Every Sam Raimi Movie Ranked From Worst to Best
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The post Every Sam Raimi Movie Ranked From Worst to Best appeared first on Consequence.
Welcome to Dissected, where we disassemble a band’s catalog, a director’s filmography, or some other critical pop-culture collection in the abstract. It’s exact science by way of a few beers. The time, we enter the hyperkinetic geek-friendly mind of Sam Raimi.
For quite a few years, it seemed like audiences would never get to see another Sam Raimi film ever again. Sure, he’s produced an extensive catalog of horror movies over the past decade and has directed episodes of Ash vs. Evil Dead and the Quibi original 50 States of Fright.
However, it’s been since 2013 that we’ve had a full-length feature by Raimi, whose low-budget shocker The Evil Dead is considered a hallmark of the horror genre. While he’d been in talks to helm various movies in the years since his last one, they eventually never came to fruition.
That is until Scott Derrickson shocked Marvel Cinematic Universe fans by announcing his departure from Doctor Strange and the Multiverse of Madness, the sequel to his 2016 film starring Benedict Cumberbatch. (Derrickson would later direct an adaptation of Joe Hill’s The Black Phone, due for release in June 2022.)
Even more surprising was his unexpected replacement by Raimi, whose extensively-documented problems making 2007’s Spider-Man 3 fueled speculation that he would never make another superhero movie again. It sounded too good to be true for many of the director’s fans; after all, working with such a major studio arguably led to a lot of the drama behind Spider-Man 3’s development. However, the stars somehow aligned, and we are about to be graced with his first film in nine years.
To celebrate the release of Multiverse of Madness, Consequence has gone back to examine Raimi’s cinematic formula of camp, blood, and one-liners. We’ve taken a close look at what makes him one of the most iconic genre directors through his extensive filmography: From Super-8 student projects to classic splatter-fests and even a sports melodrama, here’s our definitive ranking of the works of Sam Raimi.
— Erin Brady
15. For Love of the Game (1999)
Runtime: 138 minutes
Plot: Billy Chapel is a 40-year-old baseball player for the Detroit Tigers. Although he has had a successful career, he finds it coming to a rapid close with a losing record and a recent franchise sale. Even worse is that his relationship with his girlfriend Jane has also seen better days; she has decided to leave him because she thinks he doesn’t commit enough time to her and has accepted a new job in London. As the pressure continues to build, Billy becomes committed to ending his baseball career on a high by pitching a perfect game.
Cast: Kevin Costner, Kelly Preston, J.K. Simmons, John C. Reilly, Jena Malone, Brian Cox, Rick Reed
Does Bruce Campbell Have a Cameo?: Bad news for anyone who was expecting to see Campbell play America’s Pastime: He does not appear in the film at all.
Raimi Family Matters (Are Sam’s Brothers Ivan and Ted Raimi Involved?): Much like Campbell, Ivan and Ted were not involved in For Love of the Game in any way.
Wildest Camera Movement: There unfortunately are not a ton of unique camera movements in For Love of the Game. I guess the closest is when Billy pitches Ken Strout at the 27th batter and a whip pan shot shows the ball in the air?
Best Cameo by a Notable Baseball Personality: I can’t deny that hearing former Yankee announcer Bob Sheppard’s voice wasn’t nice. Yes, this movie centers around the Detroit Tigers, but Sheppard was a legend and some respect should be put on his name.
Most Important Prop: The autographed baseball Billy gives Gary Wheeler that has his retirement announcement on it. How unnecessarily dramatic!
Most Memorable Quote: “What if my face was all scraped off and I was totally disfigured and had no arms and legs and I was completely paralyzed. Would you still love me?”
The Verdict: For Love of the Game is Raimi’s Music of the Heart, and any fellow Wes Craven fan will completely understand what this means. For those who don’t, this means it’s a tone-shifting melodrama void of almost anything that makes the director notable. Kelly Preston gives a fine performance, and the overall look of the movie was standard for its type. However, it is still bogged down by a terrible Kevin Costner performance and a painfully generic plot.
If it was made by nearly any other director, it would probably just be forgotten in the bargain bins of history. Unfortunately, it was directed by Sam Raimi, a director known for his distinct directing style and stories. For Love of the Game’s biggest issue is that it is generic as hell, barely skirting by using sports drama cliches and the bare minimum of artistic uniqueness.
While there are certainly worse films out there, what makes this Raimi’s worst film is the fact that you can barely tell it was made by him at all. Being a bad movie is one thing, but being a forgettable movie amidst a filmography of unforgettable ones is even worse. — E.B.
14. It’s Murder! (1977)
It’s Murder (Independent)
Runtime: 70 minutes
Plot: A bumbling and unnamed detective is investigating a strange murder case involving a dead husband, his sons, and his twin elderly brother. However, it seems that at every turn, something strange and unusual regarding the case comes up. The detective must keep watch over the murderous family as he tries to survive the case. Meanwhile, one of the sons tries to discover the truth about his inheritance.
Cast: Scott Spiegel, Sam Raimi, Cheryl Gutteridge, Richard Smith, Matt Taylor, Bill Aaron, Ted Raimi, Bruce Campbell, Ivan Raimi
Does Bruce Campbell Have a Cameo?: Have you ever wanted to see Bruce Campbell play a police officer on a bicycle? No? Well too bad, because that is exactly what you get here in It’s Murder!
Raimi Family Matters: Both Ivan and Ted have roles in their brother’s first full-length film, with Ted also taking on cinematography duties. Ted plays the cello-playing Bradley, while Ivan’s exact role is unlisted in every cast listing available.
Wildest Camera Movement: The over-the-top movements Raimi would later be known for weren’t particularly present in this. However, the occasional close-up shots where characters were breaking the fourth wall, such as when the detective says that the movie being watched had “escaped” rather than been released, were fun.
Most Important Prop: Uncle Jasper’s wheelchair, particularly the way that Sam Raimi steers himself in it like he’s playing Twisted Metal. A very close second would be the dentures Ted Raimi wears.
