The Ten Greatest Directors

Welcome to the final installment of The Ten Greatest Directors.

We started with a list of 45 directors and each post removed ten directors from the list with an explanation as to why we cut them. It wasn’t easy, but we’re finally down to the Ten Greatest Directors. There was a lot of debate behind the scenes, but here they are, in no particular order. We’re simply naming them The Ten Greatest Directors.

Jean-Luc Godard
He is one of the pioneers of the French New Wave wasn’t just a great director but changed the language of filmmaking forever. Prior to Godard, such things as having a character address the camera, jump cut editing, and non-linear storytelling were considered taboo. Now, without Godard, we wouldn’t have Tarantino, Von Trier, or Coppola.

Federico Fellini
The ultimate dreamer who made dreams come alive on the screen. His films were a dance with a rhythm, intelligence, and sly wit that no other director in history can match. His legacy is assured and his movies are timeless. Be sure to see La Dolce Vita and 8 1/2. They changed the way viewers looked at filmmaking.

Ingmar Bergman
The auteur of the top 10 also is underrated when it comes to delivering a film that also enlightens and entertains. His strongest attribute was dealing with the most basic human emotions: love, life, death, and family and making the films convey these feelings without condescending the audience. I have never watched a Bergman film without thinking about it for at least a week afterwards. They stay with you like all great art.

Charlie Chaplin
Most people know him as The Tramp — the iconic character with the funny mustach, top hat and cane. And it’s a phenominal character, but he also wrote and directed his best films, like The Kid, City Lights, and The Gold Rush. He had 72 films directed, won a lifetime achievement award from the Academy, best actor, and even one for best original score. He knew how to make great films, and was a notorious perfectionist.

Fritz Lang
If you don’t know him, the directors you love certainly do. Lang is one of the most influential directors, and is considered the father of film noir. He never won an Academy Award — most likely because he was born in Germany, and even though he moved to America because of his strong distaste for nazis, was still looked at as a “German filmmaker.” His movies, like M, Metropolis, and Fury are classics still shown in film schools around the world to this day. They are iconic, timeless, and resonate with great awe.

Alfred Hitchcock
He was master storyteller who churned out movies like it was his job… which it was. Over a 50 year career, he cranked out nearly 70 films as a director, plus he wrote and produced his own television series and other films. But he will be remembered most as a director for his uncanny ability to capture suspense, play with our minds with stunning visuals, and create iconic images in films like “Psycho” “The Birds” “North by Northwest” “Vertigo” and the list goes on. He set the stage for other directors in a genre he brought respect to.

John Ford
He’s arguably the greatest. He directed more than 100 films, including classics like Stagecoach, The Grapes of Wrath, The Man Who Shot Liberty Valance, The Searchers, and also was a four-time Oscar winner for directing. His pace, understanding of timing, respect for actors and iconic imagery all make up his incredible talent. A master, through and through, and a workhorse.

Martin Scorsese
He came out of the NYU film school, and lead a generation of directors that bucked the Hollywood system and its traditional film-making techniques  and story lines. He made movies, like Taxi Driver and Raging Bull, that challenged the viewer and put them in an uneasy chair. His mafia movies, like Good Fellas and The Departed, are unmatched in the genre. He approaches film humbly, and understands stories and imagery like no other. We love Scorsese, and we hope he never retires.

Stanley Kubrick
Kirk Douglas, after the making of Spartacus, said, “Stanley Kurbick is a talented shit.”

He only made 15 films in his career, which was one of his regrets as a director, but he was a perfectionist and his pictures were a reflection of that. His last film, Eyes Wide Shut, took five years to make. No other director has been given that freedom, and for good reason. Every Kubrick film is a masterpiece.

There has never been a director who understood a camera better. He was a still photographer before he became a motion picture director and his use of light and how it impacts stories and characters as a storytelling vehicle is extremely thoughtful. His storytelling skills are superb, but he never used narrative stories, or rarely did. His movies made you feel the story. They never handed it to you on a silver plate. He challenged viewers with his stories and portrayed them with stunning beauty. He was the Mozart of film making.

