Apocalypse Now not being in the library is pretty weird, but one thing that i cant understand is why there aren’t many films from Werner Herzog. yeah i understand they have Aguirre, the Wrath of God and Fitzcarraldo, but Herzog has so many more masterpieces under his belt: the Enigma of Kasper Hauser, Stroszek, Nosferatu the Vampyre, Grizzly Man.
Stroszek
Such an underrated masterpiece. I’ve never seen a film truly like quite like it. The way Herzog can balance the drama and absurd humor is pure brilliance. just more proof that he might have been the best director of the 70s (and maybe our greatest living Director).
Stroszek
Such an underrated masterpiece. I’ve never seen a film truly like quite like it. The way Herzog can balance the drama and absurd humor is pure brilliance. just more proof that he might have been the best director of the 70s (and maybe our greatest living Director).
Last night, i watched Alfred Hitchcock’s Rope for the third time and the only thing that i was thinking when it was over was “Why is this not considered among the rest of his masterpieces?” I found the film’s themes and script much more complex then any of his over the top spy thrillers. Also the direction was was perfect, though that goes without saying when you’re talking about an Alfred Hitchcock film. The way Hitchcock uses 8 minute takes to really make it look like its shot in real time is just phenomenal.
This got me thinking about other great directors whose great films get under appreciated over time. Some that come to mind:
Barry Lyndon (1975, Stanley Kubrick): A film that really is never talked about much anymore. A film, in my opinion, is as good as his all time masterpiece 2001: a space odyssey
The Passenger (1975, Michelangelo Antonioni): Another film from 1975 and features on of Jack Nicholson’s greatest performances as well as one of the greatest scenes the legendary directors has ever filmed.
Stroszek (1977, Werner Herzog): Hell i could probably name a good number of Hertzog’s films that get overshadowed by Aguirre, the Wrath of God
Drunken Angel (1948, Akira Karasowa): Well its one of his greatest works and one that has yet gotten enough recognition as one of the legendary directors best films
I’m not sure about Solaris, it might be Tarkovky’s most popular film, but totally agree about east of eden (great film). Also great to hear someone mention Cronenberg’s Spider.
I sometimes feel like almost every one of Gus Van Sant’s independent films could be eligible: from drugstore to paranoid park. My pick would be My Own Private Idaho. A film thats so odd and strange yet has the ability to balance Shakespearean tragedy with a dream-like innocence and a very absurd sense of humor. One of my all time favorites.
i have yet to see the film due to the fact of it not having a proper American DVD release. Hopefully criterion will get on it and add the film, or just add more films from Antonioni to their collection. I’d love see La Notte get a criterion release; Truly an under appreciated work from the great director.
Theres a great vertigo reference in the episode “Principal Charming” from season two. Principle Skinner is running up a tower and the view down becomes distorted. I also want to acknowledge that the scene where Bart is reaching for the cupcakes is pretty brilliant.
This year, Canadian auteur David Cronenberg will be receiving the Légion d’honneur (the highest honor in France) for his work in cinema. This honor has been given out to other prominent directors such as Akira Kurosawa, Steven Spielberg, Satyajit Ray, Clint Eastwood, and David Lynch. In my opinion, there isn’t a more deserving director to achieve such an honor and be placed among the directors listed. Cronenberg’s films have often been overlooked by many critics and film goers in this country, and its great to see the man actually be recognized for his incredible work. I’ve been a huge fan of his ever since first watching The Fly and have constantly argued that he (along with Werner Herzog) is our greatest living director. With such masterpieces under his belt like Dead Ringers, Videodrome, Naked Lunch, A History of Violence, Spider, and Crash, its a shame people go head over heels for phony Oscar bait tripe like The Curious Case of Benjamin Button or The Reader. I just hope a new generation of film goers will be able to realize the pure artistry and pure avant garde style of Cronenberg’s films.
Cronenberg isn’t losing it at all. I believe he (along with Werner Herzog) is our greatest living director. His films of late (particularly Spider, A History of Violence, and Eastern Promises) were all wonderfully crafted films that show the man can bring that same visual style and intellectual thought which made his horror and sci-fi films so great to other genres.
Spider was an incredible psychological film that truly put us into the mind of a man who is truly lost in the world. The choice of setting and lighting reminded me of a silent horror film not unlike the style of which F. W. Murnau shot Nosferatu. The film also features two incredible performances from the great Ralph Fiennes and Miranda Richardson. Gabriel Byrne and Lynn Redgrave were also great in their supporting roles.
History of Violence was one of those great films that comes along once in few years that treats its violence in an intelligent way. It somehow finds the line between asking the big questions about violence in our society and yet be able to entertain us with its own violent sequences. Cronenberg is able to find this balance and give us one of the greatest films of this young century.
Eastern Promises is one of those great gangster films but its nothing epic like the Godfather, Once Upon a time in America, or even Goodfellas. But just because its not something that spans decades and have a rise and fall story to it doesn’t mean its any less satisfying. I look at this film the same way i would a film like the Long Good Friday or like Hawk’s Scarface. A gangster film that more or less emulates the old fifties or forties gangster films but with a modern setting and added with Cronenberg’s signature moments of graphic violence and themes. And lets not forget Viggo Mortensen’s incredible turn as Nikolai.
These films, while unlike the other Cronenberg films, still have some of the same themes and ideas running through them: identity and family (a major ideas that has been explored by Cronenberg since his 1988 masterpiece Dead Ringers)
You can all hate on Cronenberg all you want by saying hes too mainstream and should revert back to the old Cronenberg from the 70s and 80s, but the fact of the matter is that this Cronenberg is the same director who brought us those great cult body horror classics. While his new films might not have the same feel to them, they’re still great films and I for one love this new and mature direction.
I’m gonna have to go with Silence of the Lambs. Thomas Harris is just not that great of a writer and has been riding on the success of Red Dragon and Johnathan Demme’s fantastic film for too long. I’d also like to disagree with the people who suggested that Fear and Loathing in Las Vegas be in this category, as with A Clockwork Orange (a film i adore, but the book was just slightly better). Also have to disagree with anyone thinking Harper Lee’s masterpiece To Kill A Mockingbird wasn’t better than the film adaptation (a film i felt was not as satisfying at all)
The fact that John Cassavetes, David Cronenberg, David Lynch and Werner Herzog don’t even have honorary oscars is bullshit and really makes me question why an award show is so highly regarded for honoring mediocrity. I think the worst robbery is in 1985 when they had a chance to give a Best Director oscar to Akira Kurosawa, but instead gave it to Sydney Pollack.
