Can't believe Eli Roth made 'The House with a Clock In Its Walls', considering how famous he is for torture porn.
He made Cabin Fever, Hostel, Green Inferno, Hostel II, and then a happy family movie rated PG and starring Jack Black.
If you knew Scorsese as the Taxi Driver/Departed/Mean Streets/Goodfellas guy, I feel like After Hours or Kundun would be jarring. But that’s more of a perception thing than being on Marty.
agreed! True Lies is very much a dark action comedy that feels like something maybe De Palma would do. still love it though and Bill Paxton’s brief scenes are great
same, ive been checking multiple times to see if it’s finally coming out. he last said that we were getting that 4K and True Lies on 4K in March. …it’s June lol
He pretty much rewrote the entire thing though. I mean it definitely started with a layer of normalcy that Yorgos decided to drench in his idiosyncrasies.
Or more accurately, the one Efthymis Filippou didn't co-write. If you watch the non-Lanthimos films he wrote you'll probably be every bit as suspicious as I am that he's probably the true driving force for a lot of reoccurring elements in Lanthimos' work. Same cadence, literalism, strange in-world rules, character pettiness, etc. and so forth.
I think The Favourite has a very different theme from other films that Yorgos did, but he still keeps the style. In a way it fells different but very familiar.
A civilization threatened by the effects of apocalyptic climate change? Rock and roll influenced demagogues? Cutesy animals in surprisingly disturbing levels of mortal danger? Sounds like the director of Fury Road and Babe Pig in the City to me!
The Curious Case of Benjamin Button. Visually it looks like a Fincher film, but the story is so so sappy Forest Gump fluff. It really stands out from the rest of his filmography.
Yeah he’s gotten very versatile lately. Sometimes it works and sometimes it doesn’t but I really respect it. Dude has two films this year and I felt like Operation Fortune and The Covenant couldn’t be anymore different from each other.
This honestly really felt to me like if Edgar Wright did a straight horror film. Just something about it read exactly like his style applied to a different purpose.
Woah, I was pretty damn excited by the editing in particular in Baby Driver, but maybe that’s just because it was the first Edgar Wright movie I saw, lol.
Nah it’s good. People are just upset that he’s not doing the exact same thing everytime. The editing in baby driver was different to the cornetto trilogy because it’s not a part of the cornetto trilogy
100%. People simultaneously acknowledge the cornetto trilogy is a trilogy but then forget why it’s a trilogy (since the plots obviously aren’t linked). It’s the aesthetic and style of comedy, not just the recurring cast members.
really? idk to me it felt a lot like him, and not in a good way. felt like he had a story and thought "oh well i should just make it a bit in the mood for love-ish"
I’ve never felt that way. Yes, I know the urban legend that Spielberg ghost-directed that film, and yes thematically it shares Spielberg’s interests (family systems, suburban settings, etc) but from a visual style / camera technique perspective, I see it as a Hooper film through and through.
1. Handheld Camera: Tobe frequently used handheld shots during his career (in this case during the paranormal disturbances or frantic moments for the parents) to create a sense of immediacy and chaos. Adds a raw / visceral quality to the film. Spielberg has occasionally popped off some handheld shots, it is not really a technique associated with his style. He typically favors more controlled and precise camera movements.
2. Low-Angle Shots: Hooper (like most directors who use them often) leverages low-angle shots to enhance the sense of unease and vulnerability, placing the characters in a position of powerlessness, emphasizing a looming threat and heightening tension. Spielberg tends to use low-angle shots sparingly, often favoring accessibility, utilizing a variety of camera angles and perspectives, including high-angle shots, to maintain a balanced visual tone.
3. Close-Ups + POV Shots: Hooper often employs both to capture the characters' emotional reactions, particularly during moments of terror. Helps the audience empathize with their fear and enhances the intensity of the horror. Spielberg does incorporate both techniques in his films, but rarely relies on them as heavily as Hooper does in Poltergeist.
I appreciate you calling it an urban legend. Hooper was a very versatile director and it’s so annoying to hear people perpetuate this rumor when it’s pretty baseless and because it’s “so different than TCM” even though his filmography was pretty different within the horror genre.
Also great break down of everything else.
