature of the violence in the Lethal Weapon series.
I especially love the part of this overkill where Mel Gibson picks up Jet Li via the rusty-ass rebar sticking through his midsection.
*Sigh* The only reason this overkill didn’t make the Top 10, was because of fuckin’ Bonnie and Clyde.
Despite not giving 2 shits about Bonnie and Clyde, I couldn’t help but pay tribute to it’s place in history by giving it a spot on the list somewhere.
Fuckin’ conscience, not letting me make cool lists for the sake of coolness…
Anyway, the second runner-up I’d like to mention, is a scene from a movie that, like Bonnie and Clyde, I have not seen.
The movie in question, is the French film, Irreversible:
Be mindful that this sequence is extrememly graphic and should not be viewed by those with weak stomachs.
LAST WARNING, CLICK HERE
I discovered this film, and in particular, this scene; several years ago when I was browsing the web for the “most violent movies.”
Gimme’ a break, I was like 15 at the time…
Anyway, after watching this scene, and reading some reviews of the film, I came to the conclusion that, while the film is very provocative on many levels, it’s not something I really have all that much desire to see.
I’m sorry, but when reviews for a movie cite a rape sequence as being “the most brutal and realist committed to film,” it’s kind of a turn-off.
Honestly, I think my conscience kept me from posting this as one of the Top 10, as it’s simply too brutal to have a place in a Top 10 list on what is supposed to be a fun and entertaining blog.
Man, that has gotta’ be one of the best knife fights in movie history…
Anyway, fight-gasm aside, this scene doesn’t really qualify as an overkill in my book.
Sure, the fight is of decent length, and the actual kill has a lot of flesh-wounds building up to it, but for the most part, this is just a standard action movie life-or-death fight.
A fight with stabbing, eye-gouging, and someone getting their head put through a computer monitor….
Okay fine, it’s not just a fight, it’s a Steven Seagal fight, but a fight nonetheless.
Last, but not least, no mention of overkill can be made without mentioning the so-bad-it’s-good kung fu movie, Riki-Oh, a live-action Chinese adaptation of a Japanese manga starring a very young (and buff) Fan Siu Wong.
In short, the final fight in the movie takes the rampant gore and bloodletting of all the previous violent episodes in the film, and puts them to shame:
While this is a superb overkill, an indeed probably the bloodiest I’ve mentioned, I told myself from the outset of things that I was going to omit Riki-Oh, most horror films, as well as any animated films from the list.
I did this to maintain some sense of order and equilibrium on the list, as most of what I decided to exclude from the list are overkills that are exceedingly bloody, and entertaining to bood, but not really worthy of being considered among “the best.”
I also consciously left out the Black Knight scene from Monty Python and The Holy Grail.
Mostly because I don’t care much for Monty Python, but also because that scene was played for laughs, and didn’t really gel with the other entries in the Top 10.
Oh fine, I’ll embed the clip for you…
I just don’t get it…
Also, technically that wasn’t an overkill, as the Black Knight never actually died.
Anyway, off the top of my head, that’s all I got.