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Time for my second top 100 directors chart. As per my previous new year's resolutions, I worked hard to get through other movies by directors featured on the previous top 100 to see if they were still going to be there. I'm proud of the results and the new surprises here. But this time, we're going BACKWARDS from 100 to 1.
HOW THE LIST WORKS:
1. A director must have more good movies than bad, meaning 50/100 or higher.
2. The minimum to get on is three movies, but the maximum to represent the director is the top 5.
3. Short films are not included. Sorry, Nick Park.
4. TV movies and miniseries with film releases are allowed.
5. Directors will be ordered by their average scores.
6. If directors share the same whole number once their average is tallied,d irectors with 5 movies will be placed above directors with four movies, and those with four will be placed above those with three.
6. If a director has 3 movies of the same score, they will keep that average score permanently until they make a movie better than it.
7. If the director has 3 perfect movies, they will get a VIP pass to the top of the list, and their top 5 average will only be used to order the directors with VIP passes.
8. If two or more directors have the same score, the directors will be ordered by who has the highest film on my list of every film I've ever seen ranked from best to worst.
100. Alfonso Cuaron
Cuaron works hard to include a sense of real art to whatever he touches, even if it's something as blockbuster-built as Harry Potter 3. His storytelling sometimes suffers for the art, but he always keeps things interesting and entertaining.
Harry Potter 3: 97
Children of Men: 96
Gravity: 86
Roma: 83
Y Tu Mama Tambien: 81
Score: 88.6 / 5
99. Robert Rodriguez
Rodriguez is largely style over substance, but there are times where he glistens. Example: Spy Kids is an excellent example of delivering themes to children in ways they could get behind, especially where introducing the spy genre without all the adult-oriented politics and sensuality is involved. The biggest reason he's up here, however, is because of the perfected Sin City, which he co-directed with Frank Miller.
Sin City: 100
Desperado: 90
From Dusk Till Dawn: 87
Spy Kids: 85
Spy Kids 2: 81
Score: 88.6 / 5
98. Mel Brooks
When you hear the words "comedy film," who do you think of? One of my first thought is Mel Brooks. This guy's got a sharp eye for what sends people into hysterics. Even some of his worst films like Robin Hood: Men in Tights have moments of gold.
Blazing Saddles: 98
Young Frankenstein: 96
Spaceballs: 89
History of the World: Part I: 85
The producers: 76
Score: 88.8 / 5
97. Charlie Chaplin
Speaking of comedy kings, who can we exclude Charlie Chaplin? He was one of the real innovators because he understood slapstick unlike anyone else. But he also had a flair for sentimentality, which is why I'd consider Modern Times one of the greatest comedies of all time because it molds the two perfectly.
Modern Times: 100
City Lights: 96
The Kid: 91
The Great Dictator: 90
The Gold Rush: 67
Score: 88.8 / 5
96. Oliver Stone
Taking a complete shift from our last two, Oliver Stone is another artist who tries to capture the raw human condition while ensuring a cinematic experience. The strongest aspects of his films are usually his characters and his cinematography. And although he stands out as a war film director, many of his other classics are well worth looking into.
Natural Born Killers: 100
Platoon: 96
JFK: 92
Wall Street: 80
Snowden: 76
Score: 88.8 / 5
95. Hamilton Luske
One of the men who made Disney what it was during the golden age, Luske shined most with his more fantastical films such as Pinocchio. When it came to his humble talking animal films, he was good, but not incredible. Still, it would be an insult not to consider him essential to children's cinema.
Pinocchio: 99.5
Alice in Wonderland: 95
101 Dalmatians: 82
Lady and the Tramp: 80
Score: 89.145 / 4
94. F.W. Murnau
One of the earlier and better directors of the silent German cinema, Murnau understood storytelling just as much as he understood the visuals that pioneered the German Expressionist movement, as well as the strong atmospheres that create the "genre" piece.
Faust: 100
Sunrise: 95
Nosferatu: 86
City Girl: 76
Score: 89.25 / 4
93. Danny Boyle
What makes Boye so good is that he can put himself in any kind of movie from a sci-fi thriller to Sunshine to a drugged up comedy like Trainspotting to a freaking action zombie movie like 28 Days Later and give you one hell of a wild time.
Slumdog Millionaire: 99
Trainspotting: 97
28 Days Later: 95
Sunshine: 79
Shallow Grave: 75
Score: 89 / 5
92. Richard Linklater
This is a guy who likes to capture the more normal side of storytelling, but damn does he understand his characters. Once you give him a real-life theme, he will do everything he can to maximize it.
Before Sunrise: 100
Before Sunset: 95
A Scanner Darkly: 91
Dazed and Confused: 82
Last Flag Flying: 77
Score: 89 / 5
91. Raoul Walsh
Walsh, from what I understand, can be a bit hit or miss. But his hits really hit. Having created both types from the 20's all the way to the end of his lengthy career, classics like White Heat and The Thief of Baghdad feature inspiring visuals and stories that hit too close to the heart and the gut.
