Every week at SiftPop.com, we challenge our writers to choose what they think is the best movie under a certain topic related to a recent release. So this week, with the limited release of The Gray Man, we’re counting down our favorite movies with multiple directors! Let us know @SiftPop what your ranking is!
Imagine waking up everyday knowing that the first two animated movies you ever directed are in Nick Ferro’s top animated films of all time! I mean… I’m sure if Dean DeBlois and Chris Sanders knew who I was that’s exactly how they would wake up. Their directorial debut was Lilo & Stitch, and their followup was How to Train Your Dragon. These two directors are an underrated team that have an impressive resumé, but they could have stopped after two movies and still be legends. How to Train Your Dragon is a beautiful heartwarming tale of friendship between a dragon and a boy trying to live up to his Viking king, dragon-slaying father’s high expectations. Hiccup (Jay Baruchel) and Toothless are the classic “boy and his dog,” but they don’t start off that way. Their friendship, which grows throughout the film, is one that by the end will have you in tears at the sacrifices they make for each other. My favorite part of the movie, though, is the beautiful score by John Powell. It’s a score that perfectly encapsulates the adventure and pure joy of flying through the clouds on the back of a dragon, and one that gives me goosebumps every time. (Nick Ferro)
It has only been a few months since Everything Everywhere All At Once premiered, but it seems like the film has been everywhere. Sometimes all at once, even… Yes, I am being cheeky. But seriously, if you are into movies, this year has been a blast. And EEAAO (as far as I am concerned, that is the official abbreviation) is on top of that list, and I cannot imagine what could dethrone it. Even their previous Swiss Army Man was something unique and heartwarming, but with this film, the Daniels (that is how the directors Daniel Scheinert and Dan Kwan wish to be known) scored something big. But why? Why did this movie click with so many? I believe it is because underneath all the madness (and trust me, this movie throws a lot at you, from rocks and racoons to… sex toys?), there is a simple, sincere story about one family. EEAAO is at its core about relationships, and about struggles we can all relate to, whether it’s being behind on your payments or making sure the universe won’t collapse. I saw this movie twice in the cinema as I wanted to show it to my girlfriend too, and I cannot wait to rewatch it again. As someone who tends to rarely rewatch films (simply due to how many movies there are yet to be seen), that should tell you something. If you didn’t watch it yet, please support this film and see EEAAO ASAP. (Luke Burian)
What must it be like to be a fly on the wall when the Coen brothers are creating together? Imagine one brother reading No Country for Old Men (the novel) while the other types out the dialogue almost word-for-word. Hearing their tension and creative disputes as they craft the script for one of the greatest modern classics of cinema would be an incredible experience. This neo-western defies all expectations from its audience. There are a trio of incredible and defining performances (one of which launched Javier Bardem’s career to the stratosphere) that brought the stark, biting, and prophetic words of Cormac McCarthy. The Coens crafted one of the most impressive technical films of the past 20 years, as they showed their mastery of visual storytelling. They know when to show and not tell (and they show most things and tell very little in No Country for Old Men). After a long career of rotating their recognition, they were finally able to share that spotlight and glory for this pitch-perfect work of cinema. (Shane Conto)
Press pause at any moment during Spider-Man: Into the Spider-Verse and allow the stunning colors on screen to wash over your eyes and seep into your imagination. You’ll recognize that every single still frame of this Bob Persichetti, Peter Ramsey, and Rodney Rothman-directed visual masterpiece doubles a gorgeous splash page from the most exquisitely illustrated comic book. After that, allow the message of the film to embed itself in your heart and soul: anyone can wear the mask. Wearing this particular mask for the first time is Miles Morales (Shameik Moore), a biracial kid — he’s half Puerto Rican and half Black — who was bitten by a radioactive spider, and while you might presume to know the rest of his story, Into the Spider-Verse is a Spider-Man tale that never forgets that Spider-Man is human. Striking