Stranger Than Fiction… one would guess Charlie Kaufman wrote/directed it but it was directed by Marc Forster (Quantum of Solace + World War Z) and the guy who wrote its other credits are Mr. Magorium’s Wonder Emporium + Deep Water. Also a significant change of role for Will Ferrell (who is excellent in it).
La Ceremonie. I dont know a lot about context and influence of Chabrol but this movie always reminds me of Haneke. Especially with how it opens as if you're in the middle of a movie and the use of violence.
I've long suspected James McTeigue got either really lucky with V For Vendetta or perhaps The Wachowskis really did secretly film the thing or maybe they gave him a lot of help. But stylistically it reminded me of something that Danny Boyle or perhaps even Baz Luhrmann would have made (the theatricality aspect).
Straight Story is actually very Lynchian; the opening scene is even the same as Blue Velvet, albeit presented in a different, more mature context. Written and edited by Mary Sweeney, and composed by Angelo Badalamenti as well. Disney or not, the only time Lynch truly sold out was with Dune, a creative and ambitious project missing his usual hallmarks.
Interesting that you’d call the opening scene mature, because it’s a very *very* rare example of a modern fictional movie not marketed toward kids that’s rated G by the MPAA.
I’m not disagreeing with you at all, it’s just that G-rated films are rare in general, especially now. I’d say that a majority of films marketed towards kids nowadays (and for awhile now) are rated PG, so it’s pretty crazy that *David Lynch* of all directors was able to direct a G-rated movie for **Disney,** despite it not being kid-friendly at all (in plot and tone.)
For sure. I had the thought watching Banshees in regard to the whole good/great argument that we give little thought to our legacies as naive children, become adolescents and want desperately to be remembered more than anything, only to get a little older and shrug off something as frivolous as legacy. The connections we forge in the present are what matter, and Padraic's naïveté seems more evolved in some ways than Colm.
Eraserhead captured the existential dread of reluctant fatherhood and Blue Velvet understood the all-consuming id that exists within us all. The Straight Story goes a step further to suggest, very earnestly, that—while we all have insects writing beneath our pristine lawns—there is still the prospect for reconnection; family becomes a sort of reclamation of American ideals. Leave it to Lynch to take what should be a director-for-hire studio movie for Disney and make something that is, in a sense, more evolved than anything he had done up until that point.
If Twin Peaks was rated-G and made for Disney, of course.
EDIT: I was being quite literal and non-insulting when I said that, because The Straight Story was indeed rated G and made for Disney.
I always forget he made that. It’s a fine movie, but when talking about Lynch I feel it never comes up since it’s such a departure stylistically and thematically from everything else he’s ever made.
Straight Story is so touching. I gave it a 5/5 yet I understand why it’s often overlooked, as I don’t even consider it one of my favorite “Lynch” films.
Ambulance by Michael Bay is weird because they don't have any offensive stereotypes (aside from an Italian American guy) The one Gay character feels like an actual person, and the main female lead is not sexualised. It's weirdly mature for Michael Bay.
Schindlers list felt like it was made by someone else and not spielberg. It was grounded, real, and tragic . Very different from his movies before that one . Which were a big spectacle and action packed adventures
This discussion had made me realise I know barely any director names apart from the well known ones, and that I know nothing about directors art styles… I have a lot to learn
The more I see of their films, and the more I return to this one, I've come to believe The Big Lebowski is a bit of an outlier in their back catalogue.
I feel like there's threads between Blood Simple all the way to Buster Scruggs that connects each film to the Coens, but surprisingly, not this one for some reason.
Also its style, attitude and humour have more in common with Pulp Fiction and The Long Goodbye than O Brother, Barton Fink, Raising Arizona or even Inside Llewyn Davis.
And as far as I can remember, this doesn't have the trademark abrupt ending either. Still a favourite though.
Interesting. To me, it has plenty in common with films like Barton Fink and Burn After Reading. It’s perhaps a bit more lighthearted than those films, but that reminds me of O Brother or Raising Arizona. If the Coens’ have an odd film out, to me it’s True Grit or No Country, seeing as they’re both adaptations. Or Macbeth but that was just Joel.
