The 15 Most Accomplished Music Video Directors
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Best Music Videos: âExpress Yourselfâ, Madonna (1989); âVogueâ, Madonna (1990); âCradle Of Loveâ, Billy Idol (1990); âFreedom '90â, George Michael (1990); âStraight Upâ, Paula Abdul (1998); âJanieâs Got A Gunâ, Aerosmith (1994)
Best Movies: Seven (1995), Fight Club (1999), Zodiac (2007), The Social Network (2010)
At their best, David Fincherâs movies tap into mankindâs darkest psychological terrain, presenting damaged characters and subdued nihilism through gloomily lit cinematography. So it should came as no surprise that he first cut his directorial teeth shooting such bleak music clips asâŚPaula Abdulâs âStraight Upâ? And Madonnaâs lively ode to supermodel chic, âVogueâ?
OK, so Fincherâs pre-cinema video efforts were mostly pop-centric and bubbly, but the visuals were always uniquely compelling; it wasnât until 1994âs âJanieâs Got A Gun,â though, that the now-prolific and mega-gifted director displayed his austere brilliance. Staged like a brooding thriller, the Aerosmith clip is a mini-movie that transpires like a tragic Lifetime Movie funneled through a nightmarish prism.
Itâs a fitting preamble to Fincherâs filmmaking breakthrough, the following yearâs magnificent serial killer downer Seven, which laid the foundation for his string of desolate humanity meditations of the uncomfortably humorous (Fight Club), patiently macabre (Zodiac), and fascinatingly naturalistic (The Social Network) varieties. Two Academy Award nominations later (both for Best Director), itâs no wonder that Fincherâs book-to-film The Girl With The Dragon Tattoo is this yearâs most anticipated film across all platforms; trust, itâs most definitely going to be more Janie than Paula.
Best Movies: Seven (1995), Fight Club (1999), Zodiac (2007), The Social Network (2010)
At their best, David Fincherâs movies tap into mankindâs darkest psychological terrain, presenting damaged characters and subdued nihilism through gloomily lit cinematography. So it should came as no surprise that he first cut his directorial teeth shooting such bleak music clips asâŚPaula Abdulâs âStraight Upâ? And Madonnaâs lively ode to supermodel chic, âVogueâ?
OK, so Fincherâs pre-cinema video efforts were mostly pop-centric and bubbly, but the visuals were always uniquely compelling; it wasnât until 1994âs âJanieâs Got A Gun,â though, that the now-prolific and mega-gifted director displayed his austere brilliance. Staged like a brooding thriller, the Aerosmith clip is a mini-movie that transpires like a tragic Lifetime Movie funneled through a nightmarish prism.
Itâs a fitting preamble to Fincherâs filmmaking breakthrough, the following yearâs magnificent serial killer downer Seven, which laid the foundation for his string of desolate humanity meditations of the uncomfortably humorous (Fight Club), patiently macabre (Zodiac), and fascinatingly naturalistic (The Social Network) varieties. Two Academy Award nominations later (both for Best Director), itâs no wonder that Fincherâs book-to-film The Girl With The Dragon Tattoo is this yearâs most anticipated film across all platforms; trust, itâs most definitely going to be more Janie than Paula.
Best Music Videos: âI Touch Myselfâ, Divinyls (1991); âIâd Do Anything For Love (But I Wonât Do That)â, Meatloaf (1993)
Best Movies: Bad Boys (1995), The Rock (1996), Armageddon (1998), Bad Boys II (2003), Transformers (2007), Transformers: Dark Of The Moon (2011)
Haters have to admit this about Michael Bay: The man has always been obsessed with overboard spectacle. Just look back at his breakthrough, pre-Hollywood music video, Meatloafâs âIâd Do Anything For Love (But I Wonât Do That)â; nearly long enough to be considered a short film, the clip is a highly ambitious Beauty And The Beast/Phantom Of The Opera mash-up that appears to have the budget of a reasonably priced motion picture, not an overzealous music clip.
Bay is nothing if not consistent, and itâs that lasting desire to blow budgets that has defined his financially massive film career, kicked off by the Martin Lawrence/Will Smith buddy cop smash Bad Boys and recently signified by the dumb yet entertaining Transformers movies.
Many puristsâyou know, folks who harp on little details such as story, acting, and coherenceâlove to ridicule Bayâs films for their soullessness, but to do so is missing the point: Oddly enough, the gameâs biggest purveyor of pricey eye candy is also one of Hollywoodâs most reliable filmmakers. He promises spectacle, and, as Meatloaf first learned some 18 years ago, he delivers spectacle.
Best Movies: Bad Boys (1995), The Rock (1996), Armageddon (1998), Bad Boys II (2003), Transformers (2007), Transformers: Dark Of The Moon (2011)
Haters have to admit this about Michael Bay: The man has always been obsessed with overboard spectacle. Just look back at his breakthrough, pre-Hollywood music video, Meatloafâs âIâd Do Anything For Love (But I Wonât Do That)â; nearly long enough to be considered a short film, the clip is a highly ambitious Beauty And The Beast/Phantom Of The Opera mash-up that appears to have the budget of a reasonably priced motion picture, not an overzealous music clip.