spectacle, dimension-shattering set pieces, and animated action abound throughout the proceedings, but it’s Miles’ grounded vulnerability that allows the film to succeed. This newest Spider-Man wants to be brave, but he’s allowed to be frightened, to feel unsure of himself, while never losing sight of his humanity or the great responsibility that comes with great power. Luckily, help is on the way in the form of a super collider catalyst that throws Miles together with an entire cast of Spider-People, who each individually and collectively provide him teaching moments along the way to saving the proverbial day. I say this without hyperbole: Spider-Man: Into the Spider-Verse is the greatest Spidey movie of them all. (Jonathan Fedee)
City of God perfectly displays the harshness of living in the slums of Brazil. The film spans from the ’60s to the ’80s, following two best friends on diverging paths. Buscapé, a.k.a. Rocket (Alexandre Rodrigues), aspires to be a photographer, and captures the beauty, as well as the darkness, of his surroundings through his camera lens. On the flip side, his childhood friend Zé Pequeno, a.k.a. Li’l Zé’s, greatest ambition in life is to be a hardened criminal and a kingpin. Li’l Zé’s cruel, sociopathic nature only becomes more prevalent as he grows older. Directors, Fernando Meirelles and Katia Lund bring their gritty story to the screen effectively, and the genuine nature shines through this entire film. The film stock and graininess adds to the bleakness of the subject matter and gives it an almost documentary style of filmmaking. The unpredictable nature of both the surroundings and Li’l Ze’ add a constant heightened level of tension across the entire runtime. The contrasting nature of the leads showcases both the tranquility and rawness of their environment. City of God isn’t for the faint of heart, but its authenticity is always showcased with sincerity and artistry. (Joe Vargas)
I don’t know how Pixar does it. They just had the magic formula to make a movie about feelings that was creative, funny, and deeply emotional on so many levels. I don’t know which part got me the most. Was it Bing-Bong? Was it the notion that happiness can come from sadness? Was it letting someone else take the reins when someone truly needs help? I bawled my eyes out the first time I saw Inside Out, mainly because it conveyed the struggles of growing up so well, while also showcasing the power memories can have for someone. Everyone is amazing in this, and it might not be everyone’s favorite Pixar movie, but it most definitely is their best. We don’t get Soul without Inside Out,and this is pure definition of art when it comes to cinema. (Mike Hilty)
One of the comedies that I watched repeatedly while growing up, and one which still is one of my favorites, is Monty Python and the Holy Grail. The film tells the classic King Arthur story, as he gathers his Knights of the Round Table to go on the quest for the Holy Grail. Directors and co-stars Terry Gilliam and Terry Jones bring this wonderful classic together, along with all the other Monty Python crew, including Graham Chapman, John Cleese, and Eric Idle. This is the single comedy that I still quote to this day — it is still truly a brilliant comedic masterpiece. Its status is heightened even further once you know how it came to be: when shooting was about to begin, they had no money for horses, so they end up banging two coconuts together and pretend that they are on horses. That’s the kind of comedy you can expect from this Arthurian tale that, to me, surpasses the King Arthur story itself. I can not recommend this movie enough. If you love comedies and want to check out one of the best from 1975, then go watch this movie. If you do, be sure to watch out for killer, man-eating rabbits. (Austen Terry)
You know what part of The Matrix doesn’t get enough credit for how important it is to the story? The conversation between Mr. Smith (Hugo Weaving) and Morpheus (Laurence Fishburne). During that scene, Smith is explaining his hatred for humanity and the Matrix itself. The carnivorous nature of humans to consume everything drives him crazy and being among them in the digital world is disgusting to him. He explains this to the audience so that we can understand and relate to him a little bit more. In fact, what Mr. Smith wants is something that Neo (Keanu Reeves), Morpheus, Trinity (Carrie-Anne Moss), and all the other unplugged humans already have: the ability to choose what to do. Smith is required by his programming to hunt down rogue humans in the system and eliminate them. He has no choice in the matter. But these unplugged humans, they never need to enter the system. Yet, they do so on their free will to help others, and it makes them heroes. That reminder that we all have the ability to choose what to do with our lives and our talents is a great reminder that the Wachowskis gave us with these movies. It is one of the best parts of The Matrix franchise’s lasting legacy. They showed us a world without rules and controls or boundaries and borders. A world where anything is possible. (Samuel Nichols)