Akira Kurosawa
Ironically, Kirosawa was panned in Japan in his early days for being too influenced by western directors, like John Ford, and for bringing too much emotion to his pictures. But that was his strength. He captured both the action of war and its drama. He paid exquisite detail even to the most mundane characters, and brought humanity to war and famine. “The Seven Samurai” “Yojimbo” “Rashômon” and “The Hidden Fortress” continue to influence directors to this day.

The Ten Greatest Directors Part 4

Welcome to part 4 of our series on The Ten Greatest Directors.

We started with a list of 45 directors and each day until our anniversary have remove five directors from with an explanation as to why we cut them. The next post in the last one, with 15 directors left.

Let us know which ones you think should stay, and which should go — and maybe some directors  you thought should have been in the mix that weren’t.

Brian
Woody Allen I’m a big fan but Woody Allen is more of a brilliant writer than a director. That doesn’t mean he isn’t great but he’s not one of the ten best ever.

Oliver Stone
Has some amazing work (Platoon, JFK, and Born on the 4th of July) but he’s also made some legendary stinkers, like Alexander, Any Given Sunday, and U-Turn.

Yasujiro Ozu
A legend who’s films get better with age but outside of Late Spring and Tokyo Story, the rest are merely average to good. This one hurt to drop.

Milos Forman
Had three amazing films — One Flew over the Cuckoos’ Nest, Amadeus, and The People vs Larry Flynt — but his work filmography is short and there’s not much outside those three films. I also contend his work didn’t revolutionize films the way the rest of the directors on the list did.

Christopher Nolan
I think in 10-15 years he may end up in the top 10. But, he hasn’t built up enough of a resume yet to be considered one of the 10 best ever.

Matt

Ridley Scott
Thelma & Louise, Gladiator, Matchstick Men, and of course, Blade Runner, are all excellent pieces of work. He’s a great director, but when you get right down to it, there are directors left with far greater films.

Sergio Leone
Not a lot of people may realize this, but he only directed 13 films — five of which were uncredited. A Fistful of Dollars is arguably the best western ever made, as is Once Upon a Time in the West. He’s the king of spaghettis westerns, but it’s not enough to be named one of the ten best ever.

Joel and Ethan Coen
Fargo, True Grit, No Country for Old Men, The Man Who Wasn’t There and The Big Lebowski are just a few of their excellent films. They have such a strong case, but I think they’re just on the periphery. Talk to me in a few years.

Paul Thomas Anderson
The Master, There Will Be Blood, Magnolia and Boogie Nights are all great films, but he has a very small body of work. I think he’ll be considered the best of his generation when he’s done, and maybe one of the best ever. But today, he’s not.

David Lynch
Mulholland Drive is one of the best films of the past 25 years, Eraserhead is an intriguing film with lasting power, and the Elephant Man is a masterpiece. At this point, we’re not cutting directors with ease. This one stings.

Directors Remaining
Quentin Tarantino
Charlie Chaplin
Billy Wilder
Fritz Lang
Terrence Malick
Robert Altman
Ingmar Bergman
Federico Fellini
Martin Scorsese
John Huston
Stanley Kubrick
Jean-Luc Godard
Alfred Hitchcock
Akira Kirosawa
John Ford

The Ten Greatest Directors Part 3

Welcome to part 3 of our series on The Ten Greatest Directors.

We started with a list of 45 directors and each day until our anniversary, we will each remove five directors from the list and give an explanation as to why we cut them.

Let us know which ones you think should stay, and which should go — and maybe some directors  you thought should have been in the mix that weren’t.

MATT

Francis Ford Coppola
Bram Stoker’s Dracula was probably the last really good film he’s made, and that was in 1992. I know it stings to take Coppola off this list, but he made the Godfather trilogy, and not a lot after or before.

