Cue Europe...Gob Bluth is about to prove that I love these directors more than anybody and perform some magic for us.
This is it, the final countdown of the Blahblahblahgay Top 10 Favourite Directors. We've assessed the 10 most likely to succeed in Part 1 and we've looked at the fallen 20 in Part 2 but this is the real deal now, the list that ties it all together and makes you realise how crazy I am. By the end of this post you'll be asking yourself how I chose X over Fincher or Y over Tarantino and just where the hell is Z if he doesn't even get a mention in a list of 40 directors? I've been ready for this from the day I realised what I'd done so hit me with your best shot, I wanna see your flabbers gasted in the comments and I especially want you to criticise these directors for not being as good as your choice. The fun is in the contrariness afterall.
Number 10 is Gregg Araki, the director of eight features; one of which I haven't been able to find (Splendor) and one of which was too dumb for words (Smiley Face), all of them shot on an almost micro budget and always innovative, bizarre and fascinating viewing. For me Gregg Araki encapsulates the kind of cinema America could make if it wasn't so fascinated with explosions and Jennifer Aniston's hair. Essential: Mysterious Skin, Nowhere, Kaboom Don't Miss This: Totally Fucked Up, The Doom Generation, The Living End For Completists Only: Smiley Face
9th place for the first Asian director on my list, Wong Kar-Wai, director of the beautiful In The Mood For Love and it's slightly more surreal sequel 2046, spontaneous creator of the brilliant Chungking Express and one of the only men to make a Jude Law film watchable with his American debut My Blueberry Nights. Of his nine movies to date I've only missed his epic historical drama Ashes of Time and he even features in my noir-a-thon with his 1988 debut As Tears Go By. Possessor of a singular visual style for his films he owes a lot to the brilliant Australian cinematographer Christopher Doyle. Essential: In The Mood For Love, Chungking Express, Fallen Angels Don't Miss This: As Tears Go By, 2046, Days of Being Wild For Completists Only: My Blueberry Nights
At number 8 sits my final choice, a late replacement for Vincent Gallo when I realised he didn't deserve a place for only two films yet when it came to placing Danish director Nicolas Winding Refn within the ten I felt he deserved a higher ranking. As a young film maker in Denmark growing up in a culture of Dogme95 it must have taken a strong willed and arrogant man to thumb his nose at von Trier et al and in this case a man with the talent to back it up. The Pusher Trilogy alone was enough to get him noticed but his output since then has been even better, and that's not even considering his early English language film Fear X. Essential: Pusher, Drive, Bronson Don't Miss This: Fear X, Pusher II, Valhalla Rising For Completists Only: Pusher III
7th place is as high as I could allow my folly to place the youngest member of the ten, mumblecore director Aaron Katz. To label Katz as simply a mumblecore director is an insult, for me there's mumblecore and then there's mumblecore directed by Aaron Katz. His work stands out as much better than his contemporaries in the movement and has seen a huge growth in quality between Dance Party, USA in 2006 and Cold Weather in 2010, of all the ten on this list his is the work I am most envious of and the man I most want to emulate with my forthcoming work. Essential: Cold Weather, Dance Party USA, Quiet City
This was a tough call, 6th place for quirky filmmaker extraordinaire Wes Anderson seems incredibly low for somebody who has yet to make a bad movie. I think having not seen Moonrise Kingdom yet may have something to do with it but also the fact that his films are a little lighter in their content than some others ahead of him. I am not a huge fan of Rushmore if I'm honest even though I did enjoy it and Life Aquatic just didn't sit right with me despite numerous attempts to enjoy it. I thought the way he transposed his cinematic style to stop motion animation with Fantastic Mr Fox was a particularly brilliant moment in his career however. Essential: The Royal Tenenbaums, The Darjeeling Limited, Fantastic Mr Fox Don't Miss This: Rushmore, Bottle Rocket For Completists Only: The Life Aquatic With Steve Zissou
