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 release of The Exorcist: Believer, which is directed by David Gordon Green, we’re counting down our favorite movies directed by people with three names! Let us know @SiftPop what your ranking is!
Becoming the twelfth person to direct a film in one of the longest running and most prolific franchises in cinematic history had to be more than just a bit intimidating. Fortunately for fans of the debonair double-o, Cary Joji Fukunaga was able to not only hold his own, but stand out by directing the most visually stunning 25th edition to the espionage series, and a dramatic denouement for the dashing Daniel Craig iteration of Bond. In a time when fight scenes seem to get cut to the point of requiring dramamine to watch, Fukunaga and cinematographer, Linus Sandgren, give us an absolutely insane stairwell one-shot of Bond taking out droves of henchmen from every conceivable angle. This is in addition to the requisite chase scenes, which are, again, not cut to the point of strobe-like jumpiness. Wide and aerial shots allow us to feel the action, not get distracted or confused by it. Exotic locales, another Bond mainstay, are also captured in a way that accentuates their uniqueness and allows the audience to be enveloped in the scene. (Patrice Downing)
George Roy Hill’s The Sting is the standard for a movie about cons, and is one of the best heist movies ever made. Most other films take their queues from this movie. With so many twists, turns, and betrayals, the rewatch value of The Sting is off the charts. Sporting so many blink-and-you-miss-them moments, the con is carefully crafted to perfection for maximum impact. With a lot of misdirection and sleight of hand, Robert Redford and Paul Newman make the perfect team. Their performances, both collectively and individually, are one for the books. They’re both chameleons, doing anything and everything required to get the best performance possible. (Mike Hilty)
If you were scrolling for a movie and came across John Patrick Shanley’s 2008 film, Doubt, for the first time, you might not immediately be sold on it. But if I were to tell you it featured Academy Award-nominated performances from Meryl Streep, Philip Seymour Hoffman, Viola Davis, and Amy Adams with a score from Howard Shore and cinematography from Roger Deakins, you might perk up a little bit. On the basis of talent alone, you should watch Doubt. Streep and Hoffman are obviously incredible, particularly in their shared scenes. Adams is equally magnetic in an early role that helped transition her into the next phase of her career. But it’s Viola Davis who delivers the scene-stealing performance in limited screen time, proving why she would soon become one of the premier talents working in the industry. Doubt can be an uncomfortable story because it doesn’t answer many questions. It does exactly what the title suggests: establishes doubt at every turn. Shanley’s screenplay doesn’t let the viewer off the hook either, never truly letting on whether or not the correct decisions were made, leaving you to grapple with the very real world implications of what was being represented. If you are prepared to strap in for a story that will likely leave you thinking long after credits roll, then I cannot recommend Doubt enough. (Nashua Doll)
Good Will Hunting is effectively what put Matt Damon and Ben Affleck on the map. They both won Oscars for Best Original Screenplay, and it was our collective introduction to this talented duo that, almost 30 years later, is still impacting Hollywood. This movie also gave us one of Robin Williams’ best performances, and gave him his long overdue Oscar. Scenes of Williams’ therapist Sean guiding Will (Damon) through his trauma are some of the best moments of the movie, mixing humor and heart to perfection. This film stands the test of time because of the impact that it had, and continues to have, on so many. (Mike Hilty)
It’s almost like Alejandro González Iñárritu looked up the worst reviews for his last film, Biutiful, took them personally, and made Birdman as a direct response to all the critics who have never made anything. And whilst doing that, he resurrected the career of Michael Keaton, helped Emma Stone prove herself as a dramatic actress, and made a movie that was about much more than that. It is a cinematic middle finger to all the critics and most (if not all) blockbusters, but… underneath all that is a story about believing — it’s a father/daughter story, about the craft of acting, in which Iñárritu himself flexes his directorial muscles and shoots this as a “one-take” film. And even though it’s not really a one-take, it doesn’t matter, as it’s an electric, beautiful, disturbing movie with an ending that will leave you amazed. Birdman has one of the best last shots of any movie in this millennium, and I have loved it ever since I saw it for the first time. It’s about many things, yet it never feels overwhelming. This movie is still my personal favourite of his; the cast, the soundtrack, the camera work, everything clicks and delivers one hell of an experience. (Luke Burian)