Most Memorable Quote: “Yes, we are all interested in the due process of the law, hmmmmm.”
The Verdict: Given how it is an ultra-low budget movie not preserved in the best quality, it might seem a bit unfair that It’s Murder! was put so low on this list. That being said, it would still be pretty incomprehensible no matter its preservation state — there are so many characters and plot lines that pop up in a measly hour that it becomes hard to follow.
Thankfully, the early signs of what would make Raimi such a distinct director are still present. Even if it is about as amateur as you can expect, It’s Murder! is still an essential watch for any genre enthusiast. — E.B.
13. Oz The Great and Powerful (2013)
Runtime: 130 minutes
Plot: Well, if the year was 2013 and you were looking to cast a guy to play an unrepentant cad, James Franco was maybe the best possible choice. A prequel to The Wizard of Oz, Raimi’s last film before Doctor Strange 2 explores the backstory which led to the creation of two Wicked Witches and a magical kingdom ruled by a guy who only ever appears as a giant disembodied head in his palace chambers.
This is all to say that you probably know the story without even watching the film, in which the hot air balloon of a small-time circus magician named Oscar Diggs (Franco) gets swept up by a tornado and deposited in the Land of Oz, where the locals are naive to the true nature of his magic tricks and he’s able to con his way into becoming the literal ruler of the land, taking down the two Wicked Witches to do so, with some help along the way from Glinda the Good Witch. (Of course, the witches live to fight another day, but that’s Dorothy’s problem.)
Cast: James Franco, Mila Kunis, Rachel Weisz, Michelle Williams, Zach Braff, Bill Cobbs, Joey King, Tony Cox
Does Bruce Campbell Have a Cameo?: Campbell shows up as a Wickie gatekeeper, and dear God — they made his chin even bigger! What a feat.
Raimi Family Matters: No sign of Ivan, but Ted Raimi does have a quick appearance as “Skeptic in Audience” during our introduction to Oscar in Kansas.
Wildest Camera Movement: Because of the film’s reliance on CGI set-pieces, it’s hard for Raimi to include a lot of his flair for organic and wild camera choices. But he does find a way to make the camera dance around Oscar and Theodora (Kunis) as they make their initial run for safety upon meeting.
Most Important Prop: Most of Oscar’s adventures are only made possible thanks to his suitcase, loaded down with all sorts of “modern” wonders. Of course, it’s his ingenuity that’s the real hero here.
Most Memorable Quote: “I don’t want to be a good man, I want to be a great one,” is essentially how we come to know Oscar at the beginning, a man who aspires to become a combination of Harry Houdini and Thomas Edison. He does essentially get his wish, at least by Oz standards, even if it also means becoming a good man along the way.
The Real MVP of Oz: The delicate yet feisty China Girl (King) enters the story just as this film was beginning to feel truly unbearable, adding some new human dimension to Oscar as a character and also bringing along her own knife, which is a choice worth applauding. The Land of Oz is a dangerous place. Pack accordingly.
The Verdict: Of all of Raimi’s films, this one stands out as bad in the ways that so many big-budget family-friendly movies of this period are: Specifically, the heavy emphasis on CGI panoramas and other moments of 3-D spectacle completely overwhelm the storytelling.
That, combined with the fact that Oscar is perhaps one of the least sympathetic protagonists in human history, leaves this ill-advised prequel to flounder. A too-long disappointment for Raimi’s career — but one which leaves us hopeful that his next project will allow him to bounce back and reclaim some past glory. — Liz Shannon Miller
12. Crimewave (1985)
Runtime: 83 minutes
Plot: In this slapstick send-up, a man named Victor Ajax is awaiting his execution after being found guilty of murdering several people in an apartment complex. However, he maintains his innocence, saying that he was framed for the murders. During his final hour, the former Trend-Odegard Security employee recounts becoming the scapegoat for the bizarre deaths made at the hands of two bumbling exterminators with a strange killing tool. Will his name be cleared, or will this story be written off as the wacky ramblings of a madman?
Cast: Reed Birney, Louise Lasser, Paul L. Smith, Edward R. Pressman, Brion James, Sheree J. Wilson.
Does Bruce Campbell Have a Cameo?: Not exactly a cameo, but Campbell does have a small role in the film as “The Heel,” a businessman looking to purchase Trend-Odegard Security.
Raimi Family Matters: Ted has a brief appearance as a restaurant waiter. Unfortunately, there wasn’t any Ivan involvement.
The Coen Connection: You already forgot about who co-wrote this movie with Raimi, haven’t you? Well, you better remember that Ethan and Joel Coen were also involved in this film. Not only did they co-write the script, but they also made brief cameos as reporters at the execution. Oscar winner and Joel Coen’s wife Frances McDormand also has a brief appearance as a nun.
Wildest Camera Movement: While not the most unique, the POV shot of plates being thrown at Faron Crush, only to be chopped and punched at is still undeniably cool.
Most Important Prop: The primary extermination tool that Faron and Arthur use to kill their targets. How can you argue with a tool that has a specific kill setting for heroes?
Most Memorable Quote: Not exactly a quote, but Brion James’ laugh in this movie is extremely memorable.
The Verdict: Okay, no matter how badly it performed at the box office and how initial reviews were not the kindest, it is hard to objectively hate this movie. Sure, the movie’s plot might be nearly incomprehensible, and the outrageous visual style can become grating. That being said, it’s impossible to not feel bad for everyone involved while watching it.
The core concept has a lot of potential for greatness, but the fact that many different cooks were in the kitchen making Crimewave is as clear as day. Making a madcap mystery comedy reminiscent of The Three Stooges and old cartoons could easily still be an interesting concept today, even if this movie doesn’t necessarily succeed. While still not a particularly good movie, there were glimmers of one shining throughout. It just so happened to get lost as a result of studio meddling. — E.B.
