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Post by twothousandonemark on Nov 17, 2017 16:47:30 GMT
Kundun - Scorsese
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Post by blockbusted on Nov 17, 2017 16:50:21 GMT
‘Hugo’ - Martin Scorsese
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Post by Deleted on Nov 17, 2017 17:01:21 GMT
David Fincher - The Curious Case Of Benjamin Button Andrew Niccol - The Host I really, really, loved Andrew Niccol's writing in The Truman Show and Gattaca, and it it's odd all the places he's gone to after those films. He has one coming up sometime soon with Anon, from Netflix. I hope it's a return to that form.
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Post by hi224 on Nov 17, 2017 18:32:30 GMT
Kevin smith red state.
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Post by hi224 on Nov 17, 2017 18:34:40 GMT
Steven spielberg Bridge of Spies which felt very Le Carreesque.
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Post by moviemouth on Nov 17, 2017 19:15:12 GMT
I would have said Furious 7. But Wan mostly directs horror...and Furious 7 was just horrorble. :/
Furious 7 is his best movie imo, but I will give you credit for making me laugh.
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Post by Nalkarj on Nov 17, 2017 21:29:10 GMT
In thinking about this thread, I'm wondering, What is "atypical"? It's something that came to mind when I read bravomailer's comment about Curtiz's westerns being "...atypical, especially for someone from Budapest." Are they any more atypical for an Irish-American born in Cape Elizabeth, Maine? Or is it simply that we've become so accustomed to Ford directing westerns that we don't take any notice, whereas the Hungarian-born Curtiz seems too unusual less because of his ethnicity and more because he didn't do too many? (I'm seriously wondering--I don't know.) Or, y'know, I posted before about Hawks, Ford, and Lubitsch. Lubitsch's Broken Lullaby is not "Lubitschean" in the way that we've grown to expect, but nonetheless it contains many of the same types of themes and images as in the rest of the director's works, albeit couched in an admittedly atypical plot. Ditto with Hitchcock's Mr. and Mrs. Smith, or Scorsese's The Age of Innocence, Kundun, or Hugo, or Coppola's florid, operatic Bram Stoker's Dracula. That is to say, the surface, usually involving genre, has changed, but the director's personality and worldview remains unchanged (auteurism's greatest defense, in many ways). To what degree may we then describe this change as "atypical"? Is it? Let me counterpose this with a Stephen Breyer-esque hypothetical: would it be more or less atypical if, say, the down-to-earth Howard Hawks made a western (a typical genre for him, albeit one he didn't work in until 1948 and Red River) that was about the importance of appearance and the counterposition of sadness and gaiety (some very atypical, Lubitschean themes for the salt-of-the-earth Hawks)? I would lean towards its being more atypical, but who knows? These are difficult questions, methinks...
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Post by moviebuffbrad on Nov 17, 2017 21:38:41 GMT
Francis Ford Coppola - Jack
Richard Linklater - School of Rock
George Lucas - American Graffiti
Bobcat Goldthwait - Willow Creek
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Post by jervistetch on Nov 17, 2017 21:43:13 GMT
IT'S A MAD MAD MAD MAD WORLD - Stanley Kramer
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egon1982
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Post by egon1982 on Nov 18, 2017 9:58:01 GMT
Dune by David Lynch
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Post by Nalkarj on Nov 18, 2017 16:25:11 GMT
what??? mr and mrs smith? This movie, my non-sequiturial friend. Not this one.
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Post by rateater on Nov 18, 2017 16:39:09 GMT
mel gibosn, man without a face. compared to the ones he directed after.
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Post by teleadm on Nov 18, 2017 16:43:14 GMT
Ingmar Bergman's Smiles of a Summer Night 1955 and All These Women 1964.
François Truffaut's Fahrenheit 451 1966.