Orson Welles
After Citizen Kane, Welles didn’t do a whole lot. He directed a lot of television projects. It’s strange that someone who directed such a beautiful looking film, with such great influence, never really met his potential.

Pedro Almodovar
I’m a big fan. Volver, if you haven’t seen it, was great. Talk to her, was also quite good. But his collection of work isn’t strong enough to warrant Top 10.

Sam Peckinpah
He only directed 14 films, but made some great ones — like Straw Dogs and The Wild Bunch. But I think his true strength was as a writer.

Steven Spielberg
What?! Yes, Spielberg is getting cut. This is a band-aid that just needs to be ripped off. For Every Schindler’s List and Saving Private Ryan, there’s an Indiana Jones 4 or War Horse. This one is tough to cut, but again, I go back to relevance. He’s making Indiana Jones 5 right now. Lincoln was great, but you have to go back to 2001’s A.I. Artificial Intelligence for his last good movie. This is a pattern for him.

BRIAN 

Mel Brooks
I’m a huge fan of the Producers but a lot of his humor falls flat with me. Blazing Saddles and Young Frankenstein are highly overrated one joke premises.

Wes Anderson
He’s the king of the dry humor. I loved Rushmore and Royal Tenebaums. Wasn’t crazy about Zizou and Darjeeling Limited. Either way, he’s not in the top 10

Tim Burton
I loved Pee Wee and think Ed Wood is one of the most underrated films ever made. But, he made Mars Attacks and Planet of the Apes and those weren’t just bad, they were complete disasters.

Jean-Pierre Jeunet
Delicatessen and City of Lost Children are fantastic. But, he directed Alien: Resurrection, which was horrendous. Also, Amelie is very cute but terribly overrated.

Brian Depalma
He has some great movies on his résumé: Carrie, Blow Out, Scarface. But, he’s still working today and hasn’t even made anything good in 20 years.

Remaining Directors:

Woody Allen
Quentin Tarantino
Charlie Chaplin
Billy Wilder
David Lynch
Ridley Scott
Fritz Lang
Terrence Malick
Robert Altman
Oliver Stone
Paul Thomas Anderson
Ingmar Bergman
Federico Fellini
Martin Scorsese
Joel and Ethan Cohen
John Huston
Stanley Kubrick
Sergio Leone
Milos Forman
Jean-Luc Godard
Yasujiro Ozu
Alfred Hitchcock
Akira Kirosawa
Christopher Nolan
John Ford

The Ten Great Directors Part 2

Wecome to part 2 of our series on The Ten Greatest Directors.

We started with a list of 45 directors and each day until our anniversary, we will each remove five directors from the list and give an explanation as to why we cut them.

Let us know which ones you think should stay, and which should go — and maybe some directors  you thought should have been in the mix that weren’t.

Brian

George Lucas
He made perhaps the greatest popcorn film ever made, THX 1138 was great, American Graffiti was solid, and then… The prequels..oh, those prequels….

Darren Aronofsky
 Loved Pi and Black Swan, liked requiem, and the rest? Meh. Not enough quality to keep him on the list.

Spike Lee
Lately, he’s more famous for attending New York Knicks games than he is for his films. He hasn’t made anything even remotely relevant in at least 15 years. He did direct Do the Right Thing though. That is one of the best films of the last 25 years.

Robert Zemeckis
He has some great work over his career, particularly Forest Gump, Back to the Future, and Who Framed Roger Rabbit? But, not really any form of a ground breaking talent.

Cecil B. Demille
An important and historic director whose work dates back to the silent era. The problem is that he’s really only remembered for the Ten Commandments. It’s good, but very dated.

Matt

James Cameron
He’s never made a movie, to me, that is worthy of making the final list. His dialogue is bad – see Titanic. He makes immensely popular movies with formulaic storylines. He’s skilled and makes an entertaining film, but not one of ten greatest.