11. Spider-Man 3 (2007)
Runtime: 139 minutes
Plot: Avi Arad sticks his nose in Sam Raimi’s creative business and forces him to introduce Venom and Gwen Stacy into an already overstuffed story. A random sludge attaches itself to Spider-Man as a nonrandom convict falls into a random particle accelerator. Spider-Man expresses his turn to the dark side through dance and finger guns. At that point, nothing makes sense, so Spider-Man fights three drastically different, completely unconnected villains. He permanently disfigures his best friend and then lets his uncle’s killer go. The end.
Cast: Tobey Maguire, Kirsten Dunst, James Franco, Thomas Haden Church, Topher Grace, Bryce Dallas Howard, James Cromwell
Does Bruce Campbell Have a Cameo?: After naming him and then defeating him in the previous films, Campbell teams up with the web-head as the maitre d’ at a French restaurant who tries to help Peter propose to MJ. Classic miscommunication and bad accent humor ensues.
Raimi Family Matters: Ted reprises his role as the guileless Daily Bugle staffer Hoffman one final time. Ivan, meanwhile, gets a story and screenwriting credit for the first time. And he probably wishes he hadn’t.
Wildest Camera Movement: Raimi was obviously tired of this big-budget, studio-controlled universe at this point, as there aren’t a lot of innovations added to his bag of tricks here. That said, the way he mirrors the camera movements for both the birth and demise of Venom by circling the villain in opposite directions is a quality choice. The whole single-shot of Spidey surrounding Venom in vibrating metal poles at the end is honestly pretty cool.
Most Important Prop: I dunno, Flint Marko’s shirt? It’s pretty much the only thing this movie gets right.
Most Memorable Quote: “You know, I guess one person can make a difference. ‘Nuff said.” — Stan Lee
Sandman’s Soul: Originally, Raimi wanted Spider-Man 3 to focus on two villains: the Vulture (with Ben Kingsley lined up for the part) and Sandman. Due to producers’ meddling, that vision got blinded. There is one moment where we can see a bit of what could have been, however, and that’s Sandman’s origin scene. Sure, it’s comic book-y nonsense, but watching Flint Marko try to restructure himself and find strength in his sadness is just beautiful. It’s slow, deliberate, and powerful, the stuff of classic monster movies at their best.
The Verdict: But besides that, this movie is a mess. It’s abundantly clear Raimi was worn down — by years of only making Spider-Man movies, by the pressure of a follow-up, by studio interference. So little of what ended up on screen makes sense, from the impossibly endless alley air battle between Peter and New Goblin, to Venom’s inconsistent and unbearable screeching, to Sandman being defeated because the script said so, to Norman’s butler’s insane medical knowledge, to New York’s finest British newscaster. Forced to create a movie he never wanted to make, Raimi just got sloppy here and the result was the Amazing Spider-Man reboot.
(Interesting note, Raimi was still game to try for Spider-Man 4, but having learned his lesson, wasn’t willing to budge on the villains. He wanted Vulture again — this time with John Malkovich in the wings — but the studio wanted the Lizard. Raimi walked, and Sony rebooted — with the Lizard.) — Ben Kaye
10. The Gift (2000)
Runtime: 112 minutes
Plot: The titular gift refers to the abilities of struggling widow Annie (Cate Blanchett), who uses her extrasensory perception to provide readings and advice for the locals of her small Georgia town. When a woman (Katie Holmes) goes missing and is presumed dead, Annie’s visions lead the local police to the body, which makes the violent and abusive Donnie (Keanu Reeves) into the key suspect. But Annie’s not done having visions, which could lead her to the real killer…
Cast: Cate Blanchett, Giovanni Ribisi, Keanu Reeves, Katie Holmes, Greg Kinnear, Hilary Swank
Does Bruce Campbell Have a Cameo?: No cameo from Bruce in this film, and also…
Raimi Family Matters: …No apparent involvement from Ted and Ivan, either. No explanation seems to be out there, though in the case of Campbell, around the time of this film’s production he was starring in the syndicated action comedy Jack of All Trades, which might have complicated matters.
Wildest Camera Movement: This was the period of Raimi’s career when he seemed to be holding back just a little bit, as he transitioned to more mainstream Hollywood fare. But there are still a few strong visual choices, notably in one of Annie’s visions, which features a cameo by Danny Elfman as a demonic fiddle player.
Most Important Prop: At the end of the film, Annie is handed a washcloth by a troubled young man named Buddy (Giovanni Ribisi), which becomes an important detail for the big twist of the final act. No spoilers, but perhaps that washcloth was the real gift.
Most Memorable Quote: “My granny told me that I… I had a gift. That it runs in my family. And, she told me that I shouldn’t be afraid of it. I should just always use my instinct and I’d… I’d be alright.”
Annie says this while testifying in court, which is certainly not the strongest legal argument to make during a murder case, but it’s a line that has an impact because of the circumstances. Annie’s living in a poor town, struggling to make ends meet, and mourning her dead husband — life has dealt her a pretty crappy hand of cards. But the fact that she has this gift from the universe to theoretically help her through the worst of times makes you question a lot of things about the universe.
The Real Legacy of The Gift: Perhaps the saddest thing about The Gift is that in the annals of pop culture, it’s less noted for being a solid mid-level Sam Raimi supernatural thriller and more memorable for the fact that yes, a young Katie Holmes goes topless for a key scene. Even if every copy of this film on the face of the Earth were destroyed, we’d still have this exchange from Harold and Kumar Go to White Castle: “How were Katie Holmes’ tits?” “You know the Holocaust? Picture the opposite of that.”
The Verdict: The screenplay for The Gift was written by Tom Epperson and Billy Bob Thornton, the latter of whom had just worked with Raimi in A Simple Plan, and the collaboration between the three led to a film packed with striking performances and a few predictable twists. Reeves does some solid work well outside of his comfort zone as the abusive Donnie, and Holmes clearly enjoys the opportunity to bring some edge to her golden WB starlet image of the time.
And at the center of it all is Cate Blanchett, having exploded onto the prestige film scene just a few years before. In many ways, a lot of what Raimi does with The Gift is get out of his cast’s way, and it’s the sign of a smart director that he knows when exactly to do that. — L.S.M.
