They’re talented, individual, but could, possibly, do with a bit of editorial guidance.
Could these directors use a boss, we wonder?
In truth, were a bit frightened about this one.
This can be a very good thing.
After all, we want film directors to be free to tell their stories.
We dont want studio suits calling the shots.
We dont know for certain that that hasnt happened of course.
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Now if youll excuse us, were off to get our flame suits on.
The vision may be divisive, but few tackle big films in quite the same way as he does.
Using the currency he built up from that, he gotWatchmenmade.
And, at times, Watchmen has some of his best filmmaking in it.
Its a muddled, almost impossible film certainly.
But there are lots of flashes of brilliance to it.
Why might he need a boss:
Because Snyder untethered is no longer working quite as well.
Its visually excellent at times, but as a complete film?
It surely could have used someone with a bit of clout calling bullshit on it a few more times.
The cloak of Nolan gave Snyder the space to rebootSuperman, and reboot it he did.
Yet its another case of excess going unchecked.
Right now, it doesnt feel that way.
We suspect that wont happen.
Thats the way the business works.
Pearl Harbor was probably the real turning point.
Weve got time for all of them.
Lots of time for a couple of them.
But off the back ofArmageddon, Bay had the power to do pretty much anything.
Sadly, he pretty much did.
Instead, the action worked, yet everything else fell flat.
And then you remembered that this was all a true story, mangled.
It still leaves a bit of a sour taste.
Further evidence followed.Bad Boys IIshowed whatBad Boyswould have been had Bay had more clout back then.
0/10 if youre Mark Kermode.
Because without question, Woody Allens best work has come when he doesnt have one.
He makes economical, quick films, on his own terms.
But every year, he steps back up to the plate, and writes and directs another movie.
Very few of them are outright bad.
Because it hurts when Woody Allen goes through a rough patch.
Maybe weve just been spoilt.
Allens career has always been marked by a run of successes, with fallow moments in between.
High, and deservedly so.
The world needs more John Lasseters.
His drive, enthusiasm and vision gave birth over a long period of time to Pixar.
His feature film directing debut,Toy Story,was a prolonged labour of love that Lasseter fought for.
How many others can say that?
Lasseter was truly a brilliant filmmaker.
And whats more, hes a brilliant filmmaker whos surrounded himself with brilliant people.
Lasseter has, bluntly, been pivotal in turning it around.
Plus, he killed the awful straight to DVD sequel culture that was poisoning Disney.
In short, Lasseter is a modern day filmmaking legend.
Cars 2in particular is a muddled mess.
It makes you fear for the already-announcedCars 3.
Lasseter reportedly directed chunks of the film remotely via iPad.
Pixar has a reputation for putting projects into turnaround if theyre not working, and replacing directors where necessary.
But with John Lasseters name on the proverbial directors chair?
The man with the power to put the project into turnaround was making the film in the first place…
If youve not seen theCarsfilms: 10/10.
If youve seen theCarsfilms: 3/10.
We still love John Lasseter though.
He will be remembered and talked about long after us.
Peter Jackson clearly has a brilliant brain.
Its easy to overlook now just what a massive risk that was all round.
Yet Jackson pulled it off.
He is clearly a brilliant filmmaker, and few would quarrel with that.
This isnt just about splittingThe Hobbitinto three movies either, although that certainly doesnt help.
Even within each of the twoHobbitmovies to date, they bothfeelreally very long.
The running times themselves arent the core problem.
The problem is that none of the films concerned felt like theyshouldbe that long.
The stories didnt feel like they needed to be stretched.
The Hobbithas brought the running times of Jacksons movies into very firm focus, and rightly so.
The internet has long since dissected the decision to split a relatively thin tome into three films.
Whats perhaps just as surprising, though, is that the films weve seen are so lengthy in themselves.
Nobody seems to be advising him otherwise.
And yet theres a growing excess in his most recent films.
Contrast the usually brilliant but sometimes bloatedDjango Unchainedwith the lean economy ofReservoir Dogs,for instance.
There was a vitality to what Tarantino was putting on the screen.
The same applied toJackie Brown: a taut, often brilliant adaptation of Elmore Leonards book.
Tarantinos earlier films, as he explored and pushed his directorial talents, are his tightest.
Because his films, more and more, feel like they go on too long.
Were just end customers when it comes to it.
Yet who would stand up to Tarantino now?
Well, were probably in a bit of trouble here, in truth.
But where do you draw the line?
Who else but Anderson could get a film as quirky asThe Grand Budapest Hotelthrough the American filmmaking system?
Heres where we have to choose our words carefully.
It was a brilliant film, as crafted and alternately warm and sharp as anything Andersons made.
What would a noir thriller directed by Anderson look like?
Or a science fiction film, or a western?
Incredibly high, were guessing.
Weve sewn leather elbow patches onto our fire-retardant suits just to be on the safe side.
There are lots of entirely correct reasons to be grateful for Judd Apatow.
But he certainly gave them a sizeable helping hand.
Because the films he directs are becoming way too long.
Thing is, we like Judd Apatow.
BothThis Is FortyandFunny Peoplein particular are willing to do things that mainstream comedy movies dont.
Theyre brave films in different ways.
But on the other, a few more weeks in the editing room really wouldnt hurt.
We think you might be with us on this one.
Not included:George Lucas.
