Reevaluating the hype: 10 overrated directors in Hollywood right now

It is no secret that directors encompass a crucial part of a film. The facet of a crew can either make or break a perfectly good piece of work with its vision alone. It’s not to say that the other parts of the posse are not equally imperative. However, one can’t deny the impact of an auteur on the fate of the film. A good director is not only passionate about animating the crux of a film into our screens flawlessly but also receptive to the ideas of its cast and crew and adapts to them when mandated.

Hollywood has its fair share of directors that have been a breath of fresh air in a flock of amateurs throughout the history of filmmaking. And while there’s no shortage of makers who have withstood their ground through a string of hits and failures at the box office, it is safe to say that many of them might be overstaying their welcome in the show business.

In this blog, we shall explore a numerable lot of filmmakers who once unequivocally delivered the classics we remember them by but have come to wane in their quality of work while their popularity remains intact.

1. Ari Aster:

The notorious filmmaker’s disposition for all things monstrous has caused the viewers a figurative head split once or twice.

The 2018’s Hereditary and 2019’s Midsommer are enticing enough for a one-time watch, however, if post-film emotions are anything to get by, they are disturbing to the point of wondering if they actually came from a brain sane enough.

2. Kat Coiro:

One would surely expect a ground-breaking theatrical debut from a television director helming gratifying shows like Dead to Me, Modern Family, and She-Hulk.

Even a star-studded cast couldn’t save Coiro’s failed attempt at the rom-com genre in last year’s Marry Me, based on an idea that is “something old” and “something borrowed,” as affirmed by the critics.

3. Wes Anderson:

A filmmaker whose ideas are strictly based on the film being ridiculously eccentric, it seems that Anderson has finally owned the title with his recent slate of films.

Tina Fey once quipped, “Wes Anderson is here tonight for the film Grand Budapest Hotel. Per usual, Wes arrived on a bicycle made of antique tuba parts.”

It is hard to believe that the same director who helmed hits like Bottle Rocket, The Royal Tenenbaums, and Rushmore among others will take unvanquished pride in his work in The Grand Budapest Hotel.

4. Tim Burton:

It is an undeniable fact that the 64-year-old filmmaker has been a significant catalyst in bringing before us the most fantastical worlds there could be. Burton’s work with gothic fantasy is nothing less of sheer artistry, evident in his previous works like Beetle Juice, Corpse Bride, and Edward Scissorhands.

However, it has been dispiriting to see his work reduce not only in quality but its overall charm being taken over by the pressure of the film being aesthetically pleasing rather than just downright unhinged.

5. Baz Luhrmann:

Luhrmann is what happens when a director cares more about being a commercial marionette, rather than pouring essence into his work like he used to. Despite his slate of visually stunning films, the Australian filmmaker has fallen short of creating an all-encompassing cinematic experience due to the lack of substance in his vision.

With credits like Elvis, The Great Gatsby, The Get Down, and Strictly Ballroom among others, Luhrmann has successfully fooled the audience with his bait-and-switch card trick, as he continues to cover up for his overly long, superficial films.

6. Terrence Malick:

Malick’s work in Hollywood has long polarized the critics for its over-arching plot lines and absolutely no development for the characters in the film. The Academy Award-nominated director might be one of the best out there; it shouldn’t deviate us from the fact that without equipped cinematographers by his side, Malick will suavely slip in the ranking of good directors.

As Christopher Plummer once put it: “I love some of his movies very much, but the problem with Terry is he needs a writer desperately. He insists on overwriting until it sounds terribly pretentious, and he edits his films in such a way that he cuts everyone out of them.”

7. Clint Eastwood:

It is what they say: Jack of all trades, master of none. Though Eastwood has reinforced his position as an actor and a director on several occasions, it is an unspoken reality that the roles have often come at the expense of each other.

The Daily Beast described Eastwood’s directing career as “Devoid nearly all of them are from any trace of irony, nuance, or anything that is normally associated with art.”

Ray Liotta also hailed the Academy Award winner as “overrated,” during an appearance on Watch What Happens Live at Andy Cohen?

8. Michael Moore:

While his vocalization of often-buried topics is commendable, Moore’s films are said to be targeted at everyone and anyone who disagrees with him.

The filmmaker’s work largely deals with topics such as capitalism, assault weapon ownership, and globalization, as well as conspicuous criticism of personalities like Donald Trump, George W. Bush, President Bill Clint and more.

His work albeit rebellious has often been deemed misleading with his film titled Planet of the Humans being its epitome.

Moore has been branded a propagandist by a slew of critics and his films a propaganda.

9. Kenneth Lonergan:

Known more for his work as a playwright than a director, Lonergan’s 2016 film Manchester by the Sea is the sole work that puts him on the list.

The You Can Count on Me director is famous for having depressing undertones in his work, however, the 2016 drama film was not only a somber watch but also unrealistic in terms of storytelling and climax.

10. Zack Snyder:

Snyder’s fan base is an unadulterated example of being driven by nostalgia. It would be an injustice to deny the impact the filmmaker has had with his cinematic masterpieces, especially in the world of comic books, over time.

However, the waxing dullness of his craft has become so apparent that one can get through it without letting out an unsolicited yawn.

David Ehrlich of IndieWire wrote that Snyder's "name alone is enough to launch a thousand angry tweets, and the most passionate writing about his work is exclusively found in the comment sections of websites like this one. Snyder's critics really seem to hate him, and Snyder's fans really seem to hate his critics ... Is Snyder a master or a hack? A misunderstood myth-maker, or a meathead with a movie camera?"