Some might disagree with me but i found Werner Herzog’s 70s remake of Nosferatu the Vampyre much better than the original. Much of it has to do with Herzog’s recreation of the dark setting and of course one cant forget Klaus Kinski’s brilliant portrayal of the lonely vampire.
I’m not sure where all the hate for Nic Cage. In all honesty, I thinks hes one of our greatest living actors. Sure the actor is having a pretty bad time finding good work, but lets not forget that these slumps have happened and are continuing to happen some of the finest actors (ex: Al Pacino in 88 minutes and Righteous Kill, Marlon Brando in The Island of Dr. Moreau and Christopher Columbus – The Discovery, and Gary Oldman hasnt really been getting enough work to showcase his incredible acting skills like he did in Sid and Nancy or Prick Up Your Ears.) I think we should all remeber that this was the same actor that kicked ass in films like Adaptation, Leaving Las Vegas, Wild at Heart, Raising Arizona, Matchstick Men, and Bringing Out the Dead. I feel like this streak of bad films will be broken this year after the release of Werner Herzog’s re-imagining of Bad Lieutenant: Port of Call New Orleans.
While i do agree that Ridley Scott’s best two films (the incredible Alien and of course his seminal work Bladerunner) but I’’ve always been interested in seeing his films, no matter what stage in his career. I think Thelma and Louise doesn’t get enough love that i believe it deserves (maybe on of the finest films of the nineties) and Black Hawk Down was a pretty phenomenal visual experience and one of the more interesting wars films of all time (i understand that many people had problems with the fact that it didn’t go into the politics enough like the book did, but i thought the way he focused on the incident alone was powerful enough). I’d also like to say that Matchstick Men was a very well crafted film that showed Ridley’s versatility (he was able to hold back on the visuals and focus more on the story and characters), and hell sue me, i thought American Gangster was a pretty fantastic film and i think its a nice throwback to the great gritty Seventies crime thrillers. Now I understand his career has had its ups and downs but no one can deny his incredible talent.
i remember hearing somewhere that a rumor was going around that Ridley was planning to do a film adaptation of Aldous Huxley’s masterpiece Brave New World. Now again I’m not sure how valid this remark is and might probably be guilty of spreading rumors, but if its true i think it could be great to see him back in the genre which he revolutionized.
Another note, I’m wondering why Thelma and Louise isn’t being mentioned enough. I always viewed it as a masterpiece and one that, while not as good, is still in the area of Bladerunner and Alien.
I was flipping through random channels and saw that Perfect Storm playing. For some reason or another (maybe a mix of apathy and a broken remote) I sat through it. it should go without saying that this was not in any sense a good film but one thing struck me. The film was directed by Wolfgang Peterson and while i know hes the director behind such atrocious films as Troy and Poseidon, it was still disappointing to see his name on another stinker. Its important to note that this director once came to popularity with the incredible and highly ambitious German film, Das Boot. Its such a brilliantly made film and one that really hits you on an emotional level. The film remains one of my all time favorite films and the directors cut extends the pleasure. Its one of those war films that should be as highly revered as Apocalypse Now but most of the time comes up as on that gets forgotten when the people discuss about the greatest films ever (its disappointing not to see it in the library of even brought up as much during forums). But the real enigma of the film (and the purpose of the topic) is how such a brilliant film came from a director whose career has been mainly composed of making guilty pleasures or bad disaster films. But of course i would love to hear your opinions on other great works from mediocre film makers, or even some love for Das Boot.
Thanks Claus, its nice to hear more supporters for Wolfgang Peterson’s only good film.
I also want to comment on some people’s thoughts about “mediocre directors.” For me Paul Thomas Anderson is my vote for the best director of this generation and David Fincher is another director whom i view very highly (in my opinion Zodiac is truly one of the great accomplishments this decade and both Se7en and Fight Club are two of the finest films I’ve ever seen). I also say that Quentin Tarantino, Neil Jordon, Bryan Singer and James Cameron get mentioned. Though I’ve never been a big fan of Quentin Tarantino, I’m not sure I’d call him mediocre. I’m not a huge fan of Pulp fiction but its hard not to see the mastery behind the camera work. I also believe Reservoir Dogs and Jackie Brown were fantastic accomplishments and two highlights of 90s cinema. Also I want to say that Neil Jordon, while not too many great films, I don’t think his only masterpiece is the Crying Game. I don’t think its even the best film hes ever done. I’d like to say Mona Lisa is one of the greatest crime thrillers ever made with a one of the best lead performances from Bob Hoskins. Terminator is not James Cameron’s best film by any stretch. Terminator 2 and Alien were both great blockbuster action films and still hold up better than the first Terminator (I also want to give a nod to another Cameron film and one of my favorite action films: True Lies). And finally I come to Bryan Singer. I won’t argue too much for this director but i just wanted to say that both X Men film were really fun and entertaining films and in my opinion two of the best comic book films ever (X2 being the better of the two). Well that was a lot to get off my chest but thats what happens when you ignore your own forum for a night.
Anubisocrates, while I’m sure there are people out there who will start yelling at you for thinking Do The Right Thing should be in this category, i totally agree with you and was kinda hoping it would have been brought up earlier. I understand there are a lot of people who go crazy over Spike Lee’s films and some even consider him among our greatest living directors, but those feelings aren’t mutual. I think he hasn’t done anything really impressive outside of Do The Right Thing (a masterpiece beyond comprehension): Jungle Fever i always thought was an uneven work with one of the worst ending in cinema history and if it weren’t for Samuel L. Jackson’s tour de force performance as Gator, the film would have absolutely no redeeming qualities; Malcolm X is looked at as a great work of art to some but again, i still thought the film was too long and the ending mini-documentary was just baffling; And for He Got Game….well there isn’t much to say either than its was overall forgettable outside some pretty decent performances, especially from Denzel Washington (but nowadays isn’t that expected). I’m sure this should be its own thread, which may or may not be up later.