Clint Eastwood
He’s made some great movies, but didn’t really get going until later in life because of a successful acting career that spanned decades. Mystic River was a wonderful film, but he does suffer from being overly nostalgic at times. Great director, but I have to cut him.

Roman Polanski
He’s got some serious chops, and a long list of great films — Rosemary’s Baby, The Pianist, Tess and Chinatown. It’s tough to cut some of these guys because they’re so talented, but Polanski screwed his career with some horrendous decisions and alleged crimes that have held him back.

Sam Mendes
Awesome director with a great start to his career — American Beauty and Skyfall among them. But he’s only made six movies. There’s guys on this list with way more impressive resumes.

Danny Boyle
Another talented director with a couple great movies — 127 Hours and Slumdog Millionaire, but he’s only made 10 films. Talk to me in 20 years and he may be higher.

Here are the remaining directors:
Woody Allen
Francis Ford Coppola
Quentin Tarantino
Orson Welles
Charlie Chaplin
Billy Wilder
David Lynch
Ridley Scott
Fritz Lang
 Terrence Malick
Robert Altman
Oliver Stone
Brian De Palma
Paul Thomas Anderson
Ingmar Bergman
Federico Fellini
Martin Scorsese
Joel and Ethan Cohen
John Huston
Tim Burton
Mel Brooks
Sam Peckinpah
Stanley Kubrick
Wes Anderson
 Pedro Almodovar
Steven Spielberg
 Jean-Pierre Jeunet
Sergio Leone
Milos Forman
 Jean-Luc Godard
 Yasujiro Ozu
Alfred Hitchcock
 Akira Kirosawa
Christopher Nolan
John Ford

The Ten Greatest Directors Part 1

Our three-year anniversary is here! It’s been an awesome run, and we’ve really enjoyed interacting with you and sharing our reviews and articles.

The past two years we’ve had epic lists. Our first year we named the Ten Greatest Films Ever Made, and in year two we did the Ten Worst Movies We’ve Ever Seen. This year we’ve decided to name the Ten Greatest Director.

Here are the list of 45 directors, in no particular order, we will consider for the ten greatest ever. Each day we’ll both cut five from the list until we’re paired down to the Ten Greatest Directors.

Let us know which ones you think should stay, and which should go — and maybe some directors  you thought should have been in the mix.

Woody Allen
Francis Ford Coppola
Quentin Tarantino
Orson Welles
Charlie Chaplin
Billy Wilder
Clint Eastwood
David Lynch
Ridley Scott
Fritz Lang
Terrence Malick
Robert Altman
Oliver Stone
Robert Zemeckis
George Lucas
Brian De Palma
Cecil B. DeMille
Spike Lee
Paul Thomas Anderson
Darren Aronofsky
Ingmar Bergman
Federico Fellini
Martin Scorsese
Joel and Ethan Cohen
John Huston
Tim Burton
James Cameron
Mel Brooks
Sam Peckinpah
Stanley Kubrick
Wes Anderson
Roman Polanski
Pedro Almodovar
Danny Boyle
Steven Spielberg
Jean-Pierre Jeunet
Sam Mendes
Sergio Leone
Milos Forman
Jean-Luc Godard
Yasujiro Ozu
Alfred Hitchcock
Akira Kirosawa
Christopher Nolan
John Ford

Craigslist Joe

Setting out to explore whether America still has a sense of community where people help each other through hard times, 29-year-old Joseph Garner spends a month depending on the goodness of Craigslist posters for his survival.

Matt
Rating: 6 out of 10

It’s a great concept for a documentary. But with any documentary that focuses on the filmmaker pulling a stunt — like the infamous “Supersize Me” — it seems to take away from authenticity of the film.

However, that doesn’t mean they’re not entertaining and “Craigslist Joe” certainly is. It’s not going to blow the doors off your house, but it will keep you thoroughly entertained for for an hour and a half.