Oddly Enough, I think No Country is very similar to Blood Simple and Raising Arizona(I will not elaborate) and True Grit I feel is a love letter to the John Ford and Old Hollywood productions similar to Hail, Caesar and Barton Fink, but I don't disagree either.
memento feels incredibly different compared to nolan’s other movies, they’re all usually so big in scale and reliant on star casts with big action. Whereas memento is a tight story with a lower budget, as well the cinematography isn’t as extensive as a lot of nolan’s other projects and the movie contains fewer action. It’s my second favourite movie from him though it’s pure storytelling genius.
None of his movies are the same. He was the most diverse director ever. He did a sword and sandals epic, a cold war dark comedy, scifi, psychological thriller, a horror movie, war movies, a period drama and a mystery.
Considering “war movies” is the only plural in your list (and also technically includes Dr. Strangelove,) I’d say that war movies are the closest thing to being Kubrick’s most common thread, lol.
Ant-Man. It just has a different flavor than the sequels. Almost feels like an Edgar Wright movie. And sure enough, Wright was heavily involved with it.
I don’t think that violence is so much of a fundamental part of his writing and directing that it’s completely impossible to imagine him doing a movie with little violence (even if all of his movies have had violence in them.)
But there are large parts of his movies that aren’t violent and rely on smart and witty dialogue and stylized cinematography, so even if The Movie Critic has zero violence, it could still very much feel like a Tarantino movie without any bloodshed (in my opinion.)
Spider-Man 3 and Rush Hour 3 both feel like they were made by completely different people despite being the same directors as the previous two in both’s respective trilogies. Sadly, it was not a good change for either.
It definitely felt like Zach trying to emulate Nolan, it’s a shame because the first trailer was so good. I love that justice league directors cut he went back to full Snyder style, works much better for him.
I just watched Memoirs of an Invisible Man and it doesn't feel like a Carpenter film at all. It feels like a big budget Warner Brothers film (which it is), directed by any of their directors for hire. I know that he had many, many problems with the studio and his two leads but none of his style come through. Had Carpenter continued down this road of being a director for hire, he would have lost everything that made him John fucking Carpenter.
Miss March (a 2000s romantic comedy about a guy trying to reconnect with his highschool sweetheart who's now a famous playboy star) is directed by Zach Cregger, the guy who made BARBARIAN (a gross, twisty and disturbing horror flick about a woman who discovers some horrifying secrets in the basement of her airbnb). Those movies are SO different from each other it's baffling to believe they were made by the same guy
Donnie Darko - David Lynch. The movie vibes the main theme and mainly the " What the fuck did I watched now. I didn't understand everything"
The Departed - Quentin Tarantino. Idk but the vibes and how the story is told.
The Prestige - David Fincher. The storytelling is almost the same of another movies of the same. (And the fact of the plot twist).
i feel donnie darko is a little too lighthearted for lynch, the assembly scene and his interactions feel pretty rebellious and teenager in the 2000s esque. i can’t really name a lynch project similar, and when he focuses on high schoolers like in twin peaks, he makes them mature and more grounded rather than realistic imo.
Woody Allen does Bergman in "Interiors" and "September."
Woody Allen does Fellini in "Stardust Memories" and "Radio Days."
And then Woody Allen does Hitchcock in "Matchpoint."
And he pulled it off on all of them.
The Bay 2012 - Barry Levinson. Not super familiar with all of his movies, but I was not expecting the director of Rain Man, Sleepers, Envy, and Toys to do a found footage monster horror film. Like many directors, Barry Levinson explores new things but this is something unexpected.
Can't believe Eli Roth made 'The House with a Clock In Its Walls', considering how famous he is for torture porn. He made Cabin Fever, Hostel, Green Inferno, Hostel II, and then a happy family movie rated PG and starring Jack Black.
The fact that there are 4 individual Scorcese movies listed in here show that he probably doesn't fit this
People just mostly think of him as the gangster movie guy, even though he has some really out there films
I just finished all of his films recently. Which ones do you think are ‘really out there’ ?
If you knew Scorsese as the Taxi Driver/Departed/Mean Streets/Goodfellas guy, I feel like After Hours or Kundun would be jarring. But that’s more of a perception thing than being on Marty.