I also like to end this message by saying Joel Shumacher (while being a very mediocre director) has made some a lot of own favorite guilty pleasure B-films: Lost Boys (uneven and a most times just flat out ridiculous, but fun) Phone Booth (all in all forgettable feature, but how can one not love the great Forest Whitaker and the great voice of Keifer Sutherland) and lastly Flatliners (well……..can’t much defend this one without scrutiny).
thats a pretty unfair thing to say. While his film career after Bladrunner has been kind of uneven, Ridley Scott has accomplished a lot in that span including helming films ranging from masterpieces to great films. Thelma and Louise still remains one of the director’s masterpieces and one of the best films from the nineties; Black Hawk Down remains one of most visually stunning films this decade and a very good war film (i applaud the approach the film for choosing to just focus on the event than cramming the film with a lot of background detail, it instead works as a good companion piece to the novel rather than being the novel); Matchstick Men was also one of the finest films this decade showing that Ridley can back off on the visuals and focus on the story and it also showcases a great lead performance from Nicolas Cage; And sue me, I thought American Gangster was a a great entertainment an a good throwback to 70s gritty crime thrillers. To say Ridley hasn’t made a movie after Bladerunner is absurd.
Cronenberg cant just keep making the same film over and over again. His ability to evolve and adapt to the times differentiates himself from other 60s/70s directors: John Carpenter’s post Halloween/The Thing films has been slowly fading away to obscurity; I don’t remember one Tobe Hopper film outside of Texas Chainsaw Massacre and the Poltergeist; George E. Romero’s zombie films have lost their charm after his 1978 masterpiece Dawn of the Dead; Wes Craven…well hes achieved a lot of success in the 80s and 90s, but his work doesn’t compare to the masterpieces which Cronenberg achieved). In the end, David Cronenberg’s films have always been link thematically and the films he produced this century (Spider, A History of Violence, and Eastern Promises) are all unforgettable films and hands down better than maybe 90% of what other big name directors are doing now.
But to get beck to the reason of this forum, I put Dead Ringers in my top 10 favorite films of all time and really hope Criterion re-releases this masterpiece so another generation can understand the beauty of Cronenberg’s greatness. It deserved to have a packaging similar to the outstanding criterion releases of his other two master works (Videodrome and Naked lunch). Wonderful film by one of our greatest directors.
I remember the first time i watched John Woo’s great Hard Boiled and just being speechless while watching the beautifully choreographed action sequences, the wonderful cinematography, the beautifully directed scenes, and of course the charismatic performances from the great Chow Yun Fat and Tony Leung. Its still my favorite shoot em up action film. But after the film’s completion, John Woo went to Hollywood. Sadly since then we haven’t seen a film from John Woo that was really as good. What happened? Was it Hollywood that ruin John Woo or just that he doesn’t have it anymore. Well this begins the discussion: What are some positive/negative circumstances of foreign director entering Hollywood? And just some other things to think about: Is Hollywood a place for where creativity die or will John Woo ever make another classic action film ever again.
There Will Be Blood
-Paul Thomas Anderson’s dark masterpiece that was a mesmerizing piece of film making with an uncanny central performance by the always great Daniel Day-Lewis and good supporting performances from two great rising stars: Paul Dano and Dillon Freasier. Everything from the technical level (the cinematography is just incredible) to the artistic level (one of the most complex scripts were written). In a year of great films, this one was one of the best.
American Splendor
-Its always wonderful when a little film comes out of no where and changes all the rule of the standard biopic. The way the directors were able to combine the elements of a narrative and documentary gives the film an uncanny realism but at the same time it almost looks surrealistic as we see the real Harvey Pekar talking while Paul Giamatti (the actor portraying him in the film) sits behind him sits in his actor’s chair as if it were “behind-the-scenes” archival footage. But all of this isn’t just some directors gimmick, but a clever technique that helps bring out the essences of Pekar’s wonderful autobiographical comic series of which the film was based. A film that is always an easy watch with an ending that always gets to me. The very definition of a great film.
Mulholland Dr.
-When David Lynch’s Eraserhead was released in 1977 in the midnight circuit, i can only wonder how film goers and critics reacted to the black and white surrealist nightmare. I imagine it was similar to my reaction when i first watched it: frozen and wondering what the hell i exactly saw. While I might have been truly confused, i knew what i had just sit through was something special. Since then I’ve watched the film multiple times. Its hard to imagine Lynch could ever duplicate that very feeling again, but he did. Mulholland Dr. is just another masterpiece for a director who has so many already under his belt. Its also good to note that the performances from the two beautiful female stars (Naomi Watts and Laura Harring) are just great. A true stand out for this young century.
Aaptation
-In a film that features a number of great performances (maybe the best or two best performances Nicolas Cage has ever given), great cinematography, and some of the best camera work I’ve see in years, it’s screenplay that comes out the star of film. How fitting? A film, about a screenplay writer with writers block, which features on the great screenplays in modern cinematic history. But Maybe focusing on the screenplay for this long is unfair, since the film is perfect all around: from the direction of Spike Jones and the performances of Nicolas Cage, Meryl Streep, and Chris Cooper. It can only be summed up as the “8 1/2” of this generation.
A History of Violence
-In all honesty I could have replaced this with any of David Cronenberg’s films from this decade (Eastern Promises or Spider) but decided to go with this little surprising hit. David Cronenberg walks the tightrope between making a film that has something serious to say about violence yet having in it the elements of an entertaining action film. How he was able to achieve this, I still don’t know but it works.
Memento
-Christopher Nolan’s best film by a mile. While some have wrote it off as as just another gimmicky film, i think of it’s the best suspense thriller since Alfred Hitchcock’s Vertigo. I can’t say anything bad about this film: The performances are all top notch, the direction is flawless, the script is ingenious. People will talking about this film (and its insane ending) for years to come.
