Movies that are farcry from directors usual style.

  1. It definitely doesn’t feel like a Spike Lee joint but the big reveal still felt super stylish and satisfying. Gives me a similar vibe to the ending to black kkklansman (before the real footage)

  2. Last of the Mohicans. Directed by...wait for it...Michael Mann. The director of Miami Vice, Heat, Manhunter, Collateral, etc. made one of the best period pieces about colonial America ever.

  3. I had no idea that movie was Michael Mann, wtf. I've seen folks talk about that movie and folks talk about "Michael Mann Movies" like Heat and Collateral, but never both things together haah

  4. Coen Brother's True Grit. It felt way too sincere and very serious compared to their black comedies and slow burn thrillers. It's their least Coen Brothers feeling movie and one of my favorites of theirs.

  5. Everything about the movie feels very Coen Bros. to me, from the literary dialogue like O Brother Where Art Thou (much lifted straight from the book) to the cinematography by Deakins, to the recurring work with favorite actors (Brolin and Bridges), and the brutal realism of the violence. Even the humor in the movie is very Coenesque. It's pretty unmistakable tbh, but I definitely agree one of my favorites of theirs.

  6. It's weird that he was given a relatively big-name IP, but it's still pretty Lynch-y, which is probably a reason it doesn't work so well.

  7. I wouldn't say so. At the time it definitely made sense for him to be pushed to do a big movie as he was a very "hot" director coming off a huge commercial and critical/awards success. It just sucks that the film is problematic (though still more fun than last year's slog).

  8. If anything, I'd argue that Alice Doesn't Live Here Anymore is the least-Scorsese of Scorsese's films- and it may be telling that that's a fairly early one.

  9. Wes Craven had a near-30 year run of solely making horror movies until he cashed in the success of the Scream movies to direct his passion project "Music of the Heart", a biopic about a teacher in Harlem who fought to keep music alive in inner-city schools. He then followed that up with another decade of horror films.

  10. I wouldn't call that a "passion project" as Miramax just opened up their script vault for him to choose what he wanted. His actual passion project was Total Immersion which was a script or idea he had which was allegedly a semi-autobiographical story about growing up in a very religious household.

  11. I'm sure this is going to be a cheat, lol, but Spielberg checks this box a few times. When he directed the following films, they were very different from his prior work.

  12. his horror background really shined in that monster scene at the boardroom or whatever it was. It reminded me of that dark gremlins-pg13 feeling it has

  13. Peter Jackson of LOTR fame's earlier films are a FAAAAAAR CRY from what made him famous. I mean ive been a fan of his since renting Bad Taste as a youngster but most know him for LOTR. His early work is insanely sleazy gore fueled trash that brings a tear of joy to your average slimetime grindhouse cinema lovers eye... so naturally i and many others fell in love. Still not sure how he got the LOTR job lol.

  14. Despite the hilarious gore-satire of his early work, the puppetry of Meet the Feebles and the size reduction sequences for Selwyn in Brain Dead/Dead Alive very much influenced the decision to give him the cash to make LOTR. He did such a great job with little money on those effects and made them halfway decent stories.

  15. Their oscar nomination for Heavenly Creatures is the reason why they were able to pitch LOTR to a few different studios.

  16. The Joel Schumacher Batman movies. It's really a shame that the man who brought us The Lost Boys, Flatliners, Falling Down and A Time To Kill made that neon thrash.

  17. His commentary track on Batman & Robin is quite fascinating. He actually takes full responsibility, because he apparently could have said no to a lot of suggestions from Warner’s marketing and merchandising departments, but he chose not to. I have never heard a filmmaker accept blame for a bad movie, other than this. I had to stop hating the guy after that.

  18. They’re actually pretty excellent for what they are. Watched them about a month ago and was shocked—they’re $100 million gay-porn parodies of Batman.

  19. Fast Company from Cronenberg. It's a drama about a drag-racing circuit with a country-rock song soundtrack and theme. You'd never guess that he was the one behind it as it has zero of his trademarks from that era.

  20. I'd say his back-to-back thrillers, Eastern Promises & A History of Violence are also far from his usual exploration of body transformation and mindness.

  21. Scorsese is a really versatile director. He's known for the mob stuff, but he's made 25 movies and only like 5-6 of them are crime movies.

  22. And Hugo! That's the one that really stands out to me. Scorsese is talented enough that he can work in any genre, but whimsical, fairy tale-esque, children's story (in 3D!) is not the first thing that comes to mind when I think of ol' Marty.

  23. I feel like you can't answer with any Scorsese film set in New York. That was a staple of his films especially in the 70s and 80s

  24. Kevin Smith’s “Red State” is a fantastic horror movie that is unlike anything he has made…including “Tusk”

  25. Red State is definitely different from his other movies, but I'm reluctant to call it fantastic. It's 2/3 of a pretty solid horror/suspense movie that absolutely tanks in the third act. I definitely don't fault anyone who likes it, though.

  26. I'd probably lean more towards Kundun. Although religion is also an ever present theme in his filmography, so it still doesn't feel outside the realms of his style.

  27. Mind you, much of Coppola's 1980s and 1990s work was openly as a director-for-hire, so that gives a strange logic to it.

  28. Todd Phillips made a career making comedies such as the Hangover films, Starsky and Hutch, Due Date and War Dogs. But then, he also made Joker, which couldn't be more different to his prior work. It was great, but it is certainly not what you'd classify as his style of film.

  29. I would say War Dogs was him moving into more serious projects (more black comedy/crime rather than straight comedy). But WD and Joker have both been kind of poor man’s Scorsese. I’m interested to see if he can create a little bit of his own style in future works.

  30. Black Book, dir. Paul Verhoeven. It's a serious, small WWII drama set in Germany. Same dude directed Robocop, Showgirls, Hollow Man, Total Recall, & Starship Troopers!

  31. Schindlers List? Spielberg went Indiana Jones, Hook, Jurassic Park, SCHINDLERS LIST, Jurrasic Park II..

  32. I think this period of time he wasn't sure where to take his career. He could basically write his own ticket but was still a pretty young man. Old interviews show a wide range of projects he thought about making but he mostly seemed to do nothing for a long time. Maybe a fear of failure? Trying to nail down what his own style was and wasn't. I think he figured out what he wanted to do and then made Kill Bill and hasn't really slowed since.

  33. Knightriders by George Romero. It's about a Renaissance Faire that uses motorcycles instead of horses and a coup to gain control of the faire. It's pretty good and has some cool action sequences, Tom Savini is in it.

  34. Francis Ford Coppola directing “Peggy Sue Got Married” surprised me a lot. It’s a lighter comedy/drama, a far cry from his usual fare.

  35. Duel (1971) - Steven Spielberg: just seems too boring for a Spielberg film. And I know it was very early in his career, but still.

  36. Alice Doesn't Live Here Any More (1974), directed by Scorsese, but you'd never know it. One of my favorite movies, and Ellen Burstyn won an Oscar.

  37. Woody Allen's Match Point is a totally dry British thriller. I think it's one of his best films and if you removed his name from the credits, no one would know he made it.

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