Bay is nothing if not consistent, and itâs that lasting desire to blow budgets that has defined his financially massive film career, kicked off by the Martin Lawrence/Will Smith buddy cop smash Bad Boys and recently signified by the dumb yet entertaining Transformers movies.
Many puristsâyou know, folks who harp on little details such as story, acting, and coherenceâlove to ridicule Bayâs films for their soullessness, but to do so is missing the point: Oddly enough, the gameâs biggest purveyor of pricey eye candy is also one of Hollywoodâs most reliable filmmakers. He promises spectacle, and, as Meatloaf first learned some 18 years ago, he delivers spectacle.
Best Music Videos: âAmerican Jesusâ, Bad Religion (1993)
Best Movies: The Ring (2002), Pirates Of The Caribbean: The Curse Of The Black Pearl (2003), Rango (2011)
Clearly, Hollywood is where Gore Verbinski belongs, not in the depths of MTV or VH1. Thanks to Johnny Depp and the immensely profitable Pirates Of The Caribbean, of which Verbinski directed the first three, the man born Gregor has established himself as one of the film industryâs most formidable summer blockbuster creators, a tag that actually distracts pundits from acknowledging his ability to direct super-creepy horror (The Ring) and magnificently strange kiddie fare (Rango).
Verbinskiâs box office strangling jobs alongside Captain Jack Sparrow have also overshadowed his music video beginnings, though not sadly so. Working within the indie rock scene back in the early to mid-'90s, Verbinski shot a handful of clips that showed a less inventive, more traditional video shooter; in no way do his pre-Ring music visuals hint at the Pirates flicksâ undeniably epic action sequences, or The Ringâs nuanced disturbia.
Best Movies: The Ring (2002), Pirates Of The Caribbean: The Curse Of The Black Pearl (2003), Rango (2011)
Clearly, Hollywood is where Gore Verbinski belongs, not in the depths of MTV or VH1. Thanks to Johnny Depp and the immensely profitable Pirates Of The Caribbean, of which Verbinski directed the first three, the man born Gregor has established himself as one of the film industryâs most formidable summer blockbuster creators, a tag that actually distracts pundits from acknowledging his ability to direct super-creepy horror (The Ring) and magnificently strange kiddie fare (Rango).
Verbinskiâs box office strangling jobs alongside Captain Jack Sparrow have also overshadowed his music video beginnings, though not sadly so. Working within the indie rock scene back in the early to mid-'90s, Verbinski shot a handful of clips that showed a less inventive, more traditional video shooter; in no way do his pre-Ring music visuals hint at the Pirates flicksâ undeniably epic action sequences, or The Ringâs nuanced disturbia.
Best Music Videos: âBuddy Hollyâ, Weezer (1994); âSabotageâ, Beastie Boys (1994); âDropâ, The Pharcyde (1996); âSkyâs The Limitâ, The Notorious B.I.G. feat. 112 (1997); âWeapon Of Choiceâ, Fatboy Slim (2001); âGet Backâ, Ludacris (2004); âFlashing Lightsâ, Kanye West (2008); "The Suburbs", Arcade Fire (2010); âOtisâ, Jay-Z & Kanye West (2011)
Best Movies: Being John Malkovich (1999), Adaptation (2002), Where The Wild Things Are (2009)
Compared to his staggeringly long music videography, Spike Jonzeâs film output has been rather sparse; those three flicks listed above as his âBest Moviesâ are the only ones heâs directed so far in his singular career. Batting a flawless 3-for-3, the Jackass producer is an auteur weâd love to see more from, and we donât just mean typically great music videos like his most recent clip, Jay-Z and Kanye Westâs simple yet outlandishly fun âOtis.â
Whether heâs working with hip-hop acts or indie rock luminaries, Jonze has always separated his videos from the rest of MTVâs pack with sheer inventiveness: supplanting Weezer into a Happy Days episode for âBuddy Hollyâ; giving the impression that The Pharcyde are walking the streets in backwards motion for âDropâ; filming Christopher Walkenâs mesmerizing one-man dance-off for Fatboy Slimâs âWeapon Of Choice.â Jonze knows nothing about âconventional.â
And the same goes for his movies. In his control, twisty narratives are both funny and disorienting (Being John Malkovich and Adaptation), and kidsâ movies are un-childlike and hypnotically surreal, yet still poignant (Where The Wild Things Are). Frankly, we need a fourth Jonze flick; another fulfilling brain-tickle is long overdue.