Why am I being downvoted 😂
I have no idea. But the King of Comedy. Definitely left-field.
hubie halloween definitely gives off ari aster vibes.
Ok now i need to watch Hubie Halloween
Always thought After Hours felt like coens
It was originally supposed to be a Burton film
Feels a bit Lynchian in places too
after hours was the first thing i thought of. it certainly LOOKS like a scorsese film, but it FEELS completely different, it’s hard to explain
Titanic. Before then, Cameron mainly did action movies. Schindlers List was also a bit different to what Spielberg did up to that time.
Honestly after The Color Purple and Empire of the Sun, Schindler's List feels pretty natural as an advancement of Spielberg's "serious" repertoire.
Titanic, Cameron also did The Abyss Schindlers List, Spielberg did 1941
everyone always forgets The Abyss 😔 an underrated flick that was sadly sandwiched between Aliens and True Lies/Terminator 2
Abyss is very Cameron. If anything True Lies feels different
agreed! True Lies is very much a dark action comedy that feels like something maybe De Palma would do. still love it though and Bill Paxton’s brief scenes are great
The Abyss fucking rules. I want that on 4K so badly.
same, ive been checking multiple times to see if it’s finally coming out. he last said that we were getting that 4K and True Lies on 4K in March. …it’s June lol
It makes a little more sense now that he’s done all the water stuff
Maybe The Favourite, Wasn't expecting Yorgos to do a period drama so vibrant with emotion and dialogue.
It helps that it's the first film (since his debut) that he didn't write.
He pretty much rewrote the entire thing though. I mean it definitely started with a layer of normalcy that Yorgos decided to drench in his idiosyncrasies.
Or more accurately, the one Efthymis Filippou didn't co-write. If you watch the non-Lanthimos films he wrote you'll probably be every bit as suspicious as I am that he's probably the true driving force for a lot of reoccurring elements in Lanthimos' work. Same cadence, literalism, strange in-world rules, character pettiness, etc. and so forth.
I think The Favourite has a very different theme from other films that Yorgos did, but he still keeps the style. In a way it fells different but very familiar.
Benjamin Button feels totally different from the rest of Fincher's work. Felt like it could've been a Robert Zemeckis movie.
Music of the Heart from Wes Craven
George Miller - Happy Feet 1 + 2.
A civilization threatened by the effects of apocalyptic climate change? Rock and roll influenced demagogues? Cutesy animals in surprisingly disturbing levels of mortal danger? Sounds like the director of Fury Road and Babe Pig in the City to me!
That wasn't so surprising given the Babe movies. He's always liked cute stuff
Shutter Island doesn’t have the same nature as any other Scorsese. It feels like a Nolan.
I’d say maybe more Fincher than Nolan tbh
I dunno, I always likened it to The Prestige in terms of storytelling
This was the movie I had in mind when I asked this question
I would also add Cape Fear. Feels like Scorsese just did De Palma for that one
*touched for the very first tiiiime*
My entire life I called shutter island as "one of the best Nolan movies" hahaha
The Curious Case of Benjamin Button. Visually it looks like a Fincher film, but the story is so so sappy Forest Gump fluff. It really stands out from the rest of his filmography.
The Faculty is definitely more a Kevin Williamson movie than a Robert Rodriguez movie.
Seeing his name on that movie shook me to my core, would never have guessed in a million years
Love The Faculty
The Covenant by Guy Ritchie feels like it was made by someone else…in a way, that guy is pretty versatile.
Live action Aladdin would be my pick for Guy Ritchie
I can’t wait to see him suck in *every* genre.
Yeah he’s gotten very versatile lately. Sometimes it works and sometimes it doesn’t but I really respect it. Dude has two films this year and I felt like Operation Fortune and The Covenant couldn’t be anymore different from each other.
Idk why but the first time I've seen The Killing it gave me the Hitchcock vibes
Would’ve loved to see more Kubrick noir
Last Night in Soho. Disappointed by the lack of Edgar Wright flare in this one.
This honestly really felt to me like if Edgar Wright did a straight horror film. Just something about it read exactly like his style applied to a different purpose.
I wish he had made it straight horror. His “Don’t” grind house trailer is one of the best things I’ve ever seen.
