{"id":2437,"date":"2021-07-25T15:45:42","date_gmt":"2021-07-25T15:45:42","guid":{"rendered":"http:\/\/otherpeoplesmovies.com\/?p=2437"},"modified":"2021-07-25T15:45:42","modified_gmt":"2021-07-25T15:45:42","slug":"top-ten-richard-donner-movies","status":"publish","type":"post","link":"https:\/\/otherpeoplesmovies.com\/index.php\/2021\/07\/25\/top-ten-richard-donner-movies\/","title":{"rendered":"Top Ten Richard Donner Movies"},"content":{"rendered":"\n
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Richard Donner<\/figcaption><\/figure>\n\n\n\n

Richard Donner was a film director who explored many different genres. Comedy, drama, action, Western, horror, fantasy, superhero, family\u2026 you name it, and he did it masterfully. What he lent to each genre he worked within is insurmountable, as he pretty much left behind a classic in each one. His recent passing on July 5, 2021, deprived us of any more classic additions, but it also makes us appreciate the ones he gave us all the more.<\/p>\n\n\n\n

Donner\u2019s extensive background in directing television in the sixties and seventies set the stage for his chameleon-like and functional approach to feature filmmaking. He directed classic episodes of many popular series, such as the Western Wanted: Dead or Alive <\/em>starring Steve McQueen or Rod Serling\u2019s science fiction\/horror The Twilight Zone<\/em>, before he was given the opportunity to direct a feature. Donner never limited himself to be a single type of director for any single type of project. His sensibilities and intelligence were developed early in his career to fit endless possibilities.<\/p>\n\n\n\n

Though there are a number of attributes that are unique to his films, Richard Donner was not exactly an auteur. He was a craftsman who served his film\u2019s story, performers, and crew by staying out of the way and letting people do their jobs. Donner once compared a director\u2019s function on a film set to that of a traffic cop, and such an ego-less perspective is evident in his films. Donner directed his movies towards what was best for them, not his own singular vision.<\/p>\n\n\n\n

Across multiple genres and styles, the one constant through line to Richard Donner\u2019s work is its humanity. Political and humanitarian messages are present throughout his work, but they are usually reserved for the background so as not to distract from the viewer\u2019s enjoyment. It is apparent when viewing his films that Richard Donner had extreme love for and an endless fascination with people. His movies are alive <\/em>with his warmth for humanity, filled with vivacious moments of spontaneity that are as irreplaceable as they are unforgettable. While the themes, characters, and storylines of Richard Donner\u2019s films are often different, his endearing and high-spirited soul always permeated them to become his most identifiable trademark.<\/p>\n\n\n\n

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Mel Gibson in Maverick<\/figcaption><\/figure>\n\n\n\n

10. Maverick (1994)<\/strong><\/p>\n\n\n\n

Based on the popular television series from the fifties and sixties, Maverick <\/em>is perhaps the most shamelessly escapist film of Richard Donner\u2019s career. The loosely scripted (by screenwriting legend William Goldman), thinly plotted comedic Western has a storyline that feels like an excuse for its immensely talented cast\u2014Mel Gibson, Jodie Foster, James Garner, Graham Greene, James Coburn, Alfred Molina, etc.–to let go and have completely unfettered, infectious fun.<\/p>\n\n\n\n

Maverick <\/em>is Hollywood entertainment at its finest. It showcases Donner\u2019s love and respect for his actors, as the film is literally stuffed with sparkling moments of improvisation that could never be duplicated. The price for such moments–haphazard pacing and an overly long runtime\u2014is well worth the entertainment and laughter they bring.<\/p>\n\n\n\n

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Bruce Willis and Mos Def in 16 Blocks<\/figcaption><\/figure>\n\n\n\n

9. 16 Blocks (2006)<\/strong><\/p>\n\n\n\n

Donner\u2019s last directorial effort is an action\/thriller that lacks the overt flair and humor of his better-known titles, opting instead for a quieter, more dramatic approach. 16 Blocks <\/em>is methodically slow-burning and astutely character-driven. Bruce Willis stars as an embittered, alcoholic police officer who has to fight off his corrupt colleagues (lead by an always captivating David Morse) while escorting a convict (the charismatic Mos Def) to a courthouse across New York City.<\/p>\n\n\n\n

Lacking the explosive spectacle of many of his previous works, 16 Blocks<\/em> is based more in reality than it is in movie logic. Its highly engaging tension and suspense naturally grow from its characters\u2019 behavior, ethics, and predicaments. For both Willis and Donner, the film is a thoughtful change of pace from their usual, escapist-oriented police thrillers. Though it wasn\u2019t intended to be as such, 16 Blocks <\/em>is the perfect, subtle swan song to Donner\u2019s explosive career.<\/p>\n\n\n\n