Blindspotting has to be one of the most criminally underseen releases of the last decade. The story of two lifelong friends, Collin (Daveed Diggs) and Miles (Rafael Casal), struggling to understand their relationship in an ever evolving world immediately feels relevant and timeless. The performances are spectacular, the dialogue is sharp and shockingly funny, and the themes are poignant and revelatory. Fortunately, all of these ingredients are only enhanced by the exceptional work of director Carlos Lopez Estrada. The incredible camerawork and eye for storytelling is made even more impressive by the fact that this was his debut feature film. He came from a career of music videos, which is evident by the inventive visuals and choreography during some lucid dream sequences throughout the film. This film has everything. It’s quick, you’ll laugh, you will certainly cry, and you will immediately be invested in the careers of the storytellers who gifted you this near-perfect film. (Jack Grimme)
Apocalypse Now ended a stretch of films that perhaps no director can match. Francis Ford Coppola went The Godfather, The Conversation, The Godfather Part II, and then this movie. Truly incredible. A retelling of Joseph Conrad’s The Heart of Darkness for the Vietnam War era, Martin Sheen is tasked with going into the jungle and taking out a rogue colonel, played by Marlon Brando. Everything, from the score, to the visuals, adds to a feeling of tension as the search for Col. Kurtz delves deeper into the jungle in a masterful piece of wartime storytelling for the times. Not to mention, it’s filled to the brim with famous quotes and faces. The end of one of Hollywood’s greatest directing runs, Apocalypse Now is a classic for a reason and worth checking off for any cinephile. (Jake Bourgeois)
Pan’s Labyrinth has been my favorite movie for years. It’s always been an easy answer whenever I’m asked, and though I’ve rewatched it many times since making that statement, I’ve barely stopped to revisit exactly why it’s my favorite, instead choosing to soak up the magic and bask in the beauty each time. It all starts with Guillermo del Toro, who is one of the most imaginative directors not just working today, but of all time, and even though he primarily works within the world of genre film, he’s incredibly versatile. His films overcome the language barrier and translate remarkably well to international audiences, and Pan’s Labyrinth is no different. In it, del Toro creates two worlds: one, mostly unseen, of fantasy and wealth and personal prosperity, and another that is brutal, real, and merciless. It’s in the blending of those worlds that Pan’s Labyrinth hits its stride, acting as a multitudinous character study and a violent fairy tale (among other things) all at the same time. It’s the work of a master, and I have never been, nor will ever be, able to see it any differently. I could only dream of making something as beautiful. (Rowan Wood)
As illustrious of a career that Daniel Day-Lewis has had, There Will Be Blood brings his performance to a whole new stratosphere. Daniel Plainview will go down as an all-time fascinating character, along with Day-Lewis’ portrayal. In addition to Day-Lewis, it’s hard not to think about director Paul Thomas Anderson’s ability to make amazing stories and think this isn’t one of, if not his absolute best that he’s put on screen. The cinematography is stunning, and technically, the film is nearly perfect. Everyone is simply on their A-game in There Will Be Blood, so much so that it is already considered an all-time classic. (Mike Hilty)
I used to be a part of the crowd that believed The Godfather was overrated, but now I am a truther. What I initially thought was an overlong, drawn out, epic tale that could have used a quick 20 minutes in the editing room, I now believe to be as awesome as its reputation. The film is iconic in every level: Writing, performance, score, lore, and especially direction (by Francis Ford Coppola) all sing to make this film a true masterpiece. I believe the film is also enhanced by supplemental works, especially including The Godfather (video game) and The Offer. If for some reason you were like me and not giving into the hype, check out the stellar new 4K remaster and get ready to be wrong. (Aaron Schweitzer)
Amélie
I first saw Amélie in high school with one of my friends, because we were both in French class and wanted extra credit for watching a film in French. I hadn’t watched any foreign films before, and I was a little skeptical because it meant I had to read the subtitles. All the credit in the world is due to Amélie for not only being an amazing film and one of my favorite movies of all time, but also for introducing me to the power of foreign films. Itis such a magical movie and shows the power and wonder of living in Paris. Audrey Tautou is dynamite as Amélie in easily one of her most memorable roles. It’s beautifully shot and the music is fantastic. If you’re looking for a great introduction to foreign films, Amélie is the perfect place to start. (Mike Hilty)
tick… tick… BOOM!