Zodiac
-David Fincher’s overlooked masterpiece remains a nice change in the serial killer genre (its been headache inducing to see how many Se7en have been released). But Fincher, the man who redefined the genre in 1995 with Se7en, does it again with this well crafter film. What makes this film so special is that its able to be a great police procedural while still getting under your skin with some of the most terrifying scenes in film history (Its also worth mentioning that these scenes i speak of come late in the film when the brutal violent sequences have already happened). Its the film that should have gotten David Fincher the spotlight and not his bloated Oscar-bait feature The Curious Case of Benjamin Button.
Sideways
-I’m not sure if theres ever been a film that has made me life so hard during one scene and still have the power to chock you up when its over. But thats Sideways: a film thats never artificial, never over-dramatic, never looking for any applause for its cleverness. Its just a genuinely funny and heartfelt work that seems to get better with each viewing. Performances all work, pacing feels just right, and the score is unique and unforgettable. Its a film about life thats actually gets it right.
Let The Right One In
-Heres a a film that came out not too long ago, but its one that i just couldn’t get out of my head. How many times do you see truly impressive horror film in this day and age (you probably get stuck with trashy remakes, bad slasher films, or really repugnant films like Saw and Hostel which revert to showing different ways to torture rather than make a good film). This, like Host did a year before, gave a new refreshing twist on an old idea (Host being a twist on the classic tale of a huge creature causing havoc on a city and Let The Right One In being a twist on the classic tale of Vampires). Both were refreshing films that gave me hope that the future of horror films, but it was Let The Right One In was the one i felt was the better of the two. It was my favorite film of last year (a disappointing year for film in my opinion) and it is quickly becoming one of my favorite films of all time.
Let me explain myself:
I’m not trying to say Hollywood is a place where creativity dies; Hollywood has created some of the greatest films ever (The 70s alone they produce some of the finest films in cinema history), nor am I saying a foreign director cant make it in Hollywood or that Hollywood wouldn’t let a foreign director creative freedom (Alfred Hitchcock did make some of his greatest films in America). I merely wanted start some minds thinking and expressing their thoughts about the subject.
Ross, its also worth mentioning that Leone’s Once Upon a Time in America was horribly butchered when released in America. The uncut Cannes version took a while to reach America and actually be recognized as the masterpiece that you and I look it as.
And Rich Uncle Skeleton, Herzog is great example of a film director who is still as prolific as he ever was and anyone who’s seen Grizzly Man or Wild Blue Wonder (a more obscure piece, but in my opinion just as wonderful) will agree.
Well in my opinion the best biopic is American Splendor: a film that truly discards the standard overused formula and the way it is able to fuse elements from standard narrative with the documentary format works on so many levels. After watching this film, it didn’t just feel like I read a little quick summary of the person’s life. You feel as if you know Harvey Pekar and have seen the world through his eyes. Nothing short of an accomplishment of the ages.
Another great biopic is Tim Burton’s best work, Ed Wood. The film not only showcases some of the best performances ever (Johnny Depp’s wonderfully positive an upbeat portrayal as the cult film director and who could forget Martin Landau’s fantastic turn as legendary Dracula star Bela Lugosi), but the way Tim Burton chooses to film his biopic with a great black and white 50s cult film look (like the manner of Ed Wood’s own films) is pure brilliance.
Another great biopic (or as many call it: the “anti-biopic”) that comes to mind is Todd Haynes’ brilliant I’m Not There. The film wonderfully shows the many sides of Bob Dylan and does the artist justice by not trying to explain and make sense of his actions throughout the years. Instead Haynes looks at him as a sort of enigma, going through the different personalties Dylan has taken on. The outcome is not a glorification of its subject but a critique. Some have wrote off the film as pretentious and to artsy for its own good; I think its perfect change of pace from the standard and bland music biopics like Ray and Walk the Line. I just hope one day this misunderstood masterpiece gets the attention it truly deserves.
Where is all this hate coming from exactly? Eastern Promises was a satisfying and entertaining crime drama that was excellently filmed and acted. And just because Cronenberg is doing a sequel doesn’t mean hes going “too mainstream.” Were directors like Francis Ford Coppola (the Godfather trilogy) or Akira Kurosawa (the underrated Sanjuro) or Satyajit Ray (the Apu trilogy) thinking about going “too mainstream” or thinking about the money when they felt like creating sequels to their works. Its stupid to think of Cronenberg as a Micheal Bay type of director who’s trying to milk as much money from one of his films. If he feels that Steven Knight can produce another great script, then I’m sure he’ll have thoughts about it. Obviously he didn’t think the same for the terrible sequels for Scanners of The Fly (two films franchises one would think would garner more money than from Eastern Promises). Cronenberg is an artist at heart and I’m looking forward to sequel to Eastern Promises. Matarese Circle on the other hand will be a strange change of pace, but i guess we’ll just have to see about that.
I disagree with Malcolm McDowell in A Clockwork Orange mainly because I think he was incredible as Mick Travis in Lindsay Anderson’s films (especially if….).
Thanks Harry Long, and DePalma could be considered as a director who made a successful transition from the horror genre to other genres, though I’m not really a fan of his work from either part of his film making career (I still don’t really see why films like Dressed to Kill and Femme Fatal have as strong of a cult following?). Other directors who’ve made successful transitions include Sam Raimi and Peter Jackson.
Second….I think Dead Ringers is a much more kick ass name than Twins.
Movies that should be in the library about 3 years ago
Apocalypse Now not being in the library is pretty weird, but one thing that i cant understand is why there aren’t many films from Werner Herzog. yeah i understand they have Aguirre, the Wrath of God and Fitzcarraldo, but Herzog has so many more masterpieces under his belt: the Enigma of Kasper Hauser, Stroszek, Nosferatu the Vampyre, Grizzly Man.
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Favorite Werner Herzog Film about 3 years ago
Stroszek
Such an underrated masterpiece. I’ve never seen a film truly like quite like it. The way Herzog can balance the drama and absurd humor is pure brilliance. just more proof that he might have been the best director of the 70s (and maybe our greatest living Director).
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Favorite Werner Herzog Film about 3 years ago
Stroszek
Such an underrated masterpiece. I’ve never seen a film truly like quite like it. The way Herzog can balance the drama and absurd humor is pure brilliance. just more proof that he might have been the best director of the 70s (and maybe our greatest living Director).