09. A Simple Plan (1998)
Runtime: 121 minutes
Plot: After Hank Mitchell (Bill Paxton), his child-like brother Jacob (Billy Bob Thornton), and Jacob’s desperate friend Lou (Brent Briscoe) find four million dollars at the site of a plane crash, the three come up with a plan to keep the money – all without being caught. What starts as a simple plan (ha!) quickly spirals into a complicated mess of backward morality, betrayal, paranoia, and murder.
Cast: Bill Paxton, Billy Bob Thornton, Bridget Fonda, Brent Briscoe
Does Bruce Campbell Have a Cameo?: ERROR 404. Please contact your local Raimi representative to demand answers on Bruce Campbell’s whereabouts in 1998.
Raimi Family Matters: Similar to Bruce Campbell’s absence, Raimi’s brothers Ivan and Ted are nowhere to be found on or off screen in A Simple Plan. It’s somewhat ironic for a film so intertwined with familial relations and complex brotherly love.
Wildest Camera Movement: Continuing the trend of A Simple Plan being a more-toned down Raimi (no Campbell or brothers, straightforward and serious tone), the camera remains fairly static for a majority of A Simple Plan’s runtime. Raimi was swinging for a new level of heartfelt drama, largely checking his signature humor and visual style at the door. That being said, he does find his moments to drop back into his typical Raimi-isms. One of the most obvious comes early in the film, as Hank climbs into the crashed plane. As he is swarmed with crows, the camera cuts quickly and whips back. Tame for Raimi? Probably. But it’s still a fun visual moment nonetheless.
Most Important Prop: The source of all evil, that big bag of money, takes the prize for A Simple Plan’s most important prop. Though it’s only shown at the beginning and end of the film, its presence looms over every scene. Its corrupting and controlling force is omnipresent, and it’s about the only thing the characters talk about.
Frankly, it’s also just exciting to see a comically large amount of 100-dollar bills stacked into a solid brick of cash. Never gets old.
Most Memorable Quote: Being an adaptation of a novel, Raimi had less control over the dialogue of the film. Scott B. Smith, who penned the novel, wrote the screenplay long before Raimi’s involvement. It’s Raimi’s directing, though, that makes Smith’s words feel characteristically Raimi. Look no further than the inciting incident. As Hank, Jacob, and Lou discuss the ethics of keeping the money, Lou cracks that the pilot won’t mind. “Oh, ’cause he’s dead right?” Jacob replies. “That’s pretty funny. He’s dead, he won’t mind.” It’s a genuinely funny moment, but also accomplishes the legwork of establishing Jacob’s character and his relationship with the two men sitting opposite of him.
The Coen Connection: A Simple Plan is unmistakably Cohen-esque: Joel and Ethan Coen’s cult classic Fargo had come out just two years earlier, and the similarities are immediately obvious. Both follow otherwise normal people living in rural Minnesota deciding to do evil things in the name of a lot of money. Where the events of Fargo are played for black humor, however, A Simple Plan is nothing but earnest. The result is two films with extremely similar pitches, yet entirely different feels.
Raimi and the Coens had a personal and professional relationship well before the release of either Fargo or A Simple Plan. Joel Coen had helped edit The Evil Dead while working under Edna Paul, and the three had collaborated on the screenplay for Raimi’s Crimewave. The Coens cite Raimi as an influence, and with films like A Simple Plan, it’s easy to assume the admiration flows both ways.
The Verdict: Because he was less involved with the development of the story, A Simple Plan can feel like one of the least Raimi-ish movies of Raimi’s filmography. The dramatic nature of the screenplay also required a more contemplative, direct presentation than what you might find in a film like Army of Darkness.
Yet, even without his signature camera acrobatics or any out-right horror influence, A Simple Plan works as a monument to Raimi’s pure talents as a director. Much of the film’s emotional strength is derived from the performances of the actors and the specific way Raimi directed them. While it may be one of the only Raimi films you could mistake for being made by another filmmaker, it once again affirms the incredible grasp Raimi has over the fundamentals of storytelling. — Jonah Krueger
08. The Quick and the Dead (1995)
Runtime: 108 minutes
Plot: Set in 1881, in a place best known as the Old West, a woman arrives at a town named Redemption to participate in a quick draw competition that leaves its participants dead. Her objective is less about winning and more about getting revenge against the villainous Herod (Gene Hackman, of course) — but to do that, she’ll have to survive the other competitors, a motley crew containing a few notable faces.
Cast: Sharon Stone, Gene Hackman, Russell Crowe, Roberts Blossom, Kevin Conway, Lance Henriksen, Pat Hingle, Keith David, Gary Sinise, Leonardo DiCaprio
Does Bruce Campbell Have a Cameo?: Tragically, while Campbell did film some scenes for this film (he’s credited in the film as “Wedding Shemp”) the scenes were left on the cutting room floor.
Raimi Family Matters: Ivan is listed on IMDB for “First Aid (uncredited)” but there’s no sign of Ted.
Wildest Camera Movement: No one has ever loved a zoom lens the way that The Quick and the Dead loves a zoom lens, specifically in those tense moments right before a quick-draw contest. The whipping camera choices and quick cuts add extra verve to those moments, which don’t so much make you hold your breath as they do knock the wind out of you.
Most Important Prop: Key to this film is the sheriff’s badge that once belonged to the Lady’s father and plays not just a pivotal role in the climax, but buttons the ending. While in many ways The Quick and the Dead is an unconventional Western, there’s nothing more true to the spirit of the genre than the symbol of the law being tossed around. (Just a decade or so later, Deadwood would make a whole meal out of where the tin goes on a lawman.)
Most Memorable Quote: “Some people deserve to die,” is perhaps the most that the Lady opens up over the course of this film, but that’s an entire ethos packed into five words, one perfectly befitting its gender-flipped heroine.
