This is the earliest Hsiao-Hsien Hou film I’ve seen and it’s an impressive work—it’s most outstanding for the hypnotically beautiful compositions. HHH doesn’t move the camera, doesn’t work in close-up really, we have these (below)
The melding of comedy and violence a la Tarantino with some of the stream of consciousness metanarrative work of Charlie Kaufman (particularly Adaptation)—Martin McDonagh’s strengths are in his writing Adore the glowing 0/4 review from
Stone. I’ve thought for years that Stone is underrated for two reasons: 1. His subjects are controversial (Lars von Trier is polarizing on metacritic but has managed to be adored by TSPDT) 2. He’s a
Wyler. He only has 3 films in the TSPDT top consensus 1000. I’ve got that many in the top 500 and a whopping 8 in the top 100 of their respective decade (which since I
George Pal produced and is generally considered the “author” of the film (not director Byron Haskin) – Pal would go on to make (and actually direct) 1960’s The Time Machine – both adaptations of essential
Soderbergh. It seems unlikely that Soderbergh won’t have 20+ archiveable films when it’s all said and done (he’s at 15 as of 2019) and that’s remarkable for a contemporary auteur. This is 3 and 5
Linklater. Linklater is no visual master and only has two films in the top 500 of all-time. However, has an unbelievably (had to double-check) high 8 films that land in the top 100 of their
There are long periods in which we are just watching great acting and writing – rare for a Scorsese film—but a few flourishes from the auteur, including that Wizard of Oz-like opening, elevate it over
Preminger. Preminger made 4 outstanding top 500 of all-time films that helped him make this list. That many films in the top 500 would normally warrant a higher ranking but Preminger has zero films in
A masterful war/spy film told with intelligence and a distinct tone (through Melville’s mature style)--- and draped in a jaw-droppingly beautiful and consistent mise-en-scene of muted blues, grays, and midnight indigo day-for-night shots day-for-night shots
Starts with John Hubley’s gorgeous avant-garde drawing and fable origin story prologue—he was fired by producer Rosen during the direction of the film (Rosen took over) The style consists of some gorgeous nature arkwork and
In medias res opening like all of the Toy Story films- of them playing The enemy is greed here- adult collectorsAgain, the talented voice cast is worthy of praise- Hanks, Tim Allen and the ensemble