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Great Directors and their most underated films about 3 years ago
Last night, i watched Alfred Hitchcock’s Rope for the third time and the only thing that i was thinking when it was over was “Why is this not considered among the rest of his masterpieces?” I found the film’s themes and script much more complex then any of his over the top spy thrillers. Also the direction was was perfect, though that goes without saying when you’re talking about an Alfred Hitchcock film. The way Hitchcock uses 8 minute takes to really make it look like its shot in real time is just phenomenal.
This got me thinking about other great directors whose great films get under appreciated over time. Some that come to mind:
Barry Lyndon (1975, Stanley Kubrick): A film that really is never talked about much anymore. A film, in my opinion, is as good as his all time masterpiece 2001: a space odyssey
The Passenger (1975, Michelangelo Antonioni): Another film from 1975 and features on of Jack Nicholson’s greatest performances as well as one of the greatest scenes the legendary directors has ever filmed.
Stroszek (1977, Werner Herzog): Hell i could probably name a good number of Hertzog’s films that get overshadowed by Aguirre, the Wrath of God
Drunken Angel (1948, Akira Karasowa): Well its one of his greatest works and one that has yet gotten enough recognition as one of the legendary directors best films
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Great Directors and their most underated films about 3 years ago
I’m not sure about Solaris, it might be Tarkovky’s most popular film, but totally agree about east of eden (great film). Also great to hear someone mention Cronenberg’s Spider.
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Great Directors and their most underated films about 3 years ago
I sometimes feel like almost every one of Gus Van Sant’s independent films could be eligible: from drugstore to paranoid park. My pick would be My Own Private Idaho. A film thats so odd and strange yet has the ability to balance Shakespearean tragedy with a dream-like innocence and a very absurd sense of humor. One of my all time favorites.
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Antonioni's THE RED DESERT about 3 years ago
i have yet to see the film due to the fact of it not having a proper American DVD release. Hopefully criterion will get on it and add the film, or just add more films from Antonioni to their collection. I’d love see La Notte get a criterion release; Truly an under appreciated work from the great director.
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Favorite Movie References In The Simpsons about 3 years ago
Theres a great vertigo reference in the episode “Principal Charming” from season two. Principle Skinner is running up a tower and the view down becomes distorted. I also want to acknowledge that the scene where Bart is reaching for the cupcakes is pretty brilliant.
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David Cornenberg - A Misunderstood Artist about 3 years ago
This year, Canadian auteur David Cronenberg will be receiving the Légion d’honneur (the highest honor in France) for his work in cinema. This honor has been given out to other prominent directors such as Akira Kurosawa, Steven Spielberg, Satyajit Ray, Clint Eastwood, and David Lynch. In my opinion, there isn’t a more deserving director to achieve such an honor and be placed among the directors listed. Cronenberg’s films have often been overlooked by many critics and film goers in this country, and its great to see the man actually be recognized for his incredible work. I’ve been a huge fan of his ever since first watching The Fly and have constantly argued that he (along with Werner Herzog) is our greatest living director. With such masterpieces under his belt like Dead Ringers, Videodrome, Naked Lunch, A History of Violence, Spider, and Crash, its a shame people go head over heels for phony Oscar bait tripe like The Curious Case of Benjamin Button or The Reader. I just hope a new generation of film goers will be able to realize the pure artistry and pure avant garde style of Cronenberg’s films.
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Has Cronenberg lost it...or found it?! about 3 years ago
Cronenberg isn’t losing it at all. I believe he (along with Werner Herzog) is our greatest living director. His films of late (particularly Spider, A History of Violence, and Eastern Promises) were all wonderfully crafted films that show the man can bring that same visual style and intellectual thought which made his horror and sci-fi films so great to other genres.
Spider was an incredible psychological film that truly put us into the mind of a man who is truly lost in the world. The choice of setting and lighting reminded me of a silent horror film not unlike the style of which F. W. Murnau shot Nosferatu. The film also features two incredible performances from the great Ralph Fiennes and Miranda Richardson. Gabriel Byrne and Lynn Redgrave were also great in their supporting roles.
History of Violence was one of those great films that comes along once in few years that treats its violence in an intelligent way. It somehow finds the line between asking the big questions about violence in our society and yet be able to entertain us with its own violent sequences. Cronenberg is able to find this balance and give us one of the greatest films of this young century.
Eastern Promises is one of those great gangster films but its nothing epic like the Godfather, Once Upon a time in America, or even Goodfellas. But just because its not something that spans decades and have a rise and fall story to it doesn’t mean its any less satisfying. I look at this film the same way i would a film like the Long Good Friday or like Hawk’s Scarface. A gangster film that more or less emulates the old fifties or forties gangster films but with a modern setting and added with Cronenberg’s signature moments of graphic violence and themes. And lets not forget Viggo Mortensen’s incredible turn as Nikolai.
These films, while unlike the other Cronenberg films, still have some of the same themes and ideas running through them: identity and family (a major ideas that has been explored by Cronenberg since his 1988 masterpiece Dead Ringers)
You can all hate on Cronenberg all you want by saying hes too mainstream and should revert back to the old Cronenberg from the 70s and 80s, but the fact of the matter is that this Cronenberg is the same director who brought us those great cult body horror classics. While his new films might not have the same feel to them, they’re still great films and I for one love this new and mature direction.
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Films that are better than the books that they are are based on about 3 years ago
I’m gonna have to go with Silence of the Lambs. Thomas Harris is just not that great of a writer and has been riding on the success of Red Dragon and Johnathan Demme’s fantastic film for too long. I’d also like to disagree with the people who suggested that Fear and Loathing in Las Vegas be in this category, as with A Clockwork Orange (a film i adore, but the book was just slightly better). Also have to disagree with anyone thinking Harper Lee’s masterpiece To Kill A Mockingbird wasn’t better than the film adaptation (a film i felt was not as satisfying at all)
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most overrated oscar performances or robberies about 3 years ago
The fact that John Cassavetes, David Cronenberg, David Lynch and Werner Herzog don’t even have honorary oscars is bullshit and really makes me question why an award show is so highly regarded for honoring mediocrity. I think the worst robbery is in 1985 when they had a chance to give a Best Director oscar to Akira Kurosawa, but instead gave it to Sydney Pollack.
