Word: fincher
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Dates: during 2000-2009
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...That left the guys who couldn't get dates no option but to see Fighting, which is essentially Fight Club without Brad Pitt, Edward Norton, David Fincher or any pretense of artistry or ambiguity. Fighting is to Fight Club what its star Channing Tatum's one previous hit, the 2006 Step Up, was to every poor-boy-with-a-dream dance movie before it, from Saturday Night Fever to Save the Last Dance - which is to say, a worn retread, but with more bare-knuckle brawls. No matter: young guys' collective movie memory can be counted in the months...
...best film, Slumdog was the choice of the NBR and the D.C. crowd, Milk in New York and, in L.A., Pixar's summer hit WALL-E (which won for Animated film in the other groups). Best directors were David Fincher for Benjamin Button (NBR), Danny Boyle for Slumdog (D.C. and L.A.) and Mike Leigh for Happy-Go-Lucky (New York). Screenplay prizes were allotted to Slumdog, Benjamin Button, Happy-Go-Lucky, Rachel Getting Married and Gran Torino. Art-house habituées may wish to know that Man on Wire was judged best documentary by all four groups (the only...
...David Fincher's Se7en: "More than the director knows, or gives himself a chance to notice, the film identifies with and embodies that cruel intellectual superiority of the killer. To that extent, Se7en-quite beautiful and piercing-is one of the most truly sadistic works the cinema has produced. Its very achievement is disgusting...
...first network to teach viewers to watch this way. Quick-cut and compressed, music videos were not just a new way of selling music; they changed TV series (the pitch for Miami Vice was simply "MTV cops") and influenced movies (graduating directors like Spike Jonze, David Fincher and Michel Gondry). The best clips from MTV's all-video '80s heyday--from Michael Jackson to Talking Heads--capture the power of the music rather than replace it. MTV taught us to see with our ears and listen with our eyes...
...answer is that the Coens' crime caper is sharp and smart and was certainly worthy of a top slot. Gray's cop drama rarely reached the emotional boiling point, but the Tarantino and Fincher films, if not nearly the best of the directors' work, paraded the filmmaking brio, the narrative twists and drive, that mark solid updates of the classic Hollywood style. That the jurors ignored every member of this quartet, while laying hands on Van Sant's very minor indie effort, could possibly suggest an anti-Hollywood agenda. Major U.S. studios may take the hint, and be more reluctant...