Best Movies: Being John Malkovich (1999), Adaptation (2002), Where The Wild Things Are (2009)
Compared to his staggeringly long music videography, Spike Jonzeâs film output has been rather sparse; those three flicks listed above as his âBest Moviesâ are the only ones heâs directed so far in his singular career. Batting a flawless 3-for-3, the Jackass producer is an auteur weâd love to see more from, and we donât just mean typically great music videos like his most recent clip, Jay-Z and Kanye Westâs simple yet outlandishly fun âOtis.â
Whether heâs working with hip-hop acts or indie rock luminaries, Jonze has always separated his videos from the rest of MTVâs pack with sheer inventiveness: supplanting Weezer into a Happy Days episode for âBuddy Hollyâ; giving the impression that The Pharcyde are walking the streets in backwards motion for âDropâ; filming Christopher Walkenâs mesmerizing one-man dance-off for Fatboy Slimâs âWeapon Of Choice.â Jonze knows nothing about âconventional.â
And the same goes for his movies. In his control, twisty narratives are both funny and disorienting (Being John Malkovich and Adaptation), and kidsâ movies are un-childlike and hypnotically surreal, yet still poignant (Where The Wild Things Are). Frankly, we need a fourth Jonze flick; another fulfilling brain-tickle is long overdue.
Best Music Videos: âHuman Behaviourâ, Bjork (1993); âAround The Worldâ, Daft Punk (1997); âHeard 'Em Sayâ, Kanye West feat. Adam Levine (2005)
Best Movies: Human Nature (2001), Eternal Sunshine Of The Spotless Mind (2004), The Science Of Sleep (2006)
Michel Gondryâs style lends itself to audience mind-fucking, but not in Gaspar NoĂŠ-like, psychologically damaging waysâthe ways in which he scrambles brains are like sex by way of Walt Disney on LSD. The French visionaryâs knack for harmlessly bizarre direction traces back to his earlier music videos, such as Bjorkâs oddball âHuman Behaviour,â which offsets its dark nature through cuddly, man-sized teddy bears with Coraline-esque, sewed-on eyeballs. That same quirkiness pervades Gondryâs other clips, namely Daft Punkâs demented circus in âAround The World.â
Staying true to his sensibilities, Gondryâs best feature films share this whimsically unsettling vibe; his cinematic magnum opus, Eternal Sunshine Of The Spotless Mind, for example, is a love story with Freudian sentiments and dreamlike imagery. Even his lesser movies, like this yearâs uneven The Green Hornet, donât lack in visual creativeness; in a Michel Gondry production, whether good or bad, the viewerâs psyche is bound to get freaked. No complaints here.
Best Movies: Human Nature (2001), Eternal Sunshine Of The Spotless Mind (2004), The Science Of Sleep (2006)
Michel Gondryâs style lends itself to audience mind-fucking, but not in Gaspar NoĂŠ-like, psychologically damaging waysâthe ways in which he scrambles brains are like sex by way of Walt Disney on LSD. The French visionaryâs knack for harmlessly bizarre direction traces back to his earlier music videos, such as Bjorkâs oddball âHuman Behaviour,â which offsets its dark nature through cuddly, man-sized teddy bears with Coraline-esque, sewed-on eyeballs. That same quirkiness pervades Gondryâs other clips, namely Daft Punkâs demented circus in âAround The World.â
Staying true to his sensibilities, Gondryâs best feature films share this whimsically unsettling vibe; his cinematic magnum opus, Eternal Sunshine Of The Spotless Mind, for example, is a love story with Freudian sentiments and dreamlike imagery. Even his lesser movies, like this yearâs uneven The Green Hornet, donât lack in visual creativeness; in a Michel Gondry production, whether good or bad, the viewerâs psyche is bound to get freaked. No complaints here.
Best Music Videos: âFree Your Mindâ, En Vogue (1992); âAre You Gonna Go My Way?â Lenny Kravitz (1993); âCloserâ, Nine Inch Nails (1994); âScreamâ, Michael Jackson feat. Janet Jackson (1996); âGot Til Itâs Goneâ, Janet Jackson (1998); âHurtâ, Johnny Cash (2002); â99 Problemsâ, Jay-Z (2004)
Best Movies: One Hour Photo (2002), Never Let Me Go (2010)
Even if Trent Reznorâs industrial metal isnât your bag, you have to admire the video for Nine Inch Nailsâ dizzying 1994 single âCloserâ for its sheer insanity. A phenomenal, and seminal, music clip, âCloserâ is weirdly hallucinogenic enough to leave even David Lynch exclaiming, âMan, thatâs some crazy shit!â Itâs a testament to director Mark Romanekâs gifts; âCloserâ is more grandiose than his other videos, but, no matter the scope, Romanekâs footage is always stark and never immediately accessible. For additional proof, see Jay-Zâs non-narrative stroll through urban gloom in MTV Video Music Award-winning â99 Problemsâ visual.