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Rutger Hauer in Ladyhawke<\/figcaption><\/figure>\n\n\n\n

8. Ladyhawke (1985)<\/strong><\/p>\n\n\n\n

This medieval fantasy\/adventure is one of the most charming and stylish entries on Richard Donner\u2019s resume. Belonging in the same category and league as other eighties fantasy classics such as Willow<\/em> and The Princess Bride, Ladyhawke <\/em>is a funny, exciting, darkly mysterious, and deeply romantic fable that holds up as strongly today as it did when it was released over thirty years ago. It\u2019s a movie that can be enjoyed and appreciated at any time by audiences of basically any age (though it might be too intense for younger viewers).<\/p>\n\n\n\n

Like most of Donner\u2019s best films, much of Ladyhawke<\/em>\u2019s appeal comes from its highly talented and effortlessly likable cast. Matthew Broderick, Michelle Pfeiffer, and Rutger Hauer all benefit from Donner\u2019s actor-friendly approach, delivering natural and grounded performances that are amongst the best of their careers. Their work adds a layer of tangible human reality to Ladyhawke<\/em>\u2019s otherwise fantastical storyline and environment.<\/p>\n\n\n\n

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Joseph Mazzello in Radio Flyer<\/figcaption><\/figure>\n\n\n\n

7. Radio Flyer (1992)<\/strong><\/p>\n\n\n\n

Like The Goonies, Radio Flyer <\/em>is a Richard Donner film that is seen through the innocent, limitless, and adventurous eyes of children. Unlike The Goonies, Radio Flyer <\/em>takes on darker themes that, unfortunately, have prevented it from ranking with Donner\u2019s more successful and classic titles. Radio Flyer <\/em>works on many different levels, and escapism isn\u2019t one of the primary ones. It is a brave and complex film that manages to take a highly disturbing topic (child abuse) and make it accessible and relatable to mass audiences.<\/p>\n\n\n\n

Radio Flyer <\/em>doesn\u2019t trivialize or soften the subject of child abuse, it simply refuses to sensationalize or rub its audience\u2019s noses in it. Richard Donner was a director of immense class and taste, and his sensibilities were what David Mickey Evans\u2019 thoughtful and emotional screenplay needed to be brought to life. Radio Flyer <\/em>tackles its disturbing subject matter with beauty and sensitivity, making it one of the most artistically rewarding films of Donner\u2019s career.<\/p>\n\n\n\n

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John Savage and David Morse in Inside Moves<\/figcaption><\/figure>\n\n\n\n

6. Inside Moves (1980)<\/strong><\/p>\n\n\n\n

With its own merits and in its own way, Inside Moves <\/em>can be viewed as Richard Donner\u2019s precursor and practice run for his Lethal Weapon <\/em>movies. Lacking that franchise\u2019s spectacle and excitement, the film is a drama that examines many difficult and adult topics, but in a typically (for a Donner film) life-affirming way. Like the first Lethal Weapon, Inside Moves <\/em>is a loving and thoughtful examination of depression, friendship, loyalty, loss, and loneliness. You\u2019re just not going to hear any explosive gunfire or lay witness to any riveting car chases in this particular film.<\/p>\n\n\n\n

Loosely plotted, structured, and paced, the film is wholly character-driven. Donner provides his exceptional cast\u2014David Morse, John Savage, Diana Scarwid, Amy Wright, Tony Burton, etc.\u2014with a plethora of moments that advance and enliven their characters without providing much consideration for the film\u2019s charmingly thin storyline. Inside Moves <\/em>is a highly touching film that is filled with a genuine and robust warmth for humanity. It contains so many of Richard Donner\u2019s most endearing and identifiable traits as a director that it\u2019s no surprise he considered the film to be one of the best, if not the absolute best, of his career.<\/p>\n\n\n\n

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Lee Remick, Harvey Spencer Stephens, and Gregory Peck in The Omen<\/figcaption><\/figure>\n\n\n\n

5. The Omen (1976)<\/strong><\/p>\n\n\n\n

If there\u2019s one title that sticks out like a sore thumb on Richard Donner\u2019s filmography, it\u2019s The Omen <\/em>(since this list is designed to celebrate him, we won\u2019t get into Timeline<\/em>). Despite its smash success, it\u2019s the only horror feature he ever directed–though he did explore the genre before it with television episodes of The Twilight Zone <\/em>and would do so afterward with episodes of Tales From the Crypt. The Omen <\/em>proves that Donner was well-suited to the genre, but his obvious affinity for more positive material likely prevented him from pursuing it any further.<\/p>\n\n\n\n