Raimi’s Sexiest Film?: Raimi’s worked with some pretty extraordinary ensembles over the years, but damned if this isn’t perhaps the hottest of them in terms of sheer chemistry, with Stone and Crowe in particular sparking off each other nicely.
The Verdict: While a bit slight, it’s a genuinely good time to watch Sharon Stone deliver her best Clint Eastwood impression… actually, that does a disservice to her performance, which manages to update the necessary toughness of a Western lead into that of a modern-day feminist warrior (arguably even ahead of her time). While not the finest of its genre, it’s a tight, fun, and compelling little film; a solid effort that promises continued greatness. — L.S.M.
07. Darkman (1990)
Runtime: 96 mins
Plot: After scientist Peyton Westlake is attacked, burned alive, and left for dead by mob boss Durant (who seeks evidence that his attorney girlfriend Julie has on his business associates), he retreats into the shadows to seek revenge. Fueled by revenge, chemically-induced rage, and synthetic skin masks that last for 99 minutes before melting, Westlake sets out to get Durant back for what he’s done, becoming the antihero known as Darkman.
Cast: Liam Neeson, Frances McDormand, Colin Friels, Larry Drake
Does Bruce Campbell Have a Cameo?: Campbell appears only once in the final shot of the film, as Westlake’s final mask (or “shemp,” after the Three Stooges’ practice of using dummy replacements for Shemp Howard after he died). He looks back at Julie through Campbell’s eyes, before disappearing into the crowd as the film fades to black.
Raimi Family Matters: Ivan co-wrote the script with Sam; as a physician in his own right, he helped get the science right (such as it can be with a superhero flick about synthetic skin masks). Ted, meanwhile, shows up as one of Durant’s flunkies, the first killed by Darkman after he’s hoisted up a manhole so passing cars can pulp his head like Gallagher does a watermelon.
Wildest Camera Movement: Darkman’s tale of a good man becoming a monster is never clearer than in the infamous “elephant” scene, where Peyton’s insanity literally cracks through the screen as a dismissive carnie refuses to give him the elephant he won for Julie on their date. Raimi soaks Neeson’s face in red, pushing in on him as the background crumbles away to reveal hellish flames. It’s great stuff.
Most Important Prop: These have got to be Darkman’s synthetic masks, which offer nifty, Mission Impossible-like intrigue, with a tense ticking clock: They dissolve after 99 minutes. They’re fantastic effects, and tie into the Universal-horror tragedy of Darkman’s character.
Most Memorable Quote: A good deal of Darkman’s appeal comes from the look and feel more than the dialogue. But still, it’s chilling to hear Westlake finally shuck the remnants of his humanity as he tosses final baddie Strack off a building after he taunts that Westlake wouldn’t be able to live with himself. His response? “I’m learning to live with a lot of things.”
Nailed It: For all the ooey-gooey effects of Westlake’s burned face, few moments in Raimi’s filmography have the wince-inducing power of Darkman getting a nail through the palm during his fight with Strack atop a half-constructed office building. Watching him slowly pull the rest of his hand through to free himself? Even more gory fun.
The Verdict: Long before Spider-Man, Raimi tried his hand at building an original superhero, one inspired heavily by radio-serial figures like The Shadow and the Universal monsters of the 1930s. Indeed, Darkman feels like the love child of the Phantom of the Opera, The Invisible Man, and Dr. Frankenstein: a mad scientist turned into a monster by circumstance and the vagaries of his own creation. The film would spawn two direct-to-video sequels, neither directed by Raimi and starring The Mummy’s Arnold Vosloo in Neeson’s place. But none of them could hold a candle to Darkman’s grim, visually inventive energy. — Clint Worthington
06. Drag Me to Hell (2009)
Runtime: 99 minutes
Plot: Christine is a lowly loan officer vying to get a coveted promotion. In order to not be seen as soft, she denies the elderly Sylvia another mortgage extension. Unbeknownst to her, Sylvia has made Christine the subject of an ancient Romani curse in the form of a torn-off coat button — the banker will be forced to be tormented for three days until being dragged into hell by the malevolent demon Lamia. Not wanting to meet her titular fate, Christine enlists the help of her boyfriend Clay and a medium named Shaun to try and reverse Lamia’s curse before it’s too late.
Cast: Alison Lohman, Justin Long, Lorna Raver, Adriana Barraza, Reggie Lee, Dileep Rao, Art Kimbro
Does Bruce Campbell Have a Cameo?: Unfortunately, there is no sight of Campbell in the film, which is especially strange considering numerous other Raimi collaborators make appearances.
Raimi Family Matters: Sam and Ivan had written the original treatment for Drag Me to Hell a decade prior to filming. Other projects such as the Spider-Man trilogy stalled the script from entering production sooner, but the majority of the original story was thankfully kept in the script as time passed. Ted also provides a quick cameo as a doctor.
Wildest Camera Movement: If there is anything that Raimi loves to do as a director, it’s give us a POV shot. When the spirit of Lamia finds its way into Christine’s home, it sends her flying in one of the movie’s many outdated CGI effects. However, when the camera is shifted to Christine’s POV while in the air, the effect looks more authentic.
Most Important Prop: The cursed button. In the end, the only way that Christine can release the hellish curse put onto her by Sylvia is by giving it to someone else.
Best Subject of Possession: It has to be the goat that calls Christine a bitch. An absolute icon. When first watching it, it’ll be easy to think that Lamia gave it human teeth, but apparently, goat teeth are just like that. The more you know!
Most Memorable Quote: “I don’t want your cat, you dirty pork queen!”
The Verdict: Drag Me to Hell is campy horror perfection. Despite not taking itself too seriously and embracing its silliness, it is still filled with shocking moments. Seriously, without the lackluster 2009 CGI, the sequences where Lamia possesses innocent people are genuinely great and are unique enough to dissuade viewers from making obvious Deadite comparisons. While some parts of the story (especially the usage of Romani culture) haven’t aged the best, it is still quintessential Raimi in all his goofiness. — E.B.