Or have a look at Romanekâs scarce cinematic productivity. Back in 2002, he turned the bouncy and hilarious Robin Williams into a subdued, frightening sociopath in the underrated, off-putting One Hour Photo; last year, he took author Kazuo Ishiguroâs heartbreaking, dystopian 2005 novel Never Let Me Go and crafted a faithful, equally dense, and intellectually challenging coming-of-age flick. Itâs as if Romanek shoots things to only please his own eccentricities, and certainly not mass audiences. Youâve got to love that.
Best Movies: One Hour Photo (2002), Never Let Me Go (2010)
Even if Trent Reznorâs industrial metal isnât your bag, you have to admire the video for Nine Inch Nailsâ dizzying 1994 single âCloserâ for its sheer insanity. A phenomenal, and seminal, music clip, âCloserâ is weirdly hallucinogenic enough to leave even David Lynch exclaiming, âMan, thatâs some crazy shit!â Itâs a testament to director Mark Romanekâs gifts; âCloserâ is more grandiose than his other videos, but, no matter the scope, Romanekâs footage is always stark and never immediately accessible. For additional proof, see Jay-Zâs non-narrative stroll through urban gloom in MTV Video Music Award-winning â99 Problemsâ visual.
Or have a look at Romanekâs scarce cinematic productivity. Back in 2002, he turned the bouncy and hilarious Robin Williams into a subdued, frightening sociopath in the underrated, off-putting One Hour Photo; last year, he took author Kazuo Ishiguroâs heartbreaking, dystopian 2005 novel Never Let Me Go and crafted a faithful, equally dense, and intellectually challenging coming-of-age flick. Itâs as if Romanek shoots things to only please his own eccentricities, and certainly not mass audiences. Youâve got to love that.
Best Music Videos: âDonkey Rhubarbâ, Aphex Twin (1995); âAerialsâ, System Of A Down (2002); âSour Girlâ, Stone Temple Pilots (2006)
Best Movies: Hard Candy (2005), 30 Days Of Night (2007)
Weâre willing to bet that youâve never seen any of David Sladeâs old music videos before. Want to know why? Because the Britâs vids, namely electronic stalwart Aphex Twinâs batshit âDonkey Rhubarbâ and Stone Temple Pilotsâ Teletubbies-minded trip in âSour Girl,â arenât the kinds of countdown fodder seen by widespread audiencesâtheyâre fucked-up little oddities that donât make it past the loyal fan-site stage.
Sladeâs movies, though, have been increasing in public recognition. Hard Candy, his 2005 debut about a game of cat-and-mouse with a pedophile, wowed critics and festival goers with its ability to captivate in a single home setting through the directorâs manipulative camera angles; yet, outside of indie film lovers, Hard Candy remains largely obscure. Two years later, Slade took his first shot at mainstream acceptance with the brutal vampire flick 30 Days Of Night, a solid and delightfully grim big-studio horror pic that performed marginally.
But then, last year, Slade did the unthinkable: He somehow made a Twilight movie watchable. His installment, Eclipse attempted to provide a few straightforward horror set-pieces amongst its poorly acted monster-human romance; a noble effort, if not in vain, since a filmmaker could shoot Robert Pattinson and Kristen Stewart kissing on a couch for two hours and Twi-hards would buy tickets like stubs were crack rocks. But we appreciated Sladeâs ambitious efforts nonetheless.
Best Movies: Hard Candy (2005), 30 Days Of Night (2007)
Weâre willing to bet that youâve never seen any of David Sladeâs old music videos before. Want to know why? Because the Britâs vids, namely electronic stalwart Aphex Twinâs batshit âDonkey Rhubarbâ and Stone Temple Pilotsâ Teletubbies-minded trip in âSour Girl,â arenât the kinds of countdown fodder seen by widespread audiencesâtheyâre fucked-up little oddities that donât make it past the loyal fan-site stage.
Sladeâs movies, though, have been increasing in public recognition. Hard Candy, his 2005 debut about a game of cat-and-mouse with a pedophile, wowed critics and festival goers with its ability to captivate in a single home setting through the directorâs manipulative camera angles; yet, outside of indie film lovers, Hard Candy remains largely obscure. Two years later, Slade took his first shot at mainstream acceptance with the brutal vampire flick 30 Days Of Night, a solid and delightfully grim big-studio horror pic that performed marginally.
But then, last year, Slade did the unthinkable: He somehow made a Twilight movie watchable. His installment, Eclipse attempted to provide a few straightforward horror set-pieces amongst its poorly acted monster-human romance; a noble effort, if not in vain, since a filmmaker could shoot Robert Pattinson and Kristen Stewart kissing on a couch for two hours and Twi-hards would buy tickets like stubs were crack rocks. But we appreciated Sladeâs ambitious efforts nonetheless.
Best Music Videos: âThe Most Beautiful Girl In The Worldâ, Prince (1994); âGangstaâs Paradiseâ, Coolio (1995); âCitizen Soldierâ, 3 Doors Down (2007)
Best Movies: Training Day (2001), Shooter (2007)
Coolioâs once-ubiquitous âGangstaâs Paradiseâ plays like an exercise in overcooked melodrama today; from Coolioâs unconvincingly tough leering at fish-out-of-water Michelle Pfeiffer to big man L.V.âs heavy breathing in close-up, the Dangerous Minds accompanying visual doesnât hit nearly as hard now as it did 16 years back.