A strong contender for the greatest animated film of all time, The Lion King is quite simply perfect in every way. Though the live-action remake from 2019 may be impressive on a purely technical level, it inadvertently showed audiences what made the original film so timeless. The Lion King’s stunning and emotive hand-drawn animation brought life to its characters and its gorgeous, African landscapes. The film’s soundtrack from Elton John and Tim Rice and Hans Zimmer’s transcendent musical score are timeless, and the vocal performances from every member of its impressive cast are exceptional. If it weren’t for the brilliance of Robin Williams in Aladdin two years prior, I would have no hesitation in calling Jeremy Irons’ performance as Scar the greatest vocal performance of all time. Despite being an animated film, The Lion King puts the vast majority of live-action films to shame with its epic, Shakespearean storyline and seemingly never-ending supply of life, beauty, and heart. (Foster Harlfinger)
You could get endless joy from watching only the song and dance numbers from Singin’ In The Rain, and the story of a silent film star adapting to the advent of talking pictures while falling in love holds enough weight to make a great movie even absent the music. The combination yields the greatest movie musical ever made, and that duality is supported by its duo of directors. Gene Kelly excels across the board as co-director, lead actor, and choreographer. He and Stanley Donen were both relatively inexperienced behind the camera, but they supported each other brilliantly and allowed their passion for dance to shine through. The charm is infectious, making it impossible not to grin ear to ear throughout. While they are heightened, the songs are integrated naturally and believably into the plot. The outstanding physical humor is somehow matched by snarky wit, to make this a fantastic comedy along with being a touching love story and a great peak behind the curtain at the early days of Hollywood. Kelly’s Don Lockwood has palpable chemistry with Debbie Reynolds’ Kathy Selden and Donald O’Connor’s Cosmo Brown. Equally compelling is his disdain for Jean Hagen’s Lina Lamont, with lines such as, “I don’t like her half as much as I hate you, you reptile.” There are tremendous long shots, which are a testament to the acting, directing, and choreography. Singin’ In The Rain is happiness incarnate, as is the soundtrack highlighted by the title tracks, “Good Morning”, and “Make ‘em Laugh”. (Jason Mack)
Avengers: Endgame
When Anthony and Joe Russo collab in the MCU, magic happens. All four of their entries (Captain Americas: The Winter Soldier and Civil War, and Avengers: Infinity War and Endgame) are among the top tier for me. Ask four different people and you could legitimately get four different answers. For my money, what they accomplished in Avengers: Endgame gets my vote. Infinity War left the duo quite the story to complete under more pressure and scrutiny than any other Marvel film that came before it. To pull off what they did is quite the accomplishment. It delivers on both the needed spectacle and catharsis — both highs and lows. As the last few years have shown us, it’s quite a task satisfying hardcore fans. Few undertakings have done it to this level. (Jake Bourgeois)
Finding Nemo
Disney and Pixar made me realize a long time ago that they never can disappoint. Finding Nemo is the one film that everyone loves. Directors Andrew Stanton and Lee Unkrich gave us the story of a clownfish, Marlin (Albert Brooks) on a journey to find his son, Nemo (Alexander Gould) lost off the Australian coast. It’s a hilarious adventure between Marlin and a forgetful Regal Blue Tang, Dory (Ellen DeGeneres), where they take on fish-abstinent sharks, naval mines, and jellyfishes, and cruise with the sea turtles through the EAC before making their way to Sydney. While on their journey, Nemo finds an adoptive family with the “tank gang” at the dentist’s office and fights to keep him away from the dentist’s niece, Darla (Lulu Ebeling). There are many things that go wrong with our characters, but in return, it all comes out right. It seemed to be a weird twist of fate with funny outcomes. The movie has laugh-out-loud moments, and sometimes has you reaching for a tissue. With the beautiful animation of the blue, deep sea, the vivid colors of the marine life, along with a melodic score by the great Thomas Newman and memorable quotes, Stanton and Unkrich gave us a classic. Finding Nemo is coming to terms with life, learning to take risks, and just keep swimming. (Chantal Ashford)
