The Departed (2006)
Internal Affairs, the Hong Kong film which The Departed is based upon, is a phenomenal piece of filmmaking. That’s worth saying right off the bat, because The Departed just barely ekes past it — it’s a closer call than anything else on this list. And that’s with Martin Scorsese at the helm — the man behind cherished American film classics Taxi Driver, Raging Bull, and Goodfellas, who has brought the dark and gritty underworld of urban life to the screen in amazing new ways for the majority of his career.
He does it again here, following an Irish Mob boss in Boston as he plants a mole in the Massachusetts State Police — leading to a tense game touching on themes of identity, parenthood, and death. Like most of Scorsese’s films, the film’s lack of moral clarity is intriguing; it’s the sort of thing you’ll find yourself thinking about for days afterward.
Little Shop of Horrors (1986)
This one’s pretty interesting: it’s a film adaptation of Alan Menken’s musical version of the 1960 original film by Roger Corman. And again, it’s a testament to the 1986 version’s quality that it surpasses Corman’s effort, which is a hilarious little picture showcasing a young Jack Nicholson in just his fourth appearance on film. This one stars some of the biggest names of 1980s comedy — Rick Moranis, Steve Martin, Jim Belushi, John Candy, and Bill Murray are all here, and unsurprisingly, hysterical.
Menken, of course, is the composer behind many of Disney’s most famous musical sequences, including the songs of beloved classics The Little Mermaid and Beauty and the Beast. His work here is top-notch, with Steve Martin’s psychotic dentist song being an obvious highlight. It’s a shame the movie’s darker ending (featuring an incredible sequence of practical effects that have to be seen to be believed) had to be traded for a lamer, happier one — if you ever get a chance, check out the original version.
Scarface (1983)
Few are going to argue that the 1932 version of Scarface isn’t worth watching: it’s earned a spot in the Library of Congress, it’s a critical favorite, and legendary French filmmaker Jean-Luc Godard has called it the best American sound film. We can thank the film, then, for being good enough to get a slightly superior remake starring Al Pacino and headed by Carrie director Brian De Palma.
This film is so embedded in the cultural zeitgeist, its legendary line “Say hello to my little friend!” is uttered regularly by people who have never seen the movie. It’s a brutal, intensely violent classic in the mob film genre, an endlessly influential portrait of hatred, greed and excess that ends in one of the most brilliantly-shot sequences in the history of film. Some critics remain divided over its ultimate message: is it celebrating the violence, or cautioning against it? However you interpret it, there’s no denying the passion and energy behind every frame.
The Thing (1982)
Though critical reviews were decidedly mixed at the time of its release, John Carpenter’s 1982 version of The Thing has developed a better reception with time. Perhaps it’s to be expected — after all, 1951’s The Thing from Another World is a fantastic exercise in old-fashioned spooks, with a tight plot and surprisingly good characters.
In any case, reappraisals of the more modern film have noted its captivating visuals, palpable tension, and impressive use of make-up. Shaun of the Dead and Hot Fuzz director Edgar Wright has cited it as the scariest film he’s ever seen — and it remains an unforgettable nightmare for many who witnessed its brilliant effects as children.
Ocean’s Eleven (2001)
How do you top a classic heist film starring legendary Rat Pack actors Peter Lawford, Frank Sinatra, and Dean Martin? You remake it with George Clooney, Brad Pitt, and Matt Damon — and stick Steven Soderbergh (youngest winner of the Cannes Film Festival’s top prize) in the director’s chair.
This film isn’t as deep as Soderbergh’s usual work, but it is a briskly paced, fun caper with a great bunch of colorful personalities. It's buoyed a great deal by its stars, who are all eminently likable in their roles. The Rat Pack’s version was plenty enjoyable, for sure, but there’s a lot more charisma and style this time around — in spite of Don Cheadle’s horrifically embarrassing attempt at a cockney accent.
Remakes have been one of the most controversial aspects of Hollywood for a long time, and with good reason: they violate the terms of that old adage “If it ain’t broke, don’t fix it.” Most of the films that get remade were successful in their original incarnations, so why risk tarnishing a considerable legacy? This trend doesn’t seem likely to stop anytime soon, with a Ghostbusters reboot headed to theatres next year and a Jumanji remake scheduled for Christmas Day 2016 — and both getting a considerable amount of backlash.
With that said, there are a number of remakes that stand out from the crowd — films that are worth watching even more so than their predecessors. These highlight an important fact: while most remakes are content to simply contemporize or duplicate, the most successful put a spin on their stories with new directorial touches. Here are six films that do just that, bringing second wind to their ideas in ways that actually outdo the originals.
True Grit (2010)
True Grit debuted in 1969 as another star vehicle for American icon John Wayne, and the Duke did not disappoint. In fact, he won his only Academy Award for this role. As you might imagine, it would take a masterful touch for a remake to even approach this work, let alone surpass it. If there was anyone cut out for the job, though, it was the Coen brothers — those acclaimed filmmakers behind classics like The Big Lebowski and Fargo.
True to form, their 2010 reimagining delivered, adding a touch of their signature black comedy and staying truer to the gritty novel of its inspiration. The performances of stars Jeff Bridges, Hailee Steinfeld, and Matt Damon were uniformly acclaimed, and the Coens were praised for the film’s uncompromising ending. It’s a bit more eccentric and dark than the 1969 version, making it the definitive version — but make no mistake, these two films are both worth checking out.