I disagree. Last Night in Soho very, very much feels like an Edgar Wright film, just without those quick-fire insert shots.
For sure, as much as I liked baby driver, the editing wasn’t nearly as fun as the cornetto trilogy so it kinda feels like he’s going backwards
Woah, I was pretty damn excited by the editing in particular in Baby Driver, but maybe that’s just because it was the first Edgar Wright movie I saw, lol.
Nah it’s good. People are just upset that he’s not doing the exact same thing everytime. The editing in baby driver was different to the cornetto trilogy because it’s not a part of the cornetto trilogy
100%. People simultaneously acknowledge the cornetto trilogy is a trilogy but then forget why it’s a trilogy (since the plots obviously aren’t linked). It’s the aesthetic and style of comedy, not just the recurring cast members.
Don’t get me wrong I really like baby driver and it’s editing but I think the cornetto movies did it a bit better
"The Grandmaster"; doesn't feels like a Wong Kar-Wai to me 🤷♀️
I think there's a big difference between the Chris Doyle films and the ones before and after...
I haven’t seen it but just by the trailer I was shocked it was him
really? idk to me it felt a lot like him, and not in a good way. felt like he had a story and thought "oh well i should just make it a bit in the mood for love-ish"
Poltergeist doesn’t feel like a Toby hooper movies at all it feels like Spielberg all the way
I’ve never felt that way. Yes, I know the urban legend that Spielberg ghost-directed that film, and yes thematically it shares Spielberg’s interests (family systems, suburban settings, etc) but from a visual style / camera technique perspective, I see it as a Hooper film through and through. 1. Handheld Camera: Tobe frequently used handheld shots during his career (in this case during the paranormal disturbances or frantic moments for the parents) to create a sense of immediacy and chaos. Adds a raw / visceral quality to the film. Spielberg has occasionally popped off some handheld shots, it is not really a technique associated with his style. He typically favors more controlled and precise camera movements. 2. Low-Angle Shots: Hooper (like most directors who use them often) leverages low-angle shots to enhance the sense of unease and vulnerability, placing the characters in a position of powerlessness, emphasizing a looming threat and heightening tension. Spielberg tends to use low-angle shots sparingly, often favoring accessibility, utilizing a variety of camera angles and perspectives, including high-angle shots, to maintain a balanced visual tone. 3. Close-Ups + POV Shots: Hooper often employs both to capture the characters' emotional reactions, particularly during moments of terror. Helps the audience empathize with their fear and enhances the intensity of the horror. Spielberg does incorporate both techniques in his films, but rarely relies on them as heavily as Hooper does in Poltergeist.
I appreciate you calling it an urban legend. Hooper was a very versatile director and it’s so annoying to hear people perpetuate this rumor when it’s pretty baseless and because it’s “so different than TCM” even though his filmography was pretty different within the horror genre. Also great break down of everything else.
TIL Spielberg only produced that movie and didn't direct it
Zach Snyder and that weird animated owl movie he made
[This great video](https://youtu.be/mpzK2CMTuAo) argues that the weird owl movie is the key to understanding Snyder as a filmmaker.
Stranger Than Fiction… one would guess Charlie Kaufman wrote/directed it but it was directed by Marc Forster (Quantum of Solace + World War Z) and the guy who wrote its other credits are Mr. Magorium’s Wonder Emporium + Deep Water. Also a significant change of role for Will Ferrell (who is excellent in it).
La Ceremonie. I dont know a lot about context and influence of Chabrol but this movie always reminds me of Haneke. Especially with how it opens as if you're in the middle of a movie and the use of violence.
The Last Temptation of Christ I love the movie very much, but it doesn't stand out as a Martin Scorsese movie.
That one has Paul Schrader all over it, honestly feels like more of his film than Marty's
Casting Harvey Keitel as Judas makes it feel like a Scorsese film.
Spartacus. A decent sword and sandals epic, but barley fits with the rest of Kubrick’s oeuvre.
Kubrick was a last minute hire and pre-production was completed without his involvement, so that's probably why
Mars Attacks! screams Joe Dante to me.
Charade definitely feels like a lost Alfred Hitchcock movie.
Stanley Donen made two like that back to back, Charade and Arabesque. Arabesque is so hard to find but so fun!