05. Spider-Man (2002)
Runtime: 121 minutes
Plot: Mild-mannered high school student Peter Parker gets bitten by a radioactive spider, turning him into the friendly neighborhood Spider-Man, who builds up a nifty little career solving crimes in New York City. Problem is, he’s got to juggle his life as a regular kid with his unrequited relationship with the beautiful Mary Jane Watson, take care of his Aunt May, and — as the cherry on top — deal with his best friend’s dad, Norman Osborn, who’s gone mad and turned into the Green Goblin.
Cast: Tobey Maguire, Willem Dafoe, Kirsten Dunst, James Franco, Cliff Robertson, Rosemary Harris, J.K. Simmons
Does Bruce Campbell Have a Cameo?: Campbell shows up as the huckster-like showman at an amateur wrestling night where Peter goes to test out his powers and persona. Dissatisfied with Peter’s dopey nickname — “The Human Spider” — he spins an alternative to the cheering crowd: “The terrifying, the deadly…. The Amazing Spider-Man!”
Raimi Family Matters: No Ivan this time, but Ted appears as Hoffman, J. Jonah Jameson’s dweeby underling at the Daily Bugle (a role he’d continue for the rest of the trilogy). Most notable contribution here: feebly attempting to name Norman Osborn “The Green Meanie.”
Wildest Camera Movement: It’s hard to imagine a Spider-Man movie ending without one of those extended web-slings throughout the Big Apple, but it was hardly ever better than here — a long, sustained swing from skyscraper to skyscraper as we followed an early-CG Spidey across miles of city, showing us sights we’d never seen before. It’s a moment that would define the wall-crawler on screen (and superhero films as a mode) for decades to come.
I Try to Say Goodbye and I Thwip: For all of Raimi’s ‘60s/’70s comic book touches, there’s one thing that really grounds Spider-Man in the… unique pop culture sensibilities of the early aughts: The headliner for the big New York City parade Green Goblin crashes is none other than Macy “Human Kazoo” Gray.
Most Memorable Quote: A lot of goofy Silver Age quips in this one, but one that stands out is Peter’s campy retort to Osborn in one of their many confrontations: “It’s you who’s out, Gobby… out of your mind!”
Never Forget: 9/11 changed a lot about American cinema, but one of its most overt, immediate effects was the kiboshing of one of the most interesting (and poorly aged) teasers in movie history: a gang of bank robbers escaping by helicopter, only to find themselves caught up in a web spun between the Twin Towers. Hastily pulled from theaters after the 9/11 attacks, it exists only in the hazy corners of YouTube now. But it’s an eerie reminder of how often real-life tragedies can even seep their way into escapist fun.
The Verdict: We’ve got Raimi’s Spider-Man to thank (or, depending on how you feel about it, curse) for today’s glut of superhero flicks and the gargantuan reach of the Marvel Cinematic Universe. And yet, looking back at it now, its formulas are also colored by a poppy, Silver Age whimsy and Raimi’s signature blend of camp and horror, cinematic signposts that are few and far between in the flattened, samey aesthetics of modern Marvel. (Here’s hoping Doctor Strange and the Multiverse of Madness lets Raimi be Raimi.) — C.W.
04. Army of Darkness (1992)
Runtime: 81 minutes
Plot: After the events of Evil Dead II, Ash Williams finds himself and his Oldsmobile Classic teleported through a wormhole back to the Middle Ages. Now a man out of time, he’s got to read from the Necronomicon (which has come through with him) in order to get home. But in classic Ash fashion, he screws up the incantation and brings the Deadites out to play — meaning he’s got to suit up and be the savior of the kingdom. Groovy.
Cast: Bruce Campbell, Embeth Davidtz, Ian Abercrombie, Bridget Fonda
Does Bruce Campbell Have a Cameo?: Cameo? He’s in the whole thing, sugar! Army of Darkness, like Evil Dead II, leans into Campbell’s inimitable everyman charisma, and arguably it’s this version of Ash that has defined the actor’s career ever since.
Raimi Family Matters: The script was co-written by Ivan Raimi, and naturally, Ted continues to fill in for all manner of day players, most notably Ash’s nebbishy coworker at S-Mart.
Wildest Camera Movement: Raimi saves his most frenetic camerawork for last, as Raimi sprints his camera helter-skelter down the aisle of S-Mart towards Ash and a comely female co-worker before swooping past them to reveal a Deadite right behind them, screaming straight at the lens.
Most Important Prop: It’s tempting to say the Necronomicon (again), but this time it really feels like Ash’s chainsaw arm gets the most workout of any of the Evil Dead flicks, allowing him Harryhausen-esque sword fights with skeletons and sawing through ropes so he can zip up them Errol Flynn-style.
Most Memorable Quote: Army of Darkness gives Ash so many iconic quips they’d all eventually be cribbed wholesale for Duke Nukem: “Hail to the king, baby,” “Gimme some sugar, baby,” “This… is my boomstick!” But few match the winking leading-man charm of Campbell staring down a Deadite witch and growling, “Name’s Ash. Housewares.”
Ashes to Ashes: It’s a good thing that Army of Darkness moves so fast, because it lets some of the film’s weaker gags pass by a little more quickly. Take, for instance, the mid-film set piece where Ash finds himself terrorized by a bunch of little versions of himself; it’s cute enough in a Gulliver’s Travels kind of way, but the Tex Avery-like bits wear thin before too long.
The Verdict: The early ‘90s were a neat pre-Spider-Man experiment to see if Raimi had the chops to handle big-budget Hollywood genre filmmaking. Army of Darkness, for all its slightness (it’s barely 80 minutes long) and tonal deviation from the rest of the Evil Dead series, might just be the man at his most giddily self-indulgent. He gets to transform his old college buddy Bruce Campbell into a bona fide movie star, all while twisting the cosmic-horror film series that made him into a silly throwback to 1960s fantasy adventures. It’s a true transitional moment for Raimi’s career, and easily the most fun he’s ever had making a film. — C.W.