Its biggest impact to the senses comes with the realization that Antoine Fuqua shot it, and the videoâs forceful sentiment has carried over into Fuquaâs movies. Save for the laudable Training Day and sneakily effective Shooter, Fuquaâs films have demonstrated a consistent lack of subtlety. But you know what? Weâre not mad at him. In modern-day battlefields (Tears Of The Sun), Medieval settings (King Arthur), and inner city warzones (Brooklynâs Finest), the eclectic Fuqua knows his way around jarring violence. He may never match the greatness of Training Day again, but heâll forever command our attention.
Best Movies: Training Day (2001), Shooter (2007)
Coolioâs once-ubiquitous âGangstaâs Paradiseâ plays like an exercise in overcooked melodrama today; from Coolioâs unconvincingly tough leering at fish-out-of-water Michelle Pfeiffer to big man L.V.âs heavy breathing in close-up, the Dangerous Minds accompanying visual doesnât hit nearly as hard now as it did 16 years back.
Its biggest impact to the senses comes with the realization that Antoine Fuqua shot it, and the videoâs forceful sentiment has carried over into Fuquaâs movies. Save for the laudable Training Day and sneakily effective Shooter, Fuquaâs films have demonstrated a consistent lack of subtlety. But you know what? Weâre not mad at him. In modern-day battlefields (Tears Of The Sun), Medieval settings (King Arthur), and inner city warzones (Brooklynâs Finest), the eclectic Fuqua knows his way around jarring violence. He may never match the greatness of Training Day again, but heâll forever command our attention.
Best Music Videos: âHold Onâ, En Vogue (1990); âLosing My Religionâ, R.E.M. (1991)
Best Movies: The Cell (2000), The Fall (2006)
Give Tarsem Singh a mediocre script, and heâll mold the underwritten dud into a visual goldmine. With his striking 2000 debut, The Cell, the Indian director, previously known for R.E.M.âs award-winning âLosing My Religionâ video, took an intriguing premise (psychologist enters a psychoâs mind to find a missing girl) and went ballistic, using the filmâs altered reality states to present gorgeous cinematography, trippy images, and lavish color schemes; at its best, The Cell is a moving art gallery. Everything else about the movie is off, though; itâs abundantly clear throughout the flick that Tarsem deserved better.
And thatâs what he got with The Fall, his second movie and long overdue chance to work with a stronger screenplay. Also largely set in unreal dream-worlds, Tarsemâs sophomore flick has earned a cult status since its inconspicuous 2006 release, showcasing a filmmaker whoâs more invested in eyeball treats than anything else. His next project, however, feels like a step back towards Cell-like unevenness; Immortals, a Greek gods action-adventure for the chest-bumping crowd, looks visually Tarsem-esque but also suffers from a series of trailers that seem like 300 knockoffs.
Best Movies: The Cell (2000), The Fall (2006)
Give Tarsem Singh a mediocre script, and heâll mold the underwritten dud into a visual goldmine. With his striking 2000 debut, The Cell, the Indian director, previously known for R.E.M.âs award-winning âLosing My Religionâ video, took an intriguing premise (psychologist enters a psychoâs mind to find a missing girl) and went ballistic, using the filmâs altered reality states to present gorgeous cinematography, trippy images, and lavish color schemes; at its best, The Cell is a moving art gallery. Everything else about the movie is off, though; itâs abundantly clear throughout the flick that Tarsem deserved better.
And thatâs what he got with The Fall, his second movie and long overdue chance to work with a stronger screenplay. Also largely set in unreal dream-worlds, Tarsemâs sophomore flick has earned a cult status since its inconspicuous 2006 release, showcasing a filmmaker whoâs more invested in eyeball treats than anything else. His next project, however, feels like a step back towards Cell-like unevenness; Immortals, a Greek gods action-adventure for the chest-bumping crowd, looks visually Tarsem-esque but also suffers from a series of trailers that seem like 300 knockoffs.
Best Music Videos: âIt Was A Good Dayâ, Ice Cube (1992); âI Ainât Goinâ Out Like Thatâ, Cypress Hill (1993); âNatural Born Killazâ, Dr. Dre and Ice Cube (1994); âSouthernplayalisticadillacmuzikâ, Outkast (1994); âWaterfallsâ, TLC (1995); âShow Me What You Gotâ, Jay-Z (2006)
Best Movies: Friday (1995), Set It Off (1996), The Negotiator (1998), The Italian Job (2003)
F. Gary Grayâs contributions to hip-hopâs music video history is cemented, no doubt, but thereâs one video in particular that will keep his name amongst the Hype Williamsâ of the game forever and everâIce Cubeâs classic âIt Was A Good Day.â An observational stroll alongside Cube throughout his drama-free day, Grayâs visual aid to the former N.W.A. memberâs storytelling tune made up for what it lacked in stylistic touches with stark naturalism.