The Omen<\/em> is more plot- and atmosphere-driven than most of Donner\u2019s other films. It is tautly paced and heavily stylized with sporadic quick cuts and clever cinematography that contrast his usual, more conspicuous approach behind the camera. The film\u2019s effectively tense and horrific tone appropriately lacks his usual warmth. The Omen<\/em> stands as a reminder that Richard Donner was a director who served the needs of his film before he served himself.<\/p>\n\n\n\n

Fun facts: this is the first of three Richard Donner movies where a character falls from a high window and onto a car\u2014the other two being Inside Moves <\/em>and Lethal Weapon<\/em>. It was also his first of several collaborations with editor Stuart Baird.<\/p>\n\n\n\n

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Bill Murray in Scrooged<\/figcaption><\/figure>\n\n\n\n

4. Scrooged (1988)<\/strong><\/p>\n\n\n\n

Richard Donner\u2019s movies are often dominated by a playful and humorous tone, regardless of their primary genre. Considering this, it\u2019s almost odd that he only directed a handful of certified comedies during his long career\u2014namely this title, 1982\u2019s The Toy <\/em>starring Richard Pryor, Maverick, <\/em>and a couple of his early films from the sixties and seventies, Twinky <\/em>and Salt and Pepper<\/em>. Scrooged <\/em>is easily his most revered comedy, however, as it has become nothing short of a Christmastime classic since its release.<\/p>\n\n\n\n

Based on the Charles Dickens classic, Scrooged <\/em>is a full and wild ride that never gets old. It\u2019s funny, dark, twisted, strange, absurd, and, ultimately, so unabashedly saccharine that you can\u2019t help but be moved to tears by the film\u2019s ending. Starring Bill Murray in a now-iconic role, Scrooged <\/em>is Richard Donner at his most playful, his most gleefully demented, and his most warmly sincere.<\/p>\n\n\n\n

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Jeff Cohen, Sean Astin, Corey Feldman, and Ke Huy Quan in The Goonies<\/figcaption><\/figure>\n\n\n\n

3. The Goonies (1985)<\/strong><\/p>\n\n\n\n

Producer\/story writer Steven Spielberg, screenwriter Chris Columbus, and director Richard Donner teamed up to create this ultimate children\u2019s movie. The Goonies <\/em>will be a classic until the end of time because it so effortlessly captures the spirit and imagination of what it\u2019s like to be a child seeking adventure. The movie is a childhood fantasy–complete with pirates, criminals, romance, and monsters\u2014come to thrilling and exuberant life.<\/p>\n\n\n\n

The children in the film (Sean Astin, Jeff Cohen, Corey Feldman, and Ke Huy Quan) deliver some of the most naturalistic and believable child performances ever captured on film. Their reactions and banter are completely organic, showcasing Donner\u2019s extreme gift for getting unpredictable and lively performances from his actors\u2014even the ones who haven\u2019t reached puberty yet. Donner\u2019s childlike enthusiasm is apparent in every frame of The Goonies<\/em>, a movie that benefits from the perfect casting of its director immeasurably.<\/p>\n\n\n\n

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Christopher Reeve in Superman<\/figcaption><\/figure>\n\n\n\n

2. Superman (1978) and Superman II: The Richard Donner Cut (1980\/2006)<\/strong><\/p>\n\n\n\n

When it comes to where we are with superhero movies today, Richard Donner started it all. He was the first filmmaker to make us believe <\/em>in a superhero onscreen, both tangibly and emotionally. In Donner\u2019s Superman,<\/em> the iconic and fantastical titular character is brought down to our reality. He isn\u2019t merely a superhuman in tights, he\u2019s a living, breathing character with feelings and needs with whom audiences can identify.<\/p>\n\n\n\n

Donner\u2019s Superman <\/em>is an earnest and heartfelt film. While it has plenty of humorous moments (primarily courtesy of Margot Kidder\u2019s lovably feisty portrayal of Lois Lane), it was ahead of its time when it was released because it is a comic book movie that asks to be taken seriously. The then-groundbreaking, pre-digital visual effects were astonishing at the time, allowing for audiences to accept that a man could actually fly. Christopher Reeve’s grounded and integrity-laden portrayal of the classic DC character also adds a layer of believability and humanity to the film\u2019s otherworldly universe.<\/p>\n\n\n\n

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Christopher Reeve and Margot Kidder in Superman II: The Richard Donner Cut<\/figcaption><\/figure>\n\n\n\n

