Glazer. Jonathan Glazer directed some of the absolute best music videos of the 1990’s including Karma Police for Radiohead and Virtual Insanity for Jamiroquai. He made his debut feature in 2000 (Sexy Beast)- certainly a
Schaffner. He’s far from the greatest auteur working in Hollywood from 1968-1978—but the run Franklin Schaffner went on from Planet of the Apes through The Boys from Brazil (especially the stretch from 1968-1973 with four
Rivette’s dedication to the visual motif of imprisonment, bars holding Anna Karina’s Suzanne is quite the formal achievement Rivette’s second feature after 1961’s Paris Belongs To Us. Godard had made 9 features in that time-
The debut French New Wave auteur Jacques Rivette—a leisurely-paced, but fascinating paranoia-infused opaque mystery 142 minutes for a debut- indeed, even early, Rivette is the long-form voice from the New Wave A strong opening as
Milestone. Lewis Milestone helped legitimize the earlier talkies in the 1930’s- specifically with his big movie- All Quiet on the Western Front (for years held as one of the all-time great films). Milestone is an
Clayton. Jack Clayton directed only seven films, and the one that was the most popular (The Great Gatsby)- isn’t remembered all that fondly (and certainly isn’t his best). The Innocents is the film everyone always
Chiefly, the carefully structured form of the story into four sections, is worthy of admiration. For every chapter break, Milius, a great writer, has the voice-over set to the landscapes of the shoreline. He names
Guadagnino. A few years removed from it now, it is easier to see Call Me By Your Name a magnificent feat and one of the best films of the back half of the 2010’s decade.
The narrative lacks the brilliance and freshness of Yojimbo (that can happen with sequels- same music borrowed here) and the worldview is a little more optimistic than Kurosawa’s finest work—but damn, Kurosawa sets up immaculate
Coogler. Coogler had multiple archiveable films before the age of 30 (born 1986). His debut is a magnificent indie drama, he’s made the best Rocky franchise film possibly ever (and at least since 1976) and
A very funny film, it is no great accomplishment for Stanley Donen—any number of directors could have pointed the camera and comedians Dudley Moore and Peter Cook Moore and Cook were a sketch comedy duo—talented.
An abnormal blend of B-movie melodrama and crime thriller—only Sam Fuller could deliver A strong opening- hand-held camera of Constance Towers (back with Fuller from their work together the year before in Shock Corridor) in