Top 10 Directors Current list

Here’s my annual stab at listing and ranking the best directors on the planet. Usually I look at the last 10 years’ worth of work with a heavy emphasis on even more recent work in

Larceny, Inc. – 1942 Bacon

Loved so much by Woody Allen that he basically remade it as Small Time Crooks- this here is superior There’s not much here visually from Bacon but Edward G. Robinson is a great commander at the


best film: Dunkirk is a masterstroke and landmark film in the history of film editing. Nolan not only handles the three narratives in a completely distinctive and inventive way (here it may not be Rashoman

I Was Born, But… – 1932 Ozu

Not sure of the influence level (no idea if Ozu could have or did see these) but has something in common with for sure with Buster Keaton’s work in the 20’s and the Little Rascals

Dr. No – 1962 Young

It’s the first Bond film- and still one of the better half dozen or so. This one is largely like a mystery film with Bond as detective Compared to the bigger set pieces and extravaganza

Tokyo Chorus – 1931 Ozu

Silent—Despite The Jazz Singer in 1927 and the advent of sound Ozu didn’t make his first sound film until 1936 This wasn’t seen in US until 1982 Ozu almost always starts his films (during this


best film: La La Land came along in December of 2016 and saved a really weak year. Chazelle’s Whiplash is brilliant but even with my high esteem for that film, I didn’t see this stylistic

Code Unknown – 2000 Haneke

It’s a very strong entry for Haneke’s oeuvre, Binoche’s, and the intersecting or non-linear narrative (pulp fiction, Rashoman, mystery train, Inarritu) sub-genre—the full name of the film is code unknown: Incomplete Tales of Several Journeys


best film: The Revenant gives Inarritu back-to-back best films of the year which is nearly unheard of (as of right now you have to  (I believe) go back to 1923-24 with Buster Keaton and then

Bottle Rocket – 1996 Wes Anderson

Anderson’s much ballyhooed debut is neither a top 10 film of the decade (I don’t even have it in the top 10 of 1996) like Scorsese picked it as, nor is it the unarchivable yet


best film: Birdman’s bold cinematography and visual high-wire-act transcends a film that already had acting and writing good enough to land solidly into the top 10 even if it was directed by Ron Howard or

Prospero’s Books – 1991 Greenaway

It’s a visual marvel but its narrative momentum/strength isn’t near what some of his previous films are—as Ebert says, ““it need not make sense, and it is not “too difficult” because it could not have

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