Before it was released, no one quite knew what to make of Donner\u2019s vision. Both Superman <\/em>and Superman II <\/em>were initially filmed simultaneously in the late-seventies with Donner at the helm. Due to budgetary concerns and Donner\u2019s disagreements with producers Ilya and Alexander Salkind, filming was halted on the sequel so the first installment could be given top priority. When production eventually resumed on Superman II<\/em>, Donner was replaced by Richard Lester, who received sole directing credit on its 1980 release (even though Donner had directed large chunks of it).<\/p>\n\n\n\n

In the mid-2000s, Donner was finally allowed to realize his vision of the sequel, <\/em>and audiences were treated to the home video release of Superman II: The Richard Donner Cut. <\/em>Superior to the theatrical release, Donner\u2019s cut of Superman II <\/em>is the perfect continuation of what he began with the first film. It is a sincerely moving, funny, and awe-inspiring (despite some clunky digital effects that were used to complete it) piece of filmmaking that stands right beside its predecessor in both quality and impact. Now that we\u2019ve lost him, it\u2019s more important than ever to pay respect to Donner\u2019s vision and see what he intended to do with his first cinematic franchise.<\/p>\n\n\n\n

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Danny Glover and Mel Gibson in Lethal Weapon<\/figcaption><\/figure>\n\n\n\n

1. Lethal Weapon (1987)<\/strong><\/p>\n\n\n\n

There are many reasons to love Richard Donner\u2019s Lethal Weapon, <\/em>even now that it\u2019s over thirty years old. It was the beginning of one of the most beloved action franchises of the eighties and nineties, and it still holds up today as being one of the most thrilling, funny, and surprisingly heartwarming movies of its kind. They just don\u2019t make them like Lethal Weapon<\/em> anymore, and the movie stands as a testament to Donner\u2019s irreplaceable talent behind the camera.<\/p>\n\n\n\n

Shane Black\u2019s screenplay (which sold for a record-setting amount) gave us the classic buddy cop pairing of Martin Riggs and Roger Murtaugh. The characters are iconically portrayed by Mel Gibson and Danny Glover, whose irreplaceable onscreen chemistry is so high-spirited and effortless that it\u2019s almost magical to watch. This was the first of six feature collaborations between Gibson and Donner, and it\u2019s clear that Gibson was at his freest and most vulnerable when working with the director.<\/p>\n\n\n\n

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Danny Glover and Mel Gibson in Lethal Weapon 4<\/figcaption><\/figure>\n\n\n\n

Donner was the ideal choice to capture the delicate balance of humor, action, and drama in Black\u2019s screenplay. Riggs is a fundamentally damaged character who is brought back to life by his new friendship with Murtaugh. The heart and the soul of the movie (and the entire franchise) lie in the endearing friendship between the two men. Without their characters being as fully developed and explored as they are, all the chases, shoot-outs, and witty banter would be meaningless. The spectacle and entertainment value of the film is an extension of Riggs\u2019 and Murtaugh\u2019s love for one another, and Donner\u2019s clear understanding of that is what makes Lethal Weapon <\/em>the classic it is today.<\/p>\n\n\n\n

Lethal Weapon <\/em>is followed by three sequels, which get sillier and more outlandish with each new entry. While they are all wonderfully entertaining pieces of escapism, they lack the depth and expert tonal juggling that make the first film as great as it is. Donner was reportedly working on a fifth and final Lethal Weapon <\/em>at the time of his passing, and it\u2019s a tragedy that audiences won\u2019t get to see his complete vision of the series. Though the sequels aren\u2019t quite as special as the original, they are still important pieces of Richard Donner\u2019s filmography that feature some of his most prominent qualities as a filmmaker. Just one more of them would have been nothing short of a joy for fans of the series and the monumentally talented director behind it.<\/p>\n","protected":false},"excerpt":{"rendered":"

Richard Donner was a film director who explored many different genres. Comedy, drama, action, Western, horror, fantasy, superhero, family\u2026 you name it, and he did it masterfully. What he lent to each genre he worked within is insurmountable, as he pretty much left behind a classic in each one. His recent passing on July 5, […]<\/p>\n","protected":false},"author":2,"featured_media":2443,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[9],"tags":[],"class_list":["post-2437","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-columns"],"_links":{"self":[{"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/posts\/2437","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/comments?post=2437"}],"version-history":[{"count":10,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/posts\/2437\/revisions"}],"predecessor-version":[{"id":2461,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/posts\/2437\/revisions\/2461"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/media\/2443"}],"wp:attachment":[{"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/media?parent=2437"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/categories?post=2437"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/tags?post=2437"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}