White Heat: 100
The Thief of Baghdad
The Roaring Twenties: 95
High Sierra: 92
Esther and the King: 61
Score: 89 / 5
HOW THE LIST WORKS:
1. A director must have more good movies than bad, meaning 50/100 or higher.
2. The minimum to get on is three movies, but the maximum to represent the director is the top 5.
3. Short films are not included. Sorry, Nick Park.
4. TV movies and miniseries with film releases are allowed.
5. Directors will be ordered by their average scores.
6. If directors share the same whole number once their average is tallied,d irectors with 5 movies will be placed above directors with four movies, and those with four will be placed above those with three.
6. If a director has 3 movies of the same score, they will keep that average score permanently until they make a movie better than it.
7. If the director has 3 perfect movies, they will get a VIP pass to the top of the list, and their top 5 average will only be used to order the directors with VIP passes.
8. If two or more directors have the same score, the directors will be ordered by who has the highest film on my list of every film I've ever seen ranked from best to worst.
100. Alfonso Cuaron
Cuaron works hard to include a sense of real art to whatever he touches, even if it's something as blockbuster-built as Harry Potter 3. His storytelling sometimes suffers for the art, but he always keeps things interesting and entertaining.
Harry Potter 3: 97
Children of Men: 96
Gravity: 86
Roma: 83
Y Tu Mama Tambien: 81
Score: 88.6 / 5
99. Robert Rodriguez
Rodriguez is largely style over substance, but there are times where he glistens. Example: Spy Kids is an excellent example of delivering themes to children in ways they could get behind, especially where introducing the spy genre without all the adult-oriented politics and sensuality is involved. The biggest reason he's up here, however, is because of the perfected Sin City, which he co-directed with Frank Miller.
Sin City: 100
Desperado: 90
From Dusk Till Dawn: 87
Spy Kids: 85
Spy Kids 2: 81
Score: 88.6 / 5
98. Mel Brooks
When you hear the words "comedy film," who do you think of? One of my first thought is Mel Brooks. This guy's got a sharp eye for what sends people into hysterics. Even some of his worst films like Robin Hood: Men in Tights have moments of gold.
Blazing Saddles: 98
Young Frankenstein: 96
Spaceballs: 89
History of the World: Part I: 85
The producers: 76
Score: 88.8 / 5
97. Charlie Chaplin
Speaking of comedy kings, who can we exclude Charlie Chaplin? He was one of the real innovators because he understood slapstick unlike anyone else. But he also had a flair for sentimentality, which is why I'd consider Modern Times one of the greatest comedies of all time because it molds the two perfectly.
Modern Times: 100
City Lights: 96
The Kid: 91
The Great Dictator: 90
The Gold Rush: 67
Score: 88.8 / 5
96. Oliver Stone
Taking a complete shift from our last two, Oliver Stone is another artist who tries to capture the raw human condition while ensuring a cinematic experience. The strongest aspects of his films are usually his characters and his cinematography. And although he stands out as a war film director, many of his other classics are well worth looking into.
Natural Born Killers: 100
Platoon: 96
JFK: 92
Wall Street: 80
Snowden: 76
Score: 88.8 / 5
95. Hamilton Luske
One of the men who made Disney what it was during the golden age, Luske shined most with his more fantastical films such as Pinocchio. When it came to his humble talking animal films, he was good, but not incredible. Still, it would be an insult not to consider him essential to children's cinema.
Pinocchio: 99.5
Alice in Wonderland: 95
101 Dalmatians: 82
Lady and the Tramp: 80
Score: 89.145 / 4
94. F.W. Murnau
One of the earlier and better directors of the silent German cinema, Murnau understood storytelling just as much as he understood the visuals that pioneered the German Expressionist movement, as well as the strong atmospheres that create the "genre" piece.
Faust: 100
Sunrise: 95
Nosferatu: 86
City Girl: 76
Score: 89.25 / 4
93. Danny Boyle
What makes Boye so good is that he can put himself in any kind of movie from a sci-fi thriller to Sunshine to a drugged up comedy like Trainspotting to a freaking action zombie movie like 28 Days Later and give you one hell of a wild time.
Slumdog Millionaire: 99
Trainspotting: 97
28 Days Later: 95
Sunshine: 79
Shallow Grave: 75
Score: 89 / 5
92. Richard Linklater
This is a guy who likes to capture the more normal side of storytelling, but damn does he understand his characters. Once you give him a real-life theme, he will do everything he can to maximize it.
Before Sunrise: 100
Before Sunset: 95
A Scanner Darkly: 91
Dazed and Confused: 82
Last Flag Flying: 77
Score: 89 / 5
91. Raoul Walsh
Walsh, from what I understand, can be a bit hit or miss. But his hits really hit. Having created both types from the 20's all the way to the end of his lengthy career, classics like White Heat and The Thief of Baghdad feature inspiring visuals and stories that hit too close to the heart and the gut.
White Heat: 100
The Thief of Baghdad
The Roaring Twenties: 95
High Sierra: 92
Esther and the King: 61
Score: 89 / 5
Last edited by KeyserCorleone; 4 weeks ago at 04:53 PM.
