7 Movies That You’ll Never Look At The Same Way Again

Willy Wonka And The Chocolate Factory (1971): “A secretive industrialist makes candy from children.”


The infamous 1971 film version of Roald Dahl’s classic story has often been cited as being a particularly scary movie, thanks to a few disturbing visuals, and some worrying implications. The tale of a distrustful chocolate factory owner who is simply searching for a worthy heir sees impoverished Charlie Bucket receive a Golden Ticket, winning the chance to tour Willy Wonka’s factory with four other children from around the world. The factory is famous for its ‘closed door’ policy – its owner being paranoid about rivals stealing his ‘secret recipe.’

During the tour, terrifying fates befall each of the children – except Charlie – as they fall foul of their own temptations and greed. They are each ‘absorbed’ by different parts of the candy-making process, at whichever point their temptation has overwhelmed them. The entire situation is given a sinister tone by the ever-decreasing size of transportation that takes the small group on their tour, indicating Wonka’s anticipation of a decreasing tour group.

Ocean’s Eleven (2001): “A man stalks his ex-wife, enlisting the help of a gang of career criminals to ‘re-acquire’ her, because he cannot take no for an answer.”


Who doesn’t love Soderbergh’s re-imagining of a modern-day ‘rat-pack’? Clooney, Pitt, Damon, Cheadle, Affleck, Mac, Caan, Reiner, Jemison, Qin, Gould – all that charm and swagger is simply irresistible. In addition to the sharp wit and style, there’s true romance, too, as Clooney’s Danny Ocean reveals his determination to win back the hand of his now ex-wife, Tess – played by Julia Roberts – who is currently gracing the arm of the dastardly Terry Benedict, played by Andy Garcia. It’s almost like a modern-day version of Robin Hood – albeit one in which Robin Hood keeps all the money for himself. But, let’s just rewind and watch that again.

Tess Ocean is a highly qualified curator – accomplished in the world of fine art. She reveals, when confronted by the unwanted presence of her ex-husband, that his criminal actions in their home-town of New York ruined her life and damaged her career. She was forced to leave her home, her job, and her marriage. Having moved on and successfully re-established her career, against the odds, she discovers that her ex-husband is newly released from prison and has assembled a team of career criminals to harass her once more. She tells him, categorically, that she has no interest in him and doesn’t want him there, while he states that he doesn’t approve of her new relationship. This is a matter of pride for him, as he and Benedict clearly have ‘history.’

Ocean completely disregards his ex-wife’s protestations, and proceeds with his plan anyway – manipulating events to reveal that Benedict is, in fact, a ‘bad guy.’ Feeling that he has, in a sense, sacrificed himself to ‘save her.’ Tess rushes to Ocean’s side as he is hauled off to jail once more. As the movie draws to a close, Ocean’s closest confidante collects him from the prison gates, explaining that he had to stop to collect Ocean’s “personal effects” on the way – meaning Tess.

“I’m not sure these belong to me,” mumbles Ocean, as he climbs into the car next to his ex-wife – immediately noting that she has resumed wearing her wedding ring. Ocean is seen to have a satisfied smirk as they drive off into the sunset, with him having put Tess right back where she started – without a career or home, and entirely dependent upon him and his ill-gotten gains.