03. The Evil Dead (1981)
Runtime: 85 minutes
Plot: A gang of college kids scores a cheap deal on a weekend stay at a remote cabin in unfamiliar woods. After inexplicable occurrences start to happen, the college hooligans — who range from lovably naive to you-want-them-to-be-the-first-one-killed infuriating — find a tape warning them of the evil that surrounds the cabin. What unfolds is a night of terror, possession, claustrophobia, and gallons and gallons of blood.
It’s your typical cabin in the woods narrative. Though, remember that the film was released in 1981 and that The Evil Dead and its cult following are largely responsible for the popularity of such a trope. It might even be fair to claim that The Evil Dead and its sequel are the best to ever employ the trope. Call it the bible of the cabin in the woods story — or, more accurately, the skin-bound Necronomicon of the cabin in the woods story.
Cast: Ellen Sandweiss, Betsy Baker, Theresa Tilly, Richard DeManincor, Bruce Campbell
Does Bruce Campbell Have a Cameo?: Is it even fair to call it a cameo? The Evil Dead launched the careers of childhood friends Rami and Campbell, kicking off their long-running professional partnership as well. And thank God for it.
Raimi Family Matters: With all the limitations at hand during the production of The Evil Dead — limited actors, limited time, limited money — Ted and Ivan both filled in as “fake shemps,” meaning they took the place of other actors when dead or in the background. Reportedly, besides the practical need to have extra bodies around when the principal actors were unavailable, Rami’s heavy use of fake shemps was inspired by his love for The Three Stooges, which used the technique heavily.
Wildest Camera Movement: The Dutch angles and close-ups give The Evil Dead its highly specific tone, but it’s the POV sequences that are the most memorable. Racing through the eerie woods and chasing after different characters are some of the most fun moments of the movie, and for all the trouble they caused during shooting, they damn well better be.
But the best of those sequences is the one that ends the film. Just as Ash walks out into the daylight, seemingly free of the evil that had tormented him throughout the night, an unseen force, and by proxy the audience, tracks him down via a dynamic long shot to make sure no college kid makes it out alive. How is he in the sequels? Stop asking questions and enjoy charging head-first into Bruce Campbell’s face.
Most Important Prop: As it’s responsible for bringing the horrors, the Necronomicon, in all of its disgusting glory, takes the prize as The Evil Dead’s most important prop. Skin-bound and alive, the Book of the Dead is already eye-catching and narratively irreplaceable. Then, once it’s thrown into the fire and starts howling in agony, it becomes a true icon of the series.
Most Memorable Quote: For all of its fun spooks and gore-indulgence, there’s a quite grim center to The Evil Dead. As each of Ash’s friends become demonic forces lusting for his blood, he’s forced to gruesomely dismember the people he loves. Multiple times throughout the film, characters are shown burying what’s left of their friends in make-shift graves. Rami was not unaware of this fact, as many of the scenes portraying the characters dealing with their guilt were cut to assure the film wasn’t too depressing.
One other way Rami helped add levity to the profoundly difficult nature of such a scenario comes via the often hilarious jeers of the evil spirits. At a moment that might have been particularly dark — Ash about to shoot his now-turned girlfriend — one cuts through the tension to deliver one of the best lines of the film: “Kill her if you can, loverboy!”
Addressing The Demonic Elephant in the Room: One of the most unique mechanics of The Evil Dead is the use of Cheryl’s character. The first to be possessed and attack the rest of the group, Cheryl is locked in the cellar of the cabin. The cellar, however, is accessible through the main room. So, throughout each major event in the film, Cheryl acts as a one-demon-peanut-gallery, commenting on the actions and pain of the characters. It’s brilliant comic relief and culminates in a truly tense climax.
The Verdict: Yes, The Evil Dead is an immaculate feat of the horror genre — likely one of the best in the canon. But it’s also profoundly important for Rami’s career and the greater landscape of cinema. The film’s originality put Rami on the map, and the independent production of the film remains a foundational blueprint for indie filmmakers to this day. Sure, it’s not Rami’s best, and it’s likely not even the best the franchise has to offer, but damn, aren’t we all better off because of The Evil Dead’s existence? — J.K.
02. Spider-Man 2 (2004)
Runtime: 127 minutes
Plot: With his spider-powers on the fritz and his relationship with Mary Jane on the outs, Peter Parker struggles to balance the life of a superhero and a regular person. At Oscorp, Harry is spearheading a fusion power project created by Otto Octavius. When a demonstration of the new ew reactor goes awry, it turns Octavius into Doctor Octopus. Determined to restart his experiments, the villain demands Harry provide him with the rare isotope needed to run the machine — in exchange for Spider-Man’s head. Thinking he’d put the webs behind him, Peter is forced back into the fight when those closest to him become targets of the mad scientist.
Cast: Tobey Maguire, Alfred Molina, Kirsten Dunst, James Franco, Rosemary Harris, Donna Murphy, J.K. Simmons
Does Bruce Campbell Have a Cameo?: Campbell plays an usher at the theater where Mary Jane’s play is being staged. When Peter arrives late to the show, the snooty usher keeps him from entering in order to “maintain the illusion” — a fact that’s led Campbell to claim he’s “the only character who’s ever defeated Spider-Man.”
Raimi Family Matters: Ted’s back as Daily Bugle staffer Hoffman, who actually comes up with the Doctor Octopus name (which JJJ obviously takes credit for). Hoffman also tries out “Science Squid” and “Doctor Strange,” though Jameson shoots the latter down because “it’s taken!”; how’s that for foreshadowing in the simulation? Ivan’s not as present, though he does have an uncredited “developer” role.
Wildest Camera Movement: Raimi’s ability to capture Spider-Man in action remains nearly unmatched, but it’s his handling of Doc Ock that really stands out here. Nothing beats the “Hospital Horror” scene, where the tentacles take on a mind of their own and murder a room full of surgeons. The scene is loaded with “Projectile Cam” and shaky shots to heighten the fear factor, and even takes on the POV of the arms themselves at certain points. It’s a masterpiece of movement establishing mood.