Though he directed several other notable clips, Grayâs âIt Was A Good Dayâ work is the most indicative of his moviemaking career: Like Cubeâs best video, Grayâs filmography is devoid of any individualism. Heâs hopped around through genres, most successfully stopping in comedy (Friday) and rollicking, heist-centered action flicks (The Italian Job); an inability to carve out his own âThatâs an F. Gary Gray filmâ identity, though, leaves him with a curious air of anonymity. Nevertheless, heâll always have that one good day to his credit.
Best Movies: Friday (1995), Set It Off (1996), The Negotiator (1998), The Italian Job (2003)
F. Gary Grayâs contributions to hip-hopâs music video history is cemented, no doubt, but thereâs one video in particular that will keep his name amongst the Hype Williamsâ of the game forever and everâIce Cubeâs classic âIt Was A Good Day.â An observational stroll alongside Cube throughout his drama-free day, Grayâs visual aid to the former N.W.A. memberâs storytelling tune made up for what it lacked in stylistic touches with stark naturalism.
Though he directed several other notable clips, Grayâs âIt Was A Good Dayâ work is the most indicative of his moviemaking career: Like Cubeâs best video, Grayâs filmography is devoid of any individualism. Heâs hopped around through genres, most successfully stopping in comedy (Friday) and rollicking, heist-centered action flicks (The Italian Job); an inability to carve out his own âThatâs an F. Gary Gray filmâ identity, though, leaves him with a curious air of anonymity. Nevertheless, heâll always have that one good day to his credit.
Best Music Videos: âShut âEm Downâ, Public Enemy (1992); âJeremyâ, Pearl Jam (1992); âOneâ, U2 (1992)
Best Movies: Arlington Road (1999), The Mothman Prophecies (2002)
Released to moderate success in 1999, Arlington Road established its director, Mark Pellington, as a filmmaker to watch. A domestic tale about a college professor (Jeff Bridges) who thinks his new neighbors (Tim Robbins and Joan Cusack) are evildoing terrorists, Pellingtonâs taut and paranoid thriller still packs a mean punch today, ripping along at a nervy, Hitchcockian pace on its way to a ballsy, unhappy ending. Three years later, Pellington recaptured a decent amount of Arlington Roadâs pervasive mood for The Mothman Prophecies, a dreary white-knuckler that posited the director as a promising craftsman of psychological unease.
Nine years have passed since Mothman, though, and Pellington has yet to nurture his potential any further, losing cred with forgettable crud like the Luke Wilson-led Henry Poole Is Here. A quick revisit to his 1992 video for Pearl Jamâs downbeat âJeremyâ should remind you of just how proficient Pellington is with desolate narrative; the videoâs climactic shot, that of its title character blowing his brains out before a classroom full of mime-like seat-fillers, is no less devastating today.
Best Movies: Arlington Road (1999), The Mothman Prophecies (2002)
Released to moderate success in 1999, Arlington Road established its director, Mark Pellington, as a filmmaker to watch. A domestic tale about a college professor (Jeff Bridges) who thinks his new neighbors (Tim Robbins and Joan Cusack) are evildoing terrorists, Pellingtonâs taut and paranoid thriller still packs a mean punch today, ripping along at a nervy, Hitchcockian pace on its way to a ballsy, unhappy ending. Three years later, Pellington recaptured a decent amount of Arlington Roadâs pervasive mood for The Mothman Prophecies, a dreary white-knuckler that posited the director as a promising craftsman of psychological unease.
Nine years have passed since Mothman, though, and Pellington has yet to nurture his potential any further, losing cred with forgettable crud like the Luke Wilson-led Henry Poole Is Here. A quick revisit to his 1992 video for Pearl Jamâs downbeat âJeremyâ should remind you of just how proficient Pellington is with desolate narrative; the videoâs climactic shot, that of its title character blowing his brains out before a classroom full of mime-like seat-fillers, is no less devastating today.
Best Music Videos: âGone Till Novemberâ, Wyclef Jean (1997); âI Donât Want To Miss A Thingâ, Aerosmith (1998); âFortunateâ, Maxwell (1999); âGirlâs Best Friendâ, Jay-Z (1999); âIâm A Slave 4 Uâ, Britney Spears (2001); âCry Me A Riverâ, Justin Timberlake feat. Timbaland (2003); âBad Romanceâ, Lady Gaga (2009)
Best Movies: Constantine (2005), I Am Legend (2007)
Thereâs a certain fantastical elegance to Francis Lawrenceâs music videos. The ice castle aesthetic of Jay-Zâs âGirlâs Best Friend,â set inside an enormous piece of bling; the swank fetish party going down in Lady Gagaâs âBad Romanceâ; the astral dream-world of Maxwellâs âFortunateâ; and, most enjoyably, the near-orgy taking place in Britney Spearsâ sexiest video, âIâm A Slave 4 U.â Heâs a visual storyteller, and his expensive-looking videos reflect that.