It’s definitely interesting to see some of the positions he’s in, the types of people he meets and the places he stumbles to. He’s very much going with the flow. He sleeps whereever he can find a place, gets a meal whenever he can, and a ride to wherever someone is willing to take him. But he also makes some real connections with people who help him along the way, and it’s the glue that holds this film together. It is a stunt, just like the guy who ate nothing but disgusting McDonald’s for a month. He could stop whenever he wants, but that just doesn’t make for good TV. I did walk away, though, satisfied. It was a fun road trip to watch unfold, and there were some heartfelt moments where people genuinely helped out a person who is — kind of — in need.

heckler

Matt
Rating: 8 out of 10

Do I have the right to review a film or have a movie blog? Yes I do, and the answer is simple: because I exist.

My only rub with this film is Jamie Kennedy complains that movie bloggers and posters of the interwebs trash him. He gets offended and wonders why a nobody can tear him and his films apart. But just as he has the right to take the stage as a comic or star in a film, we have the right to hate on his work.

That said — it’s really my only complaint about this film. Kennedy went to great lengths to interview a host of comedians, actors and performers who shared some really great stories and insights on heckling. I’m sure hecklers have existed since the Romans battled gladiators, and this film sheds some great light on an awkward social faux  pas. We’ve all experienced it, whether it’s at a movie or at a comedy club, that jerk yelling remarks from the back. It’s hard enough to make people laugh, but it’s just painful when a heckler verbally assaults a comic. There are some really great interview with comedians in “Heckler,” from David Cross and Louie Anderson to Bill Maher, and it’s really fun to hear their stories. It’s also interesting to see how hard it can be on them. More than I anticipated.

It was also funny to watch Kennedy interview a really awkward blogger who absolutely vomitted all over his work. However, as annoying as that guy is, he deserves a voice. It’s just not as annoying as the guy shouting from the back of the theater. And Kennedy interviews that guy, too. This is an often hilarious and insightful documentary that’s definitely worth a watch.

Top 5 Baseball Movies

Spring is in the air and baseball is finally here after a long, long winter. We’re big fans of America’s pastime here at The Movie Brothers, so we decided to present to you our Top 5 Baseball Movies. There are a lot of great baseball movies, probably more than any other sport because of its tradition, history and heartfelt place in our country. Many great baseball movies didn’t make the list, like “Bang the Drum Slowly,” “61,” “A League of Their Own” and “The Bad News Bears.” But to get to the Top 5, a lot of them had to be cut.

5. The Sandlot
This is definitely as sentimental a movie as they come, but it’s hard not to fall in love with. It’s the story of a new kid on the block who has no club about baseball, but it’s how he connects with the children in his new town. Placed in the 1960s, it’s a coming-of-age story wrapped in a love letter to baseball. It’s a great one for the entire family, with plenty of memorable scenes and moments.

4. Eight Men Out
There  may be no sadder story than that of Shoeless Joe Jackson — who makes two appearance in our Top 5. He went down with the ship when his teammates threw the 1919 World Series, even though he played incredibly well. This is a great film with a great cast that pulls the cover off a sad chapter in baseball with plenty of frustrating drama.

3. Moneyball
It could be easy to write this film off as too “inside baseball” — no pun intended — but it’s understandable. It’s a movie about guys who created a numerical system to put together a baseball team on the cheap and win. But it’s more than that. It’s the story of Oakland A’s general manager, Billy Beane, and what is often a very sad and frustrating existence. It puts a human element to the story and offers some genuine human drama.

2. The Natural
I get goose bumps every time I see Robert Redford in The Natural. That final scene, with the light being blown out, rounding the bases. It just gets me every time. It’s loaded with great performances, especially by Glenn Close and Robert Duvall, and heaps on authentic period uniforms and fields with timeless production value. If you haven’t seen it, it’s a wonderful film full of romance, drama, humor and baseball lore.