The Top 5 opens with Kevin Smith. Possibly the most improbable of all the final ten when you consider his affection for rubber poop monsters and dick & fart jokes and the fact that my growth as a person meant the outspoken QT was kicked off of the list but there's no denying the fact that Kevin Smith has got talent. I've said it previously but if Red State had any other directors name on it there would have been talk of Oscar nominations, it was a bold and brilliant movie and a complete change of pace for him. In addition to that I find him highly entertaining both as a person and as a storyteller. I don't care what anyone says Mallrats is a great movie. Essential: Clerks, Red State, Mallrats Don't Miss This: Chasing Amy, Dogma, Cop Out For Completists Only: Zack & Miri Make A Porno
4th place for the only directing team on the list; The Coen Brothers have yet to make a bad movie. I might not enjoy the farcical nature of some of their cannon but that doesn't make them bad, if it wasn't for the less enjoyable Hudsucker Proxy there might not have been The Big Lebowski for example. Together they have created a body of work over the past 28 years that is second to none in terms of quality and watchability; their affection for film noir certainly goes a long way in my book too. Essential: A Serious Man, The Big Lebowski, No Country For Old Men Don't Miss This: Fargo, Miller's Crossing, Blood Simple For Completists Only: The Ladykillers
3rd place may seem a little high for Kim Ki-Duk considering he has The Coen Brothers hot on his tail and I'm yet to see some of his more recent output but the movies I have seen have been of a quality almost unmatched in contemporary cinema. His attention to detail in his mise-en-scene and a rejection of dialogue has left an indelible mark on my brain, when I think of beautiful and mesmerising cinema I immediately think of Kim Ki-Duk. Essential: Bad Guy, 3-Iron, Spring Summer Autumn Winter and Spring Don't Miss This: The Isle, Samaritan Girl, The Bow For Completists Only: Crocodile
It was a very close call between the last 2 on this list but despite his many plus points Steven Soderbergh didn't really stand a chance against my top pick. His range of projects alone is astounding, his ability to ressurrect himself twice in his early career equally so. Practicing the one for Hollywood and one for me approach has seen him squeeze Full Frontal in between intelligent box office fodder Ocean's Eleven and Solaris and indulge his artistic side with the much maligned Ocean's Twelve, he is responsible for quite a few of my all time favourite movies. Not to mention George Clooney's career. Essential: The Limey, Solaris, Traffic Don't Miss This: Contagion, Sex Lies & Videotape, Out Of Sight For Completists Only: Schizopolis, Underneath, Gray's Anatomy
There can only be 1 director perched in his ivory tower overseeing those lesser mortals out there making movies. Mike Leigh has been that man for quite some time, always creating something brilliant with film from his first movie Bleak Moments in 1971 right through to Another Year forty years later. His approach is unique and his achievements extraordinary. He specialises in the slice-of-life drama but his lighter moments are also something more than others can achieve thanks to the effort he goes to insert reality in to everything he does. He has made eleven TV movies and eleven cinematic features and except for Topsy-Turvy because of the Gilbert & Sullivan content I have enjoyed every moment of the time I've spent with him. Essential: Secrets & Lies, Bleak Moments, Abigail's Party, Naked Don't Miss This: High Hopes, Nuts In May, Life Is Sweet For Completists Only: Career Girls, Topsy Turvy
As I said at the head of the post, go for it, don't hold back in your comments. I want to hear your opinions. I have an idea of some of the names you've missed seeing on the list but as far as I can figure it was deliberate on my part, nobody has been completely overlooked, I just didn't think that highly of them or I am yet to see even one of their films.
I think you should know before you read any further that I am a fan of the film maker. Gregg Araki has been a major influence on the kind of films I want to make so I cannot be completely unbiased with this review. In much the same way as Repo Chick in fact.
Kaboom is, according to imdb, the eleventh Gregg Araki movie. He is perhaps most famous for Mysterious Skin, a beautiful, interesting film that helped launch Joseph Gordon-Levitt out of TV and onwards towards his inevitable mega stardom but fans will point to The Doom Trilogy of Totally Fucked Up, Doom Generation and my personal favourite Nowhere.