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Remakes that improved on the original about 3 years ago
Some might disagree with me but i found Werner Herzog’s 70s remake of Nosferatu the Vampyre much better than the original. Much of it has to do with Herzog’s recreation of the dark setting and of course one cant forget Klaus Kinski’s brilliant portrayal of the lonely vampire.
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Secret Masterpiece about 3 years ago
I’m not sure where all the hate for Nic Cage. In all honesty, I thinks hes one of our greatest living actors. Sure the actor is having a pretty bad time finding good work, but lets not forget that these slumps have happened and are continuing to happen some of the finest actors (ex: Al Pacino in 88 minutes and Righteous Kill, Marlon Brando in The Island of Dr. Moreau and Christopher Columbus – The Discovery, and Gary Oldman hasnt really been getting enough work to showcase his incredible acting skills like he did in Sid and Nancy or Prick Up Your Ears.) I think we should all remeber that this was the same actor that kicked ass in films like Adaptation, Leaving Las Vegas, Wild at Heart, Raising Arizona, Matchstick Men, and Bringing Out the Dead. I feel like this streak of bad films will be broken this year after the release of Werner Herzog’s re-imagining of Bad Lieutenant: Port of Call New Orleans.
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Ridley Scott: Peaked early? about 3 years ago
While i do agree that Ridley Scott’s best two films (the incredible Alien and of course his seminal work Bladerunner) but I’’ve always been interested in seeing his films, no matter what stage in his career. I think Thelma and Louise doesn’t get enough love that i believe it deserves (maybe on of the finest films of the nineties) and Black Hawk Down was a pretty phenomenal visual experience and one of the more interesting wars films of all time (i understand that many people had problems with the fact that it didn’t go into the politics enough like the book did, but i thought the way he focused on the incident alone was powerful enough). I’d also like to say that Matchstick Men was a very well crafted film that showed Ridley’s versatility (he was able to hold back on the visuals and focus more on the story and characters), and hell sue me, i thought American Gangster was a pretty fantastic film and i think its a nice throwback to the great gritty Seventies crime thrillers. Now I understand his career has had its ups and downs but no one can deny his incredible talent.
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Ridley Scott: Peaked early? about 3 years ago
i remember hearing somewhere that a rumor was going around that Ridley was planning to do a film adaptation of Aldous Huxley’s masterpiece Brave New World. Now again I’m not sure how valid this remark is and might probably be guilty of spreading rumors, but if its true i think it could be great to see him back in the genre which he revolutionized.
Another note, I’m wondering why Thelma and Louise isn’t being mentioned enough. I always viewed it as a masterpiece and one that, while not as good, is still in the area of Bladerunner and Alien.
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Ridley Scott: Peaked early? about 3 years ago
Again…Thelma and Louis were as good as his scifi films
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Masterpieces By Mediocre Directors about 3 years ago
I was flipping through random channels and saw that Perfect Storm playing. For some reason or another (maybe a mix of apathy and a broken remote) I sat through it. it should go without saying that this was not in any sense a good film but one thing struck me. The film was directed by Wolfgang Peterson and while i know hes the director behind such atrocious films as Troy and Poseidon, it was still disappointing to see his name on another stinker. Its important to note that this director once came to popularity with the incredible and highly ambitious German film, Das Boot. Its such a brilliantly made film and one that really hits you on an emotional level. The film remains one of my all time favorite films and the directors cut extends the pleasure. Its one of those war films that should be as highly revered as Apocalypse Now but most of the time comes up as on that gets forgotten when the people discuss about the greatest films ever (its disappointing not to see it in the library of even brought up as much during forums). But the real enigma of the film (and the purpose of the topic) is how such a brilliant film came from a director whose career has been mainly composed of making guilty pleasures or bad disaster films. But of course i would love to hear your opinions on other great works from mediocre film makers, or even some love for Das Boot.
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Masterpieces By Mediocre Directors about 3 years ago
Thanks Claus, its nice to hear more supporters for Wolfgang Peterson’s only good film.
I also want to comment on some people’s thoughts about “mediocre directors.” For me Paul Thomas Anderson is my vote for the best director of this generation and David Fincher is another director whom i view very highly (in my opinion Zodiac is truly one of the great accomplishments this decade and both Se7en and Fight Club are two of the finest films I’ve ever seen). I also say that Quentin Tarantino, Neil Jordon, Bryan Singer and James Cameron get mentioned. Though I’ve never been a big fan of Quentin Tarantino, I’m not sure I’d call him mediocre. I’m not a huge fan of Pulp fiction but its hard not to see the mastery behind the camera work. I also believe Reservoir Dogs and Jackie Brown were fantastic accomplishments and two highlights of 90s cinema. Also I want to say that Neil Jordon, while not too many great films, I don’t think his only masterpiece is the Crying Game. I don’t think its even the best film hes ever done. I’d like to say Mona Lisa is one of the greatest crime thrillers ever made with a one of the best lead performances from Bob Hoskins. Terminator is not James Cameron’s best film by any stretch. Terminator 2 and Alien were both great blockbuster action films and still hold up better than the first Terminator (I also want to give a nod to another Cameron film and one of my favorite action films: True Lies). And finally I come to Bryan Singer. I won’t argue too much for this director but i just wanted to say that both X Men film were really fun and entertaining films and in my opinion two of the best comic book films ever (X2 being the better of the two). Well that was a lot to get off my chest but thats what happens when you ignore your own forum for a night.
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Masterpieces By Mediocre Directors about 3 years ago
Anubisocrates, while I’m sure there are people out there who will start yelling at you for thinking Do The Right Thing should be in this category, i totally agree with you and was kinda hoping it would have been brought up earlier. I understand there are a lot of people who go crazy over Spike Lee’s films and some even consider him among our greatest living directors, but those feelings aren’t mutual. I think he hasn’t done anything really impressive outside of Do The Right Thing (a masterpiece beyond comprehension): Jungle Fever i always thought was an uneven work with one of the worst ending in cinema history and if it weren’t for Samuel L. Jackson’s tour de force performance as Gator, the film would have absolutely no redeeming qualities; Malcolm X is looked at as a great work of art to some but again, i still thought the film was too long and the ending mini-documentary was just baffling; And for He Got Game….well there isn’t much to say either than its was overall forgettable outside some pretty decent performances, especially from Denzel Washington (but nowadays isn’t that expected). I’m sure this should be its own thread, which may or may not be up later.