When a film deserving the Best Picture Oscar like tick… tick… BOOM! isn’t even one of the 10 nominees, it’s fair to label it an underrated gem. Being underrated is a theme of both this production and the story it tells. Andrew Garfield shines as the extremely talented, charismatic, and eccentric Jonathan Larson, as he tells the story of aspiring for greatness and struggling with a lack of results while crossing into his 30s. His self-pity and frustration are offset on both sides of the spectrum by witnessing close friends achieve great success and endure great tragedy. In a world of by-the-numbers musical biopics like Bohemian Rhapsody and Rocketman doing their best Walk Hard impression and landing big awards, tick, tick… Boom! went largely unnoticed. Garfield losing Best Actor to the Will Smith lifetime achievement award goes down as one of my all-time biggest snubs. Lin-Manuel Miranda also should have gotten more recognition for his directorial debut. He utilizes so much creativity to adapt a simple stage production into a vibrant movie. Miranda confidently weaves between the stage performance, the story it is telling, and a heightened musical version of the story. He manages to cut plot points into the songs without it feeling choppy. And he creates unique visuals like the overhead shot of the pool becoming musical notation and the diner wall coming down. tick, tick… Boom! is both the best musical biopic to date, and the best movie adaptation of a musical. (Jason Mack)
Calvary
I wouldn’t fault you if you didn’t know the Oscar-winning writer/director Martin McDonagh has a brother, John Michael McDonagh. They make similar films in terms of tone and subject matter, and they even share cast members sometimes. John Michael’s 2014 film, Calvary, stars the multiple time Martin collaborator, Brendan Gleeson, as Father James, the priest of a small church in Ireland. When an anonymous parishioner tells Father James that they are planning to kill him in exactly one week because of the transgressions of another priest when they were younger, James doesn’t alert the police — instead, he spends the week helping his parishioners and being a valuable part of his community. Calvary is an aptly titled film about the power of forgiveness, rightness, and the belief in people. (Robert Bouffard)
The Revenant
After your film wins Best Picture and you win Best Director, what do you do? Go out into the middle of nowhere Canada, film a modern western in all-natural lighting, and try to win those awards again? That is exactly what Alejandro González Iñárritu did when he created The Revenant. Based on a true story, we witness the betrayal, mauling, and revenge of Hugh Glass. Leonardo DiCaprio brings the physicality needed for this survival film, and he finally won that Oscar. But he goes toe-to-toe with the ferocious and brutal Fitzgerald portrayed with all the greatness that is Tom Hardy. Iñárritu and cinematographer Emmanuel Lubezki create a striking and enthralling experience that is brutal and beautiful all at the same time. It is one of the most impressively made westerns of the 21st century, and it gives hope that there can be more like it. The Revenant stands tall with its thrilling atmosphere and story of human resilience. (Shane Conto)
Phantom Thread
Are you ready for one of the most toxic and strange romances ever put to film? One of the most beloved directors with three names around, Paul Thomas Anderson, takes the last performance of the legendary Daniel Day-Lewis and crafts a beautiful, uncomfortable, and poignant look at the complexities of relationships in Phantom Thread. Day-Lewis could have easily won his fourth Best Actor award thanks to his reserved and tightly restrained performance with some of the most amazing facial acting you will find in any performance. But don’t let this remarkable turn distract you from the impressive work of Vicky Krieps, who goes toe-to-toe with Day-Lewis in every scene. Throw in Lesley Manville, and you have a trio for the ages. Jonny Greenwood’s score is his most different to date, with haunting strings that complement this haunting relationship throughout the film. The costumes are incredible, and this film lives up to the subject (one of the best tailors and cloth-makers in the world). This might not have the flair of other PTA outings, but it is a low key masterpiece worth every uneasy moment. (Shane Conto)