1. Field of Dreams
The final scene of this film gets me every time. Who wouldn’t like to have one last catch with their dad. One more chance to heal his pain, and yours in the process through a common glue — baseball. This is a film that has everything to do with baseball, and yet nothing at all to do with the game itself. It’s a wonderful fantasy drama where a farmer hears voices to clear his corn field and build a baseball field — which ends up being a portal for dead ball players to visit and play on. On the surface, illogical. But I like ilogical. This film is an incredibly imaginative film, loaded with nostalgia, history, excellent acting, and engaging as the game itself. Hands down, the best baseball film ever made.

The Snowtown Murders

This grisly thriller is based on the true story of Australia’s worst serial killer, John Bunting, and the people he convinced to help him. One of them is teenager Jamie, whose entire family eventually falls under Bunting’s dark spell.

Brian
Rating: 7 out of 10

This film falls squarely in with others I’ve reviewed like Antichrist in that it’s a well made film that shows a picture of hell on Earth in a realistic way and yet I can’t recommend it.  Why? The images in it are filled with real world and all too real horror.  The main character played by Lucas Pittaway is pure frustration to watch.  His whole existence revolves around being a victim.  He is raped by his own brother, pushed around by every single person in his life, and coerced into assisting with murders that horrify and repulse him.  And yet, because he is so weak, he never says no.  As a viewer, it’s never a comfortable experience.  Obviously, considering the subject matter is about some of the worst crimes in Australian history, this comes as no surprise.  But, because this film plays everything off as deadpan real, it gives an uneasy and claustrophobic feel to all of the plot progressions.  We witness graphic tortures, murders, a main character who is pure evil, and a daily routine in a white trash neighborhood that has no glimmer of hope anywhere within its confines.

So, after all of this, why am I rating it a 7?  The performances are excellent all the way around, particularly by Daniel Henshall who plays the deviously charismatic leader of the serial killers.  He tries to make things make sense from his twisted point of view and is methodical in how he gets all these men to kill and torture for him.  Also, the world that is created by Justin Kurzel feels cold, bleak, and all too real.  This is true life horror that couldn’t be further away from the cliche slasher films that most horror enthusiasts are accustomed to.  However, proceed at your own risk.  This is a harrowing film and not one for the squeamish.

A Love Letter to Roger Ebert

Brian

Rest in Peace Roger Ebert.

Roger Ebert could be looked at as simply just another film critic by some after a career spanning over 45 years. I looked at him as an art curator; a custodian and tour guide to the world of movies.  

There is no person on earth who inspired my brother and I to start writing this blog and posting our own reviews more than Roger Ebert. His career began as as a writer for the Chicago Sun-Times in 1967. He was a part of a newer movement of film goers that were lovers of both the old Hollywood style and the newer foreign and independent filmmakers. He was a fresh and open-minded critic who had an amazing ability to cut through the film and see into the hearts of those who worked on it. He never just bashed a film because it was commercial nor did he just love a film because it was vanguard and low budget.  

He was an ambassador for the audience that let you know whether the film delivered a quality experience. I can speak from my own experiences reading his reviews and watching his “At The Movies” show with Gene Siskel that I rarely would get so excited to hear someone’s opinion on anything. I pre-ordered his Movie Home Companion every year from the book store, I was a subscriber to his Ebert Club online, and I had his website bookmarked in my web browser for daily viewing. He had a writing style that was intelligent and well though out yet accessible and easy to understand, and it earned him a Pulitzer Prize. He oozed love for the movies. They weren’t just films to him. They were reflections of our collective human imaginations and communications through art. He also was the best at writing negative reviews. They were not only hilarious and cutting but they served a purpose. He held producers, actors, writers, and directors accountable when they sullied the world of movies with trash. He took it as an insult to the audience when movie companies would dare deliver a crap film and ask for viewers hard earned money to see it. I will miss him dearly. I have been reading and watching his work for over 30 years. He has had a profound influence on my life and love for film that I will carry all my days. I hope one day to chat with him again.  

But, until then…..the balcony is closed.