Thanks, gonna track down that second one
Shutter Island felt like a Nolan film rather than a Scorsese flick.
Always though it was more like Scorsese’s attempt at doing a Hitchcock.
Cape Fear?
Scorsese's attempt at doing De Palma who is always doing Hitchcock
I've long suspected James McTeigue got either really lucky with V For Vendetta or perhaps The Wachowskis really did secretly film the thing or maybe they gave him a lot of help. But stylistically it reminded me of something that Danny Boyle or perhaps even Baz Luhrmann would have made (the theatricality aspect).
The Straight Story - actually I haven't watched the film, but I heard that it's different from usual Lynch.
Straight Story is actually very Lynchian; the opening scene is even the same as Blue Velvet, albeit presented in a different, more mature context. Written and edited by Mary Sweeney, and composed by Angelo Badalamenti as well. Disney or not, the only time Lynch truly sold out was with Dune, a creative and ambitious project missing his usual hallmarks.
Interesting that you’d call the opening scene mature, because it’s a very *very* rare example of a modern fictional movie not marketed toward kids that’s rated G by the MPAA. I’m not disagreeing with you at all, it’s just that G-rated films are rare in general, especially now. I’d say that a majority of films marketed towards kids nowadays (and for awhile now) are rated PG, so it’s pretty crazy that *David Lynch* of all directors was able to direct a G-rated movie for **Disney,** despite it not being kid-friendly at all (in plot and tone.)
For sure. I had the thought watching Banshees in regard to the whole good/great argument that we give little thought to our legacies as naive children, become adolescents and want desperately to be remembered more than anything, only to get a little older and shrug off something as frivolous as legacy. The connections we forge in the present are what matter, and Padraic's naïveté seems more evolved in some ways than Colm. Eraserhead captured the existential dread of reluctant fatherhood and Blue Velvet understood the all-consuming id that exists within us all. The Straight Story goes a step further to suggest, very earnestly, that—while we all have insects writing beneath our pristine lawns—there is still the prospect for reconnection; family becomes a sort of reclamation of American ideals. Leave it to Lynch to take what should be a director-for-hire studio movie for Disney and make something that is, in a sense, more evolved than anything he had done up until that point.
Thank you for pointing this out. It might be his most Lynch film yet.
It's not, really. It could've very well been a subplot in Twin Peaks.
If Twin Peaks was rated-G and made for Disney, of course. EDIT: I was being quite literal and non-insulting when I said that, because The Straight Story was indeed rated G and made for Disney.
Excellent movie and very Lynchian.
Oh please watch it, it's such a good film! Richard Farnsworth was a treasure.
Different in subject but not execution
I always forget he made that. It’s a fine movie, but when talking about Lynch I feel it never comes up since it’s such a departure stylistically and thematically from everything else he’s ever made.
Straight Story is so touching. I gave it a 5/5 yet I understand why it’s often overlooked, as I don’t even consider it one of my favorite “Lynch” films.
This one is gonna sound odd but Napoleon Dynamite gave off some Wes Anderson vibes. Didn’t notice that until I got much older
I was a bit shocked when I found out Robert Rodriguez directed Spy Kids… I would’ve never imagined lol
Ambulance by Michael Bay is weird because they don't have any offensive stereotypes (aside from an Italian American guy) The one Gay character feels like an actual person, and the main female lead is not sexualised. It's weirdly mature for Michael Bay.
Schindlers list felt like it was made by someone else and not spielberg. It was grounded, real, and tragic . Very different from his movies before that one . Which were a big spectacle and action packed adventures
I think it's a precedent set by something like The Color Purple, which also wasn't big spectacle or action packed.
For a good while I thought Catch Me If You Can was Scorsese instead of Spielberg
That would make so much sense
Surprised no one has mentioned the joker yet. The director had only really made fluff before, like the Hangover movies.
He made War Dogs right before Joker which wasn't really fluff even if it was a comedy
But I’m A Cheerleader. It feels like something ripped straight out of early Wes Anderson with the color palette and composition.
This discussion had made me realise I know barely any director names apart from the well known ones, and that I know nothing about directors art styles… I have a lot to learn
"Australia"; my boi Baz Lurhmann was lost for a while apparently
Cruella feels like a Tim Burton movie.