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Post by drystyx on Nov 18, 2017 19:01:36 GMT
ONCE UPON A TIME IN AMERICA -Leone. Usually a very shallow and one dimensional character specialist, here he finally gets away from being Hollywood and makes the characters at least two dimensional, perhaps even three. Even before he sold out to Hollywood formula hate, with his "Colossus" film, which I agree with you all was much more interesting than his goofy spaghetti Westerns, it still had the one dimensional characters he's noted for. ONCE UPON A TIME IN AMERICA was the exception.
THE QUICK AND THE DEAD-Raimi. Usually a complete hack who makes chick flicks disguised as action, here he really gets super deep, and has characters that are at least identifiable. A 10/10 from a director known entirely for 1/10 bombs.
TRUE GRIT-Coen. Agreed on this with another poster. Usually Coen movies are formula Hollywood hate, safe picks for the hate mongering critics and their sheep. Here, they stay close to the original, and that helps a lot. Usually, they try to "beavis and butthead" the original (The 1/10 flop for dorks that most try to forget "No Country For Old Men" is from a story that was a spoiled brat version of the 10/10 classic NIGHTFALL.) Instead of trying to be brats, they get away from Hollywood formula to be interesting for a change.
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Post by hi224 on Nov 18, 2017 19:26:55 GMT
Francis Ford Coppola - Jack Richard Linklater - School of Rock George Lucas - American Graffiti Bobcat Goldthwait - Willow Creek i had forgot Bobcat directed that wow.
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Post by Deleted on Nov 18, 2017 19:54:05 GMT
ONCE UPON A TIME IN AMERICA -Leone. Usually a very shallow and one dimensional character specialist, here he finally gets away from being Hollywood and makes the characters at least two dimensional, perhaps even three. Even before he sold out to Hollywood formula hate, with his "Colossus" film, which I agree with you all was much more interesting than his goofy spaghetti Westerns, it still had the one dimensional characters he's noted for. ONCE UPON A TIME IN AMERICA was the exception. I see what you are saying, except I think that the character of Tuco in The Good, The Bad, and The Ugly was, for me, a very well developed character.
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Post by tavaresmd on Nov 19, 2017 0:30:16 GMT
Planet Of The Apes - Tim Burton (Doesn't have Burton's gothit typical gothic style)
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Post by drystyx on Nov 20, 2017 18:52:06 GMT
ONCE UPON A TIME IN AMERICA -Leone. Usually a very shallow and one dimensional character specialist, here he finally gets away from being Hollywood and makes the characters at least two dimensional, perhaps even three. Even before he sold out to Hollywood formula hate, with his "Colossus" film, which I agree with you all was much more interesting than his goofy spaghetti Westerns, it still had the one dimensional characters he's noted for. ONCE UPON A TIME IN AMERICA was the exception. I see what you are saying, except I think that the character of Tuco in The Good, The Bad, and The Ugly was, for me, a very well developed character. I can certainly see that. Eli Wallach may have had a lot to do with it, or perhaps that was the one part that was written well. Perhaps another hand was in on that character, or perhaps it was suggested on the set by staff, but he was the exception.
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Post by Deleted on Nov 20, 2017 19:30:29 GMT
I see what you are saying, except I think that the character of Tuco in The Good, The Bad, and The Ugly was, for me, a very well developed character. I can certainly see that. Eli Wallach may have had a lot to do with it, or perhaps that was the one part that was written well. Perhaps another hand was in on that character, or perhaps it was suggested on the set by staff, but he was the exception. In his other characters, I have come to enjoy their one dimensional qualities. It becomes part of the atmosphere of the world he created of loners who knew little of each other crossing each other's paths. Part of their characterization is their lack of characterization. I know that's not everyone's idea of something good, and many argue that almost all spaghetti's are flawed from this. I agree that they are flawed in this way, but enjoy the flaws as maybe part of the way the characters depicted lived.
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Post by sostie on Nov 21, 2017 11:09:28 GMT
Michael Powell - Peeping Tom Sam Raimi - A Simple Plan Richard Attenborough - Magic Kenneth Branagh - Thor
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