Most Important Prop: Easily Doc Ock’s arms. For much of the film, the mechanical appendages were physical props, unlike in Spider-Man: No Way Home, in which they were entirely CGI. The arms had personalities all their own — corrupting Octavius when the inhibitor chip fries — making this a prop that’s really a character.
Most Memorable Quote: “I believe there’s a hero in all of us, that keeps us honest, gives us strength, makes us noble, and finally allows us to die with pride, even though sometimes we have to be steady and give up the thing we want the most — even our dreams.” — Aunt May
Spider-Man No More: The Amazing Spider-Man #50 serves as the basis for much of the film’s arc, with the issue seeing Peter overwhelmed by leading a double life and choosing to be “Spider-Man no more!” He tosses his costume in the trash and walks away, a scene John Romita Sr. depicted in what’s now a quintessential piece of Spider-Man art. Raimi recreates it in a perfect panel-to-screen moment that’s become one of the most defining Peter Parker scenes of all time.
The Verdict: It’s amazing that in the era of the MCU, Raimi’s Spider-Man 2 still stands as one of the greatest pieces of superhero cinema ever. The focus on Peter Parker over Spider-Man delivers true pathos, and Doc Ock is an utterly pitiable villain — something so many comic book movies lack. The action scenes are breathtaking, the emotional arc effecting, and the performances completely top tier. There’s a reason No Way Home centered so much on Alfred Molina’s return: His Doctor Octopus is a landmark in cinematic comic villaindom, largely thanks to Raimi’s influence. — B.K.
01. Evil Dead II (1987)
Runtime: 84 minutes
Plot: Bruce Campbell’s Ash is back at the cabin in the woods. How’s that possible after the first Evil Dead? Why would he ever return to a deserted cabin? What’s with his new girlfriend having the necklace from the first movie? None of these questions matter.
What does matter is that Ash is back, and so are the evil spirits from beyond this realm. Ash must now survive another few nights at the cabin fighting off zombies, unseen entities, and himself. With a new cast of characters with varying levels of understanding of the events transpiring, Rami and Campbell take the premise of the original Evil Dead to new levels of horror, fun, and absurdity for this classic sequel.
Cast: Bruce Campbell, Sarah Berry, Dan Hicks, Kassie Wesley, Richard Domeier
Does Bruce Campbell Have a Cameo?: Raimi and company must have known they struck gold with Campbell’s Ash in the original Evil Dead, because Evil Dead II places Campbell front and center, letting him run as wild as his heart desired. I mean, he’s already decapitated his girlfriend and been possessed by the 10-minute mark. It’s this absurdity that took Ash from “protagonist in a cult horror flick” to a chainsaw-handed cult icon.
Raimi Family Matters: Ted Raimi graduated from dead body to undead body for Evil Dead II, playing the possessed Henrietta, the zombified wife of Professor Knowby and one of the main antagonists in the latter half of the film.
Wildest Camera Movement: Like its predecessor, Evil Dead II loves its subjective POV shots, and as is the case with everything else in the film, their use in the sequel is even more dramatic and frantic. From the unseen entity chasing Ash’s car to Professor Knowby’s distorted attempt to enter the realm of the living, taking the perspective of non-humans remains one of the best tricks in Evil Dead’s book.
The wildest, however, comes during Ash’s fight with Henrietta. Instead of taking her POV proper, the camera is mounted on her shoulder. We then get treated to an angle familiar to third-person shooter fans as Ash takes swings at Henrietta and the camera.
Most Important Prop: Evil Dead II has no shortage of memorable props. Ash’s chainsaw became a staple of the series and I see the laughing demonic deer head every time I close my eyes. Most impressive, technically and otherwise, is Ash’s disembodied, antagonistic hand. Not only does it provide Campbell the license to ham it up in one of the most hilarious scenes in the film (I’d watch two hours of Ash smashing plates over his head), it also is the punchline to the funniest jump scare Evil Dead II has to offer: “Baby, I ain’t holding your hand.”
Most Memorable Quote: With a good portion of the 1980s separating the first two Evil Dead films, the aesthetics of Hollywood had shifted drastically by the time Evil Dead II came around. Where the first film was following the bleak, morally draining horrors of the ’70s like Texas Chainsaw Massacre or Last House on the Left, Evil Dead II was following film franchises with a bit more flair and sense of humor (three Nightmare on Elm Street movies, a whopping six Friday the 13th films).
This clearly made Raimi more comfortable finding the absurdity in his particular brand of horror, which manifested not leastwise in the smorgasbord of one-liners sprinkled throughout the film. Though “swallow this” is a close runner-up, is there anything more iconic in the Evil Dead repertoire than Ash surgically attaching a chainsaw to his recently amputated hand, smirking at the camera, and letting out a charismatic, “Groovy?” I think not.
The EDCU: The Evil Dead Cinematic Universe: Had Raimi never returned to continue the Evil Dead series, the original film would have remained a cult classic artifact of independent horror. It was Evil Dead II, however, that gave the Evil Dead franchise the legacy it deserved. Not only upping the ante on the original’s premise, but foreshadowing the events of Army of Darkness, Evil Dead II is what transformed an incredibly well-made low-budget horror flick into an iconic cinematic landmark of a horror franchise — and likely the most consistent horror franchise to come out of the ’80s.
The Verdict: Raimi broke onto the scene with his style already defined. His thematic interests, visual quirks, and tonal play were all established by the time the first Evil Dead was distributed. What Evil Dead II stands as, in comparison, is Raimi’s newfound confidence and freedom that came with the recognition of his previous work. He and Campbell held nothing back for the film, allowing it to become the purest distillation of Raimi’s artistic vision in his entire filmography. It’s the Pulp Fiction to his Reservoir Dogs, the Royal Tenenbaums to his Bottle Rocket, and it’s the best thing Raimi has to offer. — J.K.
Every Sam Raimi Movie Ranked From Worst to Best
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