I also like to end this message by saying Joel Shumacher (while being a very mediocre director) has made some a lot of own favorite guilty pleasure B-films: Lost Boys (uneven and a most times just flat out ridiculous, but fun) Phone Booth (all in all forgettable feature, but how can one not love the great Forest Whitaker and the great voice of Keifer Sutherland) and lastly Flatliners (well……..can’t much defend this one without scrutiny).
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You know what's awesome? about 3 years ago
thats a pretty unfair thing to say. While his film career after Bladrunner has been kind of uneven, Ridley Scott has accomplished a lot in that span including helming films ranging from masterpieces to great films. Thelma and Louise still remains one of the director’s masterpieces and one of the best films from the nineties; Black Hawk Down remains one of most visually stunning films this decade and a very good war film (i applaud the approach the film for choosing to just focus on the event than cramming the film with a lot of background detail, it instead works as a good companion piece to the novel rather than being the novel); Matchstick Men was also one of the finest films this decade showing that Ridley can back off on the visuals and focus on the story and it also showcases a great lead performance from Nicolas Cage; And sue me, I thought American Gangster was a a great entertainment an a good throwback to 70s gritty crime thrillers. To say Ridley hasn’t made a movie after Bladerunner is absurd.
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David Cronenberg's Dead Ringers about 3 years ago
Cronenberg cant just keep making the same film over and over again. His ability to evolve and adapt to the times differentiates himself from other 60s/70s directors: John Carpenter’s post Halloween/The Thing films has been slowly fading away to obscurity; I don’t remember one Tobe Hopper film outside of Texas Chainsaw Massacre and the Poltergeist; George E. Romero’s zombie films have lost their charm after his 1978 masterpiece Dawn of the Dead; Wes Craven…well hes achieved a lot of success in the 80s and 90s, but his work doesn’t compare to the masterpieces which Cronenberg achieved). In the end, David Cronenberg’s films have always been link thematically and the films he produced this century (Spider, A History of Violence, and Eastern Promises) are all unforgettable films and hands down better than maybe 90% of what other big name directors are doing now.
But to get beck to the reason of this forum, I put Dead Ringers in my top 10 favorite films of all time and really hope Criterion re-releases this masterpiece so another generation can understand the beauty of Cronenberg’s greatness. It deserved to have a packaging similar to the outstanding criterion releases of his other two master works (Videodrome and Naked lunch). Wonderful film by one of our greatest directors.
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Foreign Directors Entering Hollywood about 3 years ago
I remember the first time i watched John Woo’s great Hard Boiled and just being speechless while watching the beautifully choreographed action sequences, the wonderful cinematography, the beautifully directed scenes, and of course the charismatic performances from the great Chow Yun Fat and Tony Leung. Its still my favorite shoot em up action film. But after the film’s completion, John Woo went to Hollywood. Sadly since then we haven’t seen a film from John Woo that was really as good. What happened? Was it Hollywood that ruin John Woo or just that he doesn’t have it anymore. Well this begins the discussion: What are some positive/negative circumstances of foreign director entering Hollywood? And just some other things to think about: Is Hollywood a place for where creativity die or will John Woo ever make another classic action film ever again.
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TOP TEN 2000 - 2008 about 3 years ago
There Will Be Blood
-Paul Thomas Anderson’s dark masterpiece that was a mesmerizing piece of film making with an uncanny central performance by the always great Daniel Day-Lewis and good supporting performances from two great rising stars: Paul Dano and Dillon Freasier. Everything from the technical level (the cinematography is just incredible) to the artistic level (one of the most complex scripts were written). In a year of great films, this one was one of the best.
American Splendor
-Its always wonderful when a little film comes out of no where and changes all the rule of the standard biopic. The way the directors were able to combine the elements of a narrative and documentary gives the film an uncanny realism but at the same time it almost looks surrealistic as we see the real Harvey Pekar talking while Paul Giamatti (the actor portraying him in the film) sits behind him sits in his actor’s chair as if it were “behind-the-scenes” archival footage. But all of this isn’t just some directors gimmick, but a clever technique that helps bring out the essences of Pekar’s wonderful autobiographical comic series of which the film was based. A film that is always an easy watch with an ending that always gets to me. The very definition of a great film.
Mulholland Dr.
-When David Lynch’s Eraserhead was released in 1977 in the midnight circuit, i can only wonder how film goers and critics reacted to the black and white surrealist nightmare. I imagine it was similar to my reaction when i first watched it: frozen and wondering what the hell i exactly saw. While I might have been truly confused, i knew what i had just sit through was something special. Since then I’ve watched the film multiple times. Its hard to imagine Lynch could ever duplicate that very feeling again, but he did. Mulholland Dr. is just another masterpiece for a director who has so many already under his belt. Its also good to note that the performances from the two beautiful female stars (Naomi Watts and Laura Harring) are just great. A true stand out for this young century.
Aaptation
-In a film that features a number of great performances (maybe the best or two best performances Nicolas Cage has ever given), great cinematography, and some of the best camera work I’ve see in years, it’s screenplay that comes out the star of film. How fitting? A film, about a screenplay writer with writers block, which features on the great screenplays in modern cinematic history. But Maybe focusing on the screenplay for this long is unfair, since the film is perfect all around: from the direction of Spike Jones and the performances of Nicolas Cage, Meryl Streep, and Chris Cooper. It can only be summed up as the “8 1/2” of this generation.
A History of Violence
-In all honesty I could have replaced this with any of David Cronenberg’s films from this decade (Eastern Promises or Spider) but decided to go with this little surprising hit. David Cronenberg walks the tightrope between making a film that has something serious to say about violence yet having in it the elements of an entertaining action film. How he was able to achieve this, I still don’t know but it works.
