A Reel Series: Where have all the Great Directors Gone? Part 2

In this second part of a series, we’ll explore the recent achievements, or lack thereof, of a few directors who once dominated the celluloid landscape. Some of these big dogs have been active, while some have been content to sit on the porch.

STEVEN SPIELBERG: he was The Man for well over 30 years. The films he released in the summer were blockbusters. The films he released in the fall horded Oscars. Today, it can be argued that he has not delivered a bona-fide knockout since 1998’s SAVING PRIVATE RYAN. Sure there have been neat little sci-fi flicks (A.I., MINORITY REPORT, WAR OF THE WORLDS), and a handful of star-studded romps (THE TERMINAL, CATCH ME IF YOU CAN), but nothing since ’98 has been labeled a must-see-now and must-watch-again-for-the-next-ten-years film. Even his last Indiana Jones film drew more WTF moments than any film in recent memory.

His next directed film will be an adaptation of TINTIN due next year, but Steven seems to be putting his energies not into directing, but into producing (his name is on 13 films for 2011). His familiar touch and themes seem to seep their way into his produced films, which just may be becoming a bit tired and too familiar.

FRANCIS FORD COPPOLA: the man who brought us THE GODFATHER I and II changed filmmaking forever, has been absent for what seems like forever. His last two films (2007’s YOUTH WITHOUT YOUTH and 2009’s TETRO), were hardly seen by anybody and received mixed reviews. Prior to those two humdingers, FFC has only done THE RAINMAKER (1997), JACK (1996) and BRAM STOKER’S DRACULA (1992) since the third GODFATHER installment.

FFC has also been putting on the producing hat in recent years, and while he does have a few good films under that section of the resume, he also has a few stinkers, including two JEEPERS CREEPERS films. He currently has no films in production for himself to direct. At 71 years old, it’s doubtful he would put himself through the rigors of helming another production, and seems content to pass the reins on to his daughter. Fans of the old man do have hope that he may have one more left in him before joining Don Vito in the garden.

OTHER NOTABLES:

RON HOWARD: His FROST/NIXON (2008) gained Oscar buzz, and then he followed it up with a clunky and messy ANGELS AND DEMONS (2009), which only compounded the issues THE DAVINCI CODE (2006) had. And let’s not talk about THE MISSING (2003).

JOHN McTIERNAN: His resume once glittered with action classics such as PREDATOR (1987), DIE HARD 1 and 3, and THE HUNT FOR RED OCTOBER (1990). Then he stunk up the place with ROLLERBALL (2002) and BASIC (2003).

ROBERT ZEMECKIS: Has not made a film outside of motion-capture animation since CAST AWAY (2000). That’s 10 years of creepy-looking characters from the director of BACK TO THE FUTURE and FORREST GUMP (1994). Those motion-capture films have gotten better, and they are entertaining, but please Robert, do something original; three adaptations in a row (including your upcoming YELLOW SUBMARINE remake) is too much.

It doesn’t seem fair to give these guys shit. They have more films on the AFI 100 list than anyone, and their work is forever embedded in film and popular culture. It can be argued that any bad film by these guys is still going to be better than the bulk of what’s coming out of Hollywood recently. Perhaps the one mistake they all made is that they got so damn good at what they do, that the expectations rose higher than the moon. Even still, the problems that their recent outings have had still exist. Is it fair to blame them for everything? What contributions have the ever-meddling studios ($) and whiny Writers Guild made to their demise? The debate must rage. Hopefully loud enough to rouse the dogs off the porch and into the fight, with fangs out.

What say you?

PS In Part 3: the new hope.