One-hit wonder: 7 times directors got lucky
One-hit wonders don’t just exist in the music industry; filmmakers can also suffer from the pressure of making one brilliant film, only to fail to meet the later expectations it brings. Sometimes directors can deliver thoughtful visuals, story exposition and emotional engagement but cannot replicate these elements in later releases.
With that, a director who made a name for themself with poorly received features can defy expectations in plucking an enjoyable movie seemingly out of thin air. However, they may not follow this success and quality in later releases. Instead, this one shining anonymously in their disappointing filmography keeps their name afloat.
A filmmaker’s one hit can be strong enough to stand on its own in film culture without being tied down to the majority-weak director, such as gaining cult classic status or influence over following projects. This scenario can reach the point of cinema fans being unable to name the director or being surprised to learn they were lucky with this singular release.
This one-hit-wonder curse has infiltrated the careers of many directors, from low-budget indie filmmakers to expensive blockbusters. Here are seven directors who fluked it with some unexpectedly good movies.
Seven times directors got lucky:
Speed (Jan De Bont, 1994)
This typical 1990s action thrill ride stars Keanu Reeves and Sandra Bullock, who end up on a bus with a bomb strapped to it. The vehicle must stay above a certain pace, or the bomb will detonate, and take everybody down with it.
Released in 1994, Jan De Bont’s directorial debut Speed was a commercial and audience hit, becoming the fifth highest-grossing film of its year. However, De Bont couldn’t replicate this entertaining, action-packed movie and its reception, with his following Twister receiving criticism for a weak screenplay.
Donnie Darko (Richard Kelly, 2001)
A struggling teenager dodges death thanks to his trouble with sleepwalking. After this bizarre incident, he suffers from visions of Frank, who is inexplicably in a rabbit costume, and reveals the world only has 28 days remaining.
Richard Kelly’s Donnie Darko is an influential and prized gem in the dark psychological thriller realm. It is cited as one of the greatest independent films ever made and is adored by its cult following. The project also achieved praise for its dark, immersive and complicated execution, which Kelly failed to garner in later releases, which have all gone under the radar with minimal recognition.
American History X (Tony Kaye, 1998)
This hard-hitting but essential analysis of racism in America stars Edward Norton and Edward Furlong as two brothers who become groomed by a white supremacist gang. Once the older brother, Norton, sheds his bigotry following a prison sentence, he must give all he can to protect his young brother from the Neo-Nazis who know bay for his blood after leaving.
Tony Kaye’s direction created an unsettling but authentic watch, shedding insight into both sides of the racial tensions in the Western world and the prison system, making for a fantastic directorial debut. However, Kaye’s other projects haven’t met the mark American History X set, primarily due to a losing battle against studios for creative control. The director has since disowned his most acclaimed project, stating: ”Well, it’s good enough to fool Hollywood. It’s good enough to fool New Line. And it’s certainly fooling Edward Norton. But it doesn’t fool me. My standards are a lot higher.”
Transformers (Michael Bay, 2007)
Based on the classic ’80s toy line, Transformers follows a teenager, played by Shio LaBeouf, who finds himself in the middle of a war between heroic Autobots and the evil deceptions, who can transform themselves as vehicles.
The first instalment in Michael Bay’s franchise offers brilliant cinematography, thrilling action sequences and a compelling soundtrack. However, later additions were weak regarding script exposition and performances. Bay has also failed to be taken seriously as a director, offering high-budget spectacles that lack anything below the surface that can challenge audiences.
The Disaster Artist (James Franco, 2017)
This reimagining of the story of the notoriously awful film The Room stars director James Franco as Tommy Wiseau, looking to get his latest project off the ground despite the countless obstacles and signs he shouldn’t.
It’s ironic that a film about one of the worst films in history went on to be a major success due to its brilliant execution and comedic timing. However, it’s also ironic that this one contribution to the director’s filmography stands out just as much as Wiseau’s The Room does against his other works, mainly because it’s his only more than decent one.
Disturbia (D.J Caruso, 2007)
D.J Caruso’s teen thriller follows a teenager placed on house arrest who spies on his neighbours to pass the time. In true Rear Windows fashion, he discovers from this that there’s a serial killer on the loose.
Caruso directed this feature at the request of acclaimed American filmmaker Steven Spielberg, orchestrating an intense watch littered with terrific performances and thrilling scares. However, his later action film XXX: Return of Xander Cage and the horror film The Disappointments Room are hard misses.
The Deer Hunter (Michael Cimino, 1978)
Robert De Niro, Christopher Walken, and John Savage play three soldiers kidnapped during the Vietnam war. Once they escape, they are forced into separation, bringing detrimental consequences.
Michael Cimino directs a dark, depressing and emotionally distressing classic, presenting the hard-hitting reality of war under some brilliant execution. However, he is also responsible for the colossal box office bomb Heaven’s Gate.