Cool posters and a great demonstration of the power of artwork on selling movies. How many orgasms can you see in the black poster? The multi coloured lettering and the reviews chosen all there to appeal to the new generation of ADD Araki fans out there on their macbooks spamming each others twitters. The second poster looks very arty doesn't it, a serious awards poster if you ever saw one, it still says "sex" but in a slightly more subtle way, ideal for sensible people who take things like Cannes and Sundance seriously.
What you are about to read is as much of a synopsis as you can write for a film like this: A super hot bi guy (Thomas Dekker from Heroes) and his arty hipster friend (Haley Bennett who doesn't really seem to have been in anything worthwhile) are college freshman (I'm English, I have no idea what these terms actually mean) having a lot of fun sleeping around, weird stuff starts to happen and there's a plot to destroy the world.
Or you can trust the official writeup from the Toronto International Film Festival: Smith's everyday life in the dorm - hanging out with his arty, sarcastic best friend Stella, hooking up with a beautiful free spirit named London, lusting for his gorgeous but dim surfer roommate Thor - all gets turned upside-down after one fateful, terrifying night.
Araki is a director who is used to working with a low budget, another in the school of using creativity to solve a problem instead of throwing money at it. His previous films have looked deliberately cheap and largely visually arresting. Kaboom is no different, a similar story is told about similar characters using modern techniques of low budget film making.
At times it is obvious that these are the same characters as the previous films but for the new generation, he has a unique ear for knowing how youth interact, instead of the stoned mallrats making home videos in the 90's we are treated to the evolution of these sluts and slackers in to the youtube and facebook generation with HD video blogs and instant access to gossip and knowledge via smartphones.
The continuing themes of the director's works are abundantly evident from the start, alienation, homosexuality, the apocalypse, paranoia, drug use, apparent nihilism. These young people are trying to find themselves in the modern world and even more so than 15 years it is proving difficult with the large amount of technology available and the lack of cohesion in their family lives.
Shot in vivid colour and making use of noir stylistics in the thriller scenes this is at times a visual feast, especially impressive considering the budget and at other times deliberately cheap looking, some of the effects for example could have been taken from his 90's trilogy.
The constant waking from dreams sequences are very nicely done and add another layer to the story which is engaging, mostly because you are constantly asking "what the fuck is going on?" And there are subplots that weave their way through the story and later work their way to the surface and become the major plot devices.
Other visually appealing items for your consideration: Juno Temple is naked half of the time, there's a lot of sex to keep your attention focused on the screen, Araki stalwart James Duval plays a permanent student who's permanently stoned and a white Rastafarian to boot and there's a whole cast of beautiful people who may or may not be superfluous to the story.
For a dramatic comedy with slight science fictiony undertones this movie has great moments of humour and mixes them with disturbing scenes and an occasional eeriness (thanks to the use of light and shadow and occasionally well placed cameras.)
There's a lot of talk out on the net of Donnie Darko and Southland Tales being ripped off by Araki for this movie but I would state without any hesitation that Richard Kelly was a fanboy of Gregg Araki a long time before he even considered making those two films and I would even add Alex Cox to the list of directors he was influenced by before he got his big break. The fact that Kelly had a breakout mainstream success means nothing, Alex Cox was clearly an influence on Araki and as witnessed by Repo Chick recently he himself has made a film that was influenced by Araki.
The major difference between these three directors is that Richard Kelly had a lot of money thrown at him, Alex Cox made different decisions in his career and is working in other fields aside from film and Araki is hindered by his use of homosexuality. They are all film students and Araki's use of Chien Andalou in Kaboom should point your expectations towards a film that has no plot in the conventional sense, a disjointed chronology, uses dream logic and presents a series of tenuously connected, disjointed scenes. But that's not all there is, it's a thoroughly enjoyable piece of film making too.