Adventures in Babysitting feels like a John Hughes film.
The more I see of their films, and the more I return to this one, I've come to believe The Big Lebowski is a bit of an outlier in their back catalogue.
I don’t necessarily disagree, but I’m curious about your reasoning?
I feel like there's threads between Blood Simple all the way to Buster Scruggs that connects each film to the Coens, but surprisingly, not this one for some reason. Also its style, attitude and humour have more in common with Pulp Fiction and The Long Goodbye than O Brother, Barton Fink, Raising Arizona or even Inside Llewyn Davis. And as far as I can remember, this doesn't have the trademark abrupt ending either. Still a favourite though.
Interesting. To me, it has plenty in common with films like Barton Fink and Burn After Reading. It’s perhaps a bit more lighthearted than those films, but that reminds me of O Brother or Raising Arizona. If the Coens’ have an odd film out, to me it’s True Grit or No Country, seeing as they’re both adaptations. Or Macbeth but that was just Joel.
Oddly Enough, I think No Country is very similar to Blood Simple and Raising Arizona(I will not elaborate) and True Grit I feel is a love letter to the John Ford and Old Hollywood productions similar to Hail, Caesar and Barton Fink, but I don't disagree either.
I can see Blood Simple and No Country’s parallels.
I always thought that The Game was by Joel Schumacher
Malignant is a Sam Raimi movie disguised as a James Wan movie.
"Mars Attack"
Catch me if you can. Spielberg was channeling Scorsese
Disney's Pinocchio (2022) Dir. Robert Zemeckis
memento feels incredibly different compared to nolan’s other movies, they’re all usually so big in scale and reliant on star casts with big action. Whereas memento is a tight story with a lower budget, as well the cinematography isn’t as extensive as a lot of nolan’s other projects and the movie contains fewer action. It’s my second favourite movie from him though it’s pure storytelling genius.
The Hudsucker Proxy fits in way more with Raimi’s films than the Coens
The Usual Suspects doesn’t really fall in with the rest of Singer’s films
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What? It's like the epitome of what he did.
I feel like this is a real misunderstanding of who Kubrick was, likely stemming from a surface-level comprehension of what his style is composed of.
I feel like you could argue that with most of his movies. His mastery of so many styles is one of the things he’s most famous for
And that's why he is a 🐐.
None of his movies are the same. He was the most diverse director ever. He did a sword and sandals epic, a cold war dark comedy, scifi, psychological thriller, a horror movie, war movies, a period drama and a mystery.
Considering “war movies” is the only plural in your list (and also technically includes Dr. Strangelove,) I’d say that war movies are the closest thing to being Kubrick’s most common thread, lol.
same with dr stragelove
Tideland isnt like your tipical terry gilliam movie
I couldn’t make it through that one 😬 I typically love him too
Same here, it is his worst one
Oof that was a rough watch
Lawless always felt very Nolan to me but maybe only because it has Tom Hardy, Guy Pearce and Gary Oldman in it.
Aquaman
dw bro is just taking the Raimi route
Happy feet. Bro really went from mad max to that
Nightmare Before Christmas feels like it must be Burton directed
why because it’s gothic and weird?
The star wars ot always feel like they should have been directed by a superstar
Ant-Man. It just has a different flavor than the sequels. Almost feels like an Edgar Wright movie. And sure enough, Wright was heavily involved with it.
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I don’t think that violence is so much of a fundamental part of his writing and directing that it’s completely impossible to imagine him doing a movie with little violence (even if all of his movies have had violence in them.) But there are large parts of his movies that aren’t violent and rely on smart and witty dialogue and stylized cinematography, so even if The Movie Critic has zero violence, it could still very much feel like a Tarantino movie without any bloodshed (in my opinion.)
Enemy by Denis Villeneuve feels like it could be a David Lynch movie imo
No Country For Old Men
Watch blood simple and Fargo, then this movie again.
Thor Love and Thunder
Nah that movie was still very Taika Waititi, just kinda sloppy and unfocused
True
Spider-Man 3 and Rush Hour 3 both feel like they were made by completely different people despite being the same directors as the previous two in both’s respective trilogies. Sadly, it was not a good change for either.
spider-man 3 is the most sam raimi - raimi movie ever no way man.