Saving Mr. Banks
In his follow-up to The Blind Side (probably the less said about that the better, given recent news), director John Lee Hancock tackled the tale about how history’s most famous movie executive convinced a skeptical author to let him adapt her work. Saving Mr. Banks follows P. L. Travers (Emma Thompson) as she’s whisked away to “The Happiest Place on Earth” as Walt Disney (Tom Hanks) tries to convince the author to let him adapt Mary Poppins — and as a musical no less. Obviously, having two powerhouse performers in Thompson and Hanks go toe to toe with each other is fantastic. Particularly with Hanks, given that both he and Disney are so iconic, the fact that it’s a non-factor during the movie is a testament to the acting ability. Where the movie shines is in the added depth that’s given to the story. It’s not just a cheap opportunity to hear bits of classic songs (though that’s a fun bonus); tying things back to Travers’ childhood adds real heart to the film and gives us a fantastic Colin Farrell performance to enjoy. It’s obviously not a 100% true to life retelling of what occurred, but for fans of Disney or the Poppins film, it’s a must see. (Jake Bourgeois)
The Founder
Have you ever wondered how McDonald’s became the conglomerate mogul that it is today? The 2016 John Lee Hancock movie The Founder answers this question. It tells the story of how McDonald’s went from the one restaurant run by brothers Dick McDonald (Nick Offerman) and Mac McDonald (John Carroll Lynch) to the national chain we know of today. Salesman Ray Kroc (Michael Keaton) sees the potential and starts using his sleazy salesman ways to take advantage of the McDonald brothers. This movie is an interesting one because it’s not just a well-acted docudrama — it’s a story that shows how far McDonald’s as a company has come. Hancock seems to know how to bring the best out of his actors to tell this story. Be warned, though: You will never see the golden arches the same again. (Austen Terry)
Game Night
Game Night might be the best and most original comedy of the past decade. With a stellar cast led by Jason Bateman, Rachel McAdams, Kyle Chandler, and Jesse Plemons, Game Night takes the concept of a murder mystery party gone wrong and runs with it to a place you never expected it to go. A healthy mix of comedy, mystery, and suspense, directing duo Jonathan Goldstein and John Francis Daley crafted a comedy that has stood out as a favorite since its 2018 release. The most special thing about this film is its direction, with some of the most unique shots, not just for a comedy, but in all genres of film. The cherry on top is a stellar one-shot nearing the film’s climax. (Aaron Schweitzer)
Halloween (2018)
Having binged the whole franchise last year for the first time, Halloween (2018) sits firmly at the number three rank in the franchise. Easily the best of the new trilogy, Halloween is an excellent example of a requel, in which a film is a direct sequel to an early film, considering the films released between them non-canon. Director David Gordon Green pays the utmost respect to the original Halloween, and crafts an exciting tale of what the next chapter of Laurie (Jamie Lee Curtis) and Michael’s journey would look like years after their first encounter. With some familiar characters returning and some new ones to root for, Michael is at his most brutal and most frightening. Green manages to capture the original essence of the franchise, update it to work in a modern setting, and pay homage to the legacy this franchise had carried for 40 years. (Aaron Schweitzer)