As does Constantine, Lawrenceâs 2005 movie debut that distracts eyes from star Keanu Reevesâ perpetual flatness with Gothic showiness and comic book daringness. His follow-up, the Richard Matheson adaptation I Am Legend, is best examined for Will Smithâs strong last-man-alive performance and how Lawrence presents a barren Manhattan as a post-apocalyptic tomb, particularly in the movieâs first halfâthe less said about the horribly rendered CGI creatures that ruin the second half, the better.
Earlier this year, Lawrence once again did his best with a weak project: Water For Elephants, a visually stunning romance that falters under the frosty chemistry between stars Robert Pattinson and Reese Witherspoon. One of these days, Lawrence is going to find a script worthy of his chops. Might we suggest expanding Britneyâs bottled-up sex bash into Iâm A Slave 4 U: The Movie?
Best Movies: Constantine (2005), I Am Legend (2007)
Thereâs a certain fantastical elegance to Francis Lawrenceâs music videos. The ice castle aesthetic of Jay-Zâs âGirlâs Best Friend,â set inside an enormous piece of bling; the swank fetish party going down in Lady Gagaâs âBad Romanceâ; the astral dream-world of Maxwellâs âFortunateâ; and, most enjoyably, the near-orgy taking place in Britney Spearsâ sexiest video, âIâm A Slave 4 U.â Heâs a visual storyteller, and his expensive-looking videos reflect that.
As does Constantine, Lawrenceâs 2005 movie debut that distracts eyes from star Keanu Reevesâ perpetual flatness with Gothic showiness and comic book daringness. His follow-up, the Richard Matheson adaptation I Am Legend, is best examined for Will Smithâs strong last-man-alive performance and how Lawrence presents a barren Manhattan as a post-apocalyptic tomb, particularly in the movieâs first halfâthe less said about the horribly rendered CGI creatures that ruin the second half, the better.
Earlier this year, Lawrence once again did his best with a weak project: Water For Elephants, a visually stunning romance that falters under the frosty chemistry between stars Robert Pattinson and Reese Witherspoon. One of these days, Lawrence is going to find a script worthy of his chops. Might we suggest expanding Britneyâs bottled-up sex bash into Iâm A Slave 4 U: The Movie?
Best Music Videos: âTonightâs Da Nightâ, Redman (1993); âNuttinâ But Loveâ, Heavy D & The Boyz (1994); âTriumphâ, Wu-Tang Clan (1997); âHeartbreakerâ, Mariah Carey feat. Jay-Z (1999)
Best Movies: Rush Hour (1998), The Family Man (2000), Red Dragon (2002)
Snarky film bloggers love to bitch slap Brett Ratner with their words, understandably so. Heâs certainly directed a few shitty action movies, like 2004âs After The Sunset and 2006âs near-franchise-killer X-Men: The Last Stand, but Ratner has also helmed a few creative triumphs, particularly the well-acted, slickly directed, and altogether thrilling Silence Of The Lambs prequel Red Dragon. Itâs not like Ratner should give a damn about the naysayersâthose Rush Hour movies by themselves have generated enough cash for the Hollywood Enemy Number One to sit back, relax, and count bills.
In addition to enormous funds, Ratner also has the appreciation of rap dudes and chicks raised on Yo! MTV Raps; if he doesnât, then he really should. After working with ex-3rd Bass member Prime Minister Pete Nice for his debut videos, Ratner went on to call shots for Redman, LL Cool J, Heavy D, and Wu-Tang. The above âTriumphâ video alone should pardon The Rat from excessive slander. Assuming his next action-comedy, Tower Heist (led by Ben Stiller and Eddie Murphy), doesnât bomb atomically.
Best Movies: Rush Hour (1998), The Family Man (2000), Red Dragon (2002)
Snarky film bloggers love to bitch slap Brett Ratner with their words, understandably so. Heâs certainly directed a few shitty action movies, like 2004âs After The Sunset and 2006âs near-franchise-killer X-Men: The Last Stand, but Ratner has also helmed a few creative triumphs, particularly the well-acted, slickly directed, and altogether thrilling Silence Of The Lambs prequel Red Dragon. Itâs not like Ratner should give a damn about the naysayersâthose Rush Hour movies by themselves have generated enough cash for the Hollywood Enemy Number One to sit back, relax, and count bills.
In addition to enormous funds, Ratner also has the appreciation of rap dudes and chicks raised on Yo! MTV Raps; if he doesnât, then he really should. After working with ex-3rd Bass member Prime Minister Pete Nice for his debut videos, Ratner went on to call shots for Redman, LL Cool J, Heavy D, and Wu-Tang. The above âTriumphâ video alone should pardon The Rat from excessive slander. Assuming his next action-comedy, Tower Heist (led by Ben Stiller and Eddie Murphy), doesnât bomb atomically.
