I have a question for y'all... since we're talking about "best" here. How 'bout the question why? Why are your choices "the best"? Or how about, which director (of your picks) is the most unique director?

For me that question is simple. Tarantino. He's got to be the most uniqe director this century in my opinion.

As for my other picks, Cameron for Aliens, Terminator II, The Abyss etc. Ridley Scott because of Blade Runner, Alien, Gladiator... Chaplin... man... that guy has got to be the king of comedy. I can (to this day) watch "Modern Times" (as well as his other films) and LAUGH MY BUTT OFF!! Most of the other directors listed here I like as well for their obvious contributions.

- J8)sh

mine would have to be

david fincher
peter jackson
speilberg
zemeckis
m. night shaymalan
tarantino

Havent seen Cabin Fever, but heard it was either sucky or good. Ill wait for it on cable. John Dahl started well, but has since not been too good. John, you didnt like Rounders??? SPOILER HERE: It has a great ending. His friend just leaves him out to try and he chooses poker over th girl. Gotta love it!!

I was actually shocked the first time I watched Kane of how exciting it was. I think the story is pretty engrossing. It looks like The Aviator might have the same story arc. Of course, we know what happened to Howard Hughes.

I'm going to check out Citizen Kane next time I'm at the video store. I thought 2001 was excellent!!... weird... but excellent!

- Josh

(open the pod bay doors HAL)

Josh,

Never seen "Citizen Kane"? Never seen it? It's the cornerstone of all movie history. It's like saying you've never seen, uh, uh, uh, "Star Wars"!

Actually, don't feel bad. I never had a student in any of my film classes who had ever seen it before, either. Old movies (like old directors) don't get a lot of play on TV anymore or much space in the video store. But may I urge you to see it? You don't have to like it; many people think it's about as boring as "2001." (Obviously, not me because I love "Kane" and "2001.") But it's hard not to watch "Kane" and respect it. In fact, watch it three times; once for your own pleasure and then again with Roger Ebert's commentary and then with Peter Bogdanovich's commentary. I think you'll find the movie jaw-droppingly awesome in its technical achievement, even if you don't care for the story.

What do you mean, do I like the movie?

John

This is why DVD Town is such a great place. So many different views, opinions, and experiences.

John,

I've of course heard of "Citizen Kane", but I don't think I've ever seen it. It sounds VERY cool though. So many movies, so little time. Soderbergh is another favorite. I was thoroughly impressed with "Solaris". I loved "Erin Brockavich" for more than Julia Roberts cleavage. "Oceans 11" was incredible!

- Josh

Agreed, Twill; I loved "Mulholland Drive." But, again, without Welles, we wouldn't have a David Lynch as we know him today. What we consider so innovative today, Welles was doing in one way or another in 1941.

John

I have to give the prize of unique filmmaker to Soderbergh. No other director goes from genre to genre as much. Every film he makes is different. Also he's played with structure just like Tarantino. The key point in the argument is "Schizopolis," a movie of his that really no one has seen. It's incredibly original, similar to "Full Frontal" in style, but much weirder. Anyway, not a lot of directors would follow up two serious oscar pictures like
"Erin Brockovich" and "Traffic" with a crowd pleaser like "Ocean's 11," then do two challening films like "Full Frontal" and "Solaris." Plus, the guy's style changes from film to film to fit the story. Don't forget he shoots his own films too.

John, speaking of "Mulholland Drive," David Lynch is sure as hell unique as well.

May I suggest Orson Welles's "Citizen Kane" as a "unique" film. There is a reason why most critics consider it the best film ever made. It takes the same story and retells it seven times, in seven different ways. It starts at the end and works its way back to the beginning and eventually fills in everything in between. Sound like any "Pulp Fictions" or "Mementos" or Muholland Drives" you know?

And "Kane" was made sixty years ago. Every director today owes something to Welles, in narrative style, in cinematography, in editing, in camera angles, in characterization, in sound recording, in montage, in overlapping dialogue. Welles and cameraman Gregg Toland didn't invent this stuff; but they refined it and experiemented with it as nobody had before.

John