Coco
One of the things we tend to praise Pixar for most is their ability to create worlds that spark the imagination, whether it’s Inside Out portraying the inner workings of human emotion in its own space, or Soul’s version of the great beyond. Coco’s land of the dead may very well be my favorite version of this; the vibrancy it employs to contrast what a lot of westerners may have preconceived notions of. The way it goes about painting this world as a joyous, positive place of remembrance instead of something to fear and shy away from is deeply affecting, especially as the film ties it into its major themes. It’s a celebration of life in every way, including life that is no longer with us but reverberates in the life that is. Coco is a beautiful story of passion, dreams, and a sense of belonging in a family that has tried its best to shy away from those things. (Chris Bakker)
The Lego Movie
If there was one toy property that didn’t need a movie tie-in, it’s Lego. The Lego Movie was not made to just create more toys; it certainly didn’t need to. Phil Lord and Christopher Miller took the concept of Lego and were able to create an amazing story. Lego is all about having different worlds interact. What does it look like when Gandalf and Voldemort meet? Throw in Superman for good measure, and you have the equivalent of the ultimate reenactment of a child’s mind. This movie encompasses everything that makes Lego great, and that is no short feat because of Lord and Miller. Most movie lovers know that seeing a Lord and Miller film means you are in for a good time. The Lego Movie helped set that standard. The concept of Lego in a feature-length film is a silly idea and one that Lord and Miller lean into. This is a heartwarming story with a basic formula, but it’s aware enough not to take itself too seriously and pokes fun at itself with the classic comedy styling of Lord and Miller we have come to love and appreciate. (Scott Batchelor)
Airplane!
Sometimes having multiple angles of direction can be a detriment, but other times you can get comedy gold. For the film Airplane!, that is exactly what you get. Jim Abrams and the Zucker brothers have an excellent movie here, with truly absurd moments played off as being normal, and it works perfectly. A mix between absurdism and dark humor in many cases, it’s hard not to watch this movie without having to pause due to laughter, with Leslie Nielsen threatening to steal the movie whenever he’s on screen to inside jokes that become at least twice as funny the moment you understand the context. Just going back over this one makes me want to have a triple feature of this, Top Secret!, and The Naked Gun. Seriously, if you haven’t seen this one, you 100% should. (Shirley Davis)
Good Time
The Safdie brothers understand how to hold tension throughout a runtime; this is on full display in their film Good Time. The film overall feels like an homage to Walter Hill’s work (The Warriors and 48 Hours especially), with both its sense of eccentric pacing as well as the seediness of the environments. The neon lighting and abundance of sewer grate fog add to the gritty atmosphere and subject matter. Connie Nikas (Robert Pattinson) is on a tight timetable to get his younger brother Benny (Benny Safdie) out of prison after a horribly botched robbery. Pattinson’s acting abilities are on full display here. He knows what makes this character tick, and you want him to succeed in getting his brother out despite his horrible flaws as a person. Connie uses every trick in his scumbag playbook to achieve his goal which includes accidentally breaking out the wrong person out of a guarded hospital room. Connie ends up abducting Ray (Buddy Duress), a person with even less moral fiber than himself. Connie almost seems like a genius when compared to the feeble minded and irresponsible Ray. If you are looking for a film with escalating circumstances that will elevate your heart rate, Good Time will be the watch for you. (Joe Vargas)
Menace II Society