Memento
-Christopher Nolan’s best film by a mile. While some have wrote it off as as just another gimmicky film, i think of it’s the best suspense thriller since Alfred Hitchcock’s Vertigo. I can’t say anything bad about this film: The performances are all top notch, the direction is flawless, the script is ingenious. People will talking about this film (and its insane ending) for years to come.
Zodiac
-David Fincher’s overlooked masterpiece remains a nice change in the serial killer genre (its been headache inducing to see how many Se7en have been released). But Fincher, the man who redefined the genre in 1995 with Se7en, does it again with this well crafter film. What makes this film so special is that its able to be a great police procedural while still getting under your skin with some of the most terrifying scenes in film history (Its also worth mentioning that these scenes i speak of come late in the film when the brutal violent sequences have already happened). Its the film that should have gotten David Fincher the spotlight and not his bloated Oscar-bait feature The Curious Case of Benjamin Button.
Sideways
-I’m not sure if theres ever been a film that has made me life so hard during one scene and still have the power to chock you up when its over. But thats Sideways: a film thats never artificial, never over-dramatic, never looking for any applause for its cleverness. Its just a genuinely funny and heartfelt work that seems to get better with each viewing. Performances all work, pacing feels just right, and the score is unique and unforgettable. Its a film about life thats actually gets it right.
Let The Right One In
-Heres a a film that came out not too long ago, but its one that i just couldn’t get out of my head. How many times do you see truly impressive horror film in this day and age (you probably get stuck with trashy remakes, bad slasher films, or really repugnant films like Saw and Hostel which revert to showing different ways to torture rather than make a good film). This, like Host did a year before, gave a new refreshing twist on an old idea (Host being a twist on the classic tale of a huge creature causing havoc on a city and Let The Right One In being a twist on the classic tale of Vampires). Both were refreshing films that gave me hope that the future of horror films, but it was Let The Right One In was the one i felt was the better of the two. It was my favorite film of last year (a disappointing year for film in my opinion) and it is quickly becoming one of my favorite films of all time.
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Foreign Directors Entering Hollywood about 3 years ago
Let me explain myself:
I’m not trying to say Hollywood is a place where creativity dies; Hollywood has created some of the greatest films ever (The 70s alone they produce some of the finest films in cinema history), nor am I saying a foreign director cant make it in Hollywood or that Hollywood wouldn’t let a foreign director creative freedom (Alfred Hitchcock did make some of his greatest films in America). I merely wanted start some minds thinking and expressing their thoughts about the subject.
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Foreign Directors Entering Hollywood about 3 years ago
Ross, its also worth mentioning that Leone’s Once Upon a Time in America was horribly butchered when released in America. The uncut Cannes version took a while to reach America and actually be recognized as the masterpiece that you and I look it as.
And Rich Uncle Skeleton, Herzog is great example of a film director who is still as prolific as he ever was and anyone who’s seen Grizzly Man or Wild Blue Wonder (a more obscure piece, but in my opinion just as wonderful) will agree.
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Best biographical movies about 3 years ago
Well in my opinion the best biopic is American Splendor: a film that truly discards the standard overused formula and the way it is able to fuse elements from standard narrative with the documentary format works on so many levels. After watching this film, it didn’t just feel like I read a little quick summary of the person’s life. You feel as if you know Harvey Pekar and have seen the world through his eyes. Nothing short of an accomplishment of the ages.
Another great biopic is Tim Burton’s best work, Ed Wood. The film not only showcases some of the best performances ever (Johnny Depp’s wonderfully positive an upbeat portrayal as the cult film director and who could forget Martin Landau’s fantastic turn as legendary Dracula star Bela Lugosi), but the way Tim Burton chooses to film his biopic with a great black and white 50s cult film look (like the manner of Ed Wood’s own films) is pure brilliance.
Another great biopic (or as many call it: the “anti-biopic”) that comes to mind is Todd Haynes’ brilliant I’m Not There. The film wonderfully shows the many sides of Bob Dylan and does the artist justice by not trying to explain and make sense of his actions throughout the years. Instead Haynes looks at him as a sort of enigma, going through the different personalties Dylan has taken on. The outcome is not a glorification of its subject but a critique. Some have wrote off the film as pretentious and to artsy for its own good; I think its perfect change of pace from the standard and bland music biopics like Ray and Walk the Line. I just hope one day this misunderstood masterpiece gets the attention it truly deserves.
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Eastern Promises Sequel about 3 years ago
Where is all this hate coming from exactly? Eastern Promises was a satisfying and entertaining crime drama that was excellently filmed and acted. And just because Cronenberg is doing a sequel doesn’t mean hes going “too mainstream.” Were directors like Francis Ford Coppola (the Godfather trilogy) or Akira Kurosawa (the underrated Sanjuro) or Satyajit Ray (the Apu trilogy) thinking about going “too mainstream” or thinking about the money when they felt like creating sequels to their works. Its stupid to think of Cronenberg as a Micheal Bay type of director who’s trying to milk as much money from one of his films. If he feels that Steven Knight can produce another great script, then I’m sure he’ll have thoughts about it. Obviously he didn’t think the same for the terrible sequels for Scanners of The Fly (two films franchises one would think would garner more money than from Eastern Promises). Cronenberg is an artist at heart and I’m looking forward to sequel to Eastern Promises. Matarese Circle on the other hand will be a strange change of pace, but i guess we’ll just have to see about that.
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Actors Inseparable From Their Film Roles (For Better or Worse) about 3 years ago
I disagree with Malcolm McDowell in A Clockwork Orange mainly because I think he was incredible as Mick Travis in Lindsay Anderson’s films (especially if….).
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David Cronenberg's Dead Ringers about 3 years ago
Thanks Harry Long, and DePalma could be considered as a director who made a successful transition from the horror genre to other genres, though I’m not really a fan of his work from either part of his film making career (I still don’t really see why films like Dressed to Kill and Femme Fatal have as strong of a cult following?). Other directors who’ve made successful transitions include Sam Raimi and Peter Jackson.
Second….I think Dead Ringers is a much more kick ass name than Twins.
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