Best Music Videos: âFlyâ, Sugar Ray (1997); âPretty Fly (For A White Guy)â, The Offspring (1998); âAll Starâ, Smash Mouth (2000)
Best Movies: Charlieâs Angels (2000), We Are Marshall (2006)
Or, as the government likes to call him, Joseph McGinty Nicholâthere, that definitely sounds better than his pretty-fly-for-a-white-guy stage name. His lame moniker might leave him susceptible to insulting barbs, and his last movie, Terminator Salvation, shit the bed, but McG is, as discomforting as it may feel, worthy of praise.
Heâs a proven box office contender, a status triggered back when his first flick, 2000âs glossy Charlieâs Angels reinvention, opened with a $40 million intake and gave him, at the time, the highest opening weekend stat ever for a debut flick. In 2003, its sequel, Charlieâs Angels: Full Throttle, raked in $259 million worldwide, and, beneath hatersâ radars, heâs produced a gang of hit TV shows: The O.C., Supernatural, Chuck, and Nikita. He could easily tweak his nickname into McGreenbacks, cynics, and thereâs not a damn thing any of us could do about it.
Best Movies: Charlieâs Angels (2000), We Are Marshall (2006)
Or, as the government likes to call him, Joseph McGinty Nicholâthere, that definitely sounds better than his pretty-fly-for-a-white-guy stage name. His lame moniker might leave him susceptible to insulting barbs, and his last movie, Terminator Salvation, shit the bed, but McG is, as discomforting as it may feel, worthy of praise.
Heâs a proven box office contender, a status triggered back when his first flick, 2000âs glossy Charlieâs Angels reinvention, opened with a $40 million intake and gave him, at the time, the highest opening weekend stat ever for a debut flick. In 2003, its sequel, Charlieâs Angels: Full Throttle, raked in $259 million worldwide, and, beneath hatersâ radars, heâs produced a gang of hit TV shows: The O.C., Supernatural, Chuck, and Nikita. He could easily tweak his nickname into McGreenbacks, cynics, and thereâs not a damn thing any of us could do about it.
Best Music Videos: âReady Or Notâ, The Fugees (1996); âNo Timeâ, Lil Kim feat. Puff Daddy (1996); âVictoryâ Puff Daddy & The Family feat. The Notorious B.I.G. and Busta Rhymes (1998); âShining Starâ, Sunz Of Man feat. Olâ Dirty Bastard and Earth, Wind & Fire (1998); âWhatcha Gonâ Doâ, Terror Squad (1999)
Best Movies: The Texas Chainsaw Massacre (2003)
Keep in mind, âmost accomplishedâ designates that the filmmakers on this list have achieved notable amounts of successâit doesnât necessarily mean that their movies have all been top-quality. Case in point: Marcus Nispel, the German-American director behind a slew of beloved rap videos from the mid to late-â90s, most importantly The Fugeesâ tense âReady Or Notâ and Puff Daddyâs grandiose and operatic âVictory.â
Watching either one of those clips, itâs difficult to comprehend that a guy who oversaw such epic videos could go on to call the plays for two of the worst remakes of the last three or so years: Friday The 13th and this past weekendâs Conan The Barbarian. Both characterless and loudly idiotic, Nispelâs takes on Jason Voorhees and Robert E. Howardâs iconic warrior represent the worst of Hollywoodâs cash-in treatment of old, cherished films.
But, hey, Nispelâs reboots normally premiere with extremely lucrative opening weekend grosses (Conan not included), and, to be fair, his 2003 modernization of The Texas Chainsaw Massacre has its strong moments. Besides, who do you think theyâre going to call when itâs time to remake Childâs Play?
Best Movies: The Texas Chainsaw Massacre (2003)
Keep in mind, âmost accomplishedâ designates that the filmmakers on this list have achieved notable amounts of successâit doesnât necessarily mean that their movies have all been top-quality. Case in point: Marcus Nispel, the German-American director behind a slew of beloved rap videos from the mid to late-â90s, most importantly The Fugeesâ tense âReady Or Notâ and Puff Daddyâs grandiose and operatic âVictory.â
Watching either one of those clips, itâs difficult to comprehend that a guy who oversaw such epic videos could go on to call the plays for two of the worst remakes of the last three or so years: Friday The 13th and this past weekendâs Conan The Barbarian. Both characterless and loudly idiotic, Nispelâs takes on Jason Voorhees and Robert E. Howardâs iconic warrior represent the worst of Hollywoodâs cash-in treatment of old, cherished films.
But, hey, Nispelâs reboots normally premiere with extremely lucrative opening weekend grosses (Conan not included), and, to be fair, his 2003 modernization of The Texas Chainsaw Massacre has its strong moments. Besides, who do you think theyâre going to call when itâs time to remake Childâs Play?
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