30 years later and Menace II Society is still an ever important and prescient piece of media. While it can be an uncomfortable watch, it’s made in such a way that asks the viewer to think and reflect long after the movie is over. The directorial debut of brothers Allen and Albert Hughes, Menace II Society feels incredibly authentic and true to the world in which the film is centered. As first time directors, there is a pure, almost kinetic, energy that drives the film forward, compelling the viewer to keep watching. It has a unique style and vision that does not distract from the messages and themes, instead enhancing the viewing experience. And at the heart of it all are some truly incredible performances, most notably those of Larenz Tate and Tyrin Turner. They bring a hard truth to their characters that easily could have been lost or heavy-handed in the hands of other actors. They are precisely the type of performance that you watch today and cannot believe were not recognized come awards season. Menace II Society might not leave you in the best of moods after the fact, but I believe that it’s an important film to watch at some point in your lives. (Nashua Doll)
Uncut Gems
It’s fairly rare to see two directors who seem to work from a single mind, but Josh and Benny Safdie fit this description perfectly. After Good Time, where they fully introduced the world to Robert Pattinson’s acting abilities, they set their sights on taking Adam Sandler to a level he hadn’t reached since 2002’s Punch-Drunk Love. Uncut Gems sees Sandler as Howard Ratner, the owner of a shop in New York City’s Diamond District, who’s basically addicted to betting and gambling. The Safdies do everything in their power to replicate the place they grew up in, and it’s a neverending migraine… in a good way. If you get onto the Safdies’ wavelength in Uncut Gems, you’re in for a truly special experience. (Robert Bouffard)
21 Jump Street
It’s a simple fact: Phil Lord and Christopher Miller simply never miss. They haven’t directed a film since 2014, but every time they venture into that role, what they’ve made can only be described as magical. Three years after their first animated hit, they descended into the crowded world of R-rated comedies, and somehow emerged with a film that immediately sets itself apart from all the rest: 21 Jump Street, a movie that also distinguishes itself from the late 20th-century television series of the same name. Channing Tatum and Jonah Hill star as best friends and co-workers Jenko and Schmidt, who are assigned to an undercover unit of officers that are attempting to find the source of a dangerous new drug. To do so, both must return to high school, only to find that the dynamics have drastically changed since their grade school days. I don’t know if I’ve ever laughed as much at a movie as I have during 21 Jump Street, which understands how to utilize its actors to their full comedic potential and how to mine situations for both their comical worth and story merit. With 21 Jump Street (and its sequel), Lord and Miller proved that their range as directors equated the cleverness that their films entailed, and I can’t wait for their eventual return to the director’s chairs. (Rowan Wood)
Game Night
Have you ever been the person who suffered through a game night full of things that you wished you could walk away from immediately and pretend it never happened? Or a game night where you owned the room like nobody in the world could take it from you? Congrats, this gem appropriately titled Game Night, brought to the world by none other than John Francis Daley and Jonathan Goldstein gives everybody a taste of both! Whether it’s Jesse Plemons demonstrating just how hard it is to be that guy on the outside just trying to be a part of the group, or Rachel McAdams stealing every scene the camera finds itself on, there is no shortage of charm and joy throughout! Especially watching Dexter (Michael C. Hall) make an appearance!!! (Matt Lawson)
Swiss Army Man
I didn’t see Swiss Army Man right when it came out, but I’ve been singing its praises since the first time I saw it, a cappella style. Director tandem Daniels (Kwan and Scheinert) created a singular film with its own unique sensibilities. It’s about a reanimated farting corpse with a phallic compass guiding a lost, depressed man back home from the middle of the jungle, while they sing and learn about the world together, and this absolutely ridiculous premise is handled with the perfect amount of care and love from Daniels. They have an unparalleled ability to extract heart, emotion, and meaning from the most wild and out-there scenarios that could only come from their heads. Swiss Army Man is an all-time favorite of mine, because it spreads a life-affirming message amidst a time of seeming hopelessness. (Robert Bouffard)
Also See: The Intouchables, The General