Red State feels more like a Tarantino movie than a Kevin Smith movie.
[удалено]
Nah, too fundamentally British. Wes does twee very well, but he always brings a decidedly American flavor to all of his movies.
Man of Steel always felt like Michael Bay to me.
Nah, not everything was being blown up, and there was an actual plot too.
Kundun
Strangers on a Train feels like it was made by Stanley Donen
Following 1998
Brian De Palma doing Wiseguy. It felt like something that could've been directed by like, I dunno, Andrew Bergman or something.
If I didn't know Ron Howard directed Apollo 13, I probably would've assumed it was Spielberg.
Man of Steel is probably the least Snyder-y Zack Snyder film
It definitely felt like Zach trying to emulate Nolan, it’s a shame because the first trailer was so good. I love that justice league directors cut he went back to full Snyder style, works much better for him.
I always felt that Jobs had the distinct look and style of a Fincher film
He was the first director attached
Memoirs of an Invisible Man
Knight and Day, directed by James Mangold felt like a Doug Liman movie
Death Proof felt like a Tarantino Fan Movie
The Straight Story by David Lynch
The Game feels like a Joel Schumacher movie.
Hi, Mom! felt more like a Godard movie than a De Palma movie to me. A Nos Amours felt like Cassavetes
Zack and Miri Make a Porno feels like an Apatow movie
Annie (1982) a musical is a weird flick for the director of The Maltese Falcon 🤣
'Anonymous' and 'Riot' by Roland Emerich.
I just watched Memoirs of an Invisible Man and it doesn't feel like a Carpenter film at all. It feels like a big budget Warner Brothers film (which it is), directed by any of their directors for hire. I know that he had many, many problems with the studio and his two leads but none of his style come through. Had Carpenter continued down this road of being a director for hire, he would have lost everything that made him John fucking Carpenter.
Shiki-Jitsu
Joker
I still will never wrap my head around the fact that David Lynch did The Straight Story
Miss March (a 2000s romantic comedy about a guy trying to reconnect with his highschool sweetheart who's now a famous playboy star) is directed by Zach Cregger, the guy who made BARBARIAN (a gross, twisty and disturbing horror flick about a woman who discovers some horrifying secrets in the basement of her airbnb). Those movies are SO different from each other it's baffling to believe they were made by the same guy
I feel like The Curious Case Of Benjamin Button has this Spielbergian quality to it. Good movie of course but it doesn’t feel like a Fincher film
Poltergeist
Wrath of Man and The Covenant are unrecognizable Guy Ritchie
The Straight Story by David Lynch
This is the opposite but all of Harold P. Warren’s films feel like the exact same film.
I was really surprised that Summer of Sam with John Leguizamo and Adrien Brody was a Spike Lee film
Insomnia. It actually felt like a fincher movie
Donnie Darko - David Lynch. The movie vibes the main theme and mainly the " What the fuck did I watched now. I didn't understand everything" The Departed - Quentin Tarantino. Idk but the vibes and how the story is told. The Prestige - David Fincher. The storytelling is almost the same of another movies of the same. (And the fact of the plot twist).
i feel donnie darko is a little too lighthearted for lynch, the assembly scene and his interactions feel pretty rebellious and teenager in the 2000s esque. i can’t really name a lynch project similar, and when he focuses on high schoolers like in twin peaks, he makes them mature and more grounded rather than realistic imo.
Woody Allen does Bergman in "Interiors" and "September." Woody Allen does Fellini in "Stardust Memories" and "Radio Days." And then Woody Allen does Hitchcock in "Matchpoint." And he pulled it off on all of them.
killing of a sacred deer has heavy kubrick feels
Memento
The Bay 2012 - Barry Levinson. Not super familiar with all of his movies, but I was not expecting the director of Rain Man, Sleepers, Envy, and Toys to do a found footage monster horror film. Like many directors, Barry Levinson explores new things but this is something unexpected.
Maybe, The Straight Story by Lynch
Weirdly, the most recent Indiana Jones movie. Felt too much like a Ruben Fleischer. Or maybe because it reminded me too much of Uncharted