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Indeed, a certain depth in work is arguably missing for some of the directors honorably mentioned above. And perhaps there is no better example of that than Orson Welles, who did not, in my view, compile a long-enough list of work to make me want to desperately honor him. This statement is perhaps controversial, as Wells’ stature is undeniable.

Another runner-up I must mention is Tim Burton, someone whose craft I admire and adore in ways that are hard to describe. His movies are so stylistic (too much for many) that they are all obviously the work of the same individual, while being so unique in style, narrative methods, and even color as to always provide a new, fulfilling experience. I appreciate the craft of moviemaking more than most, and I like to think of myself as someone who is not as focused on the “story” of the movie as the more typical critic. For that reason, Tim Burton’s movies have always earned my respect.

And undoubtedly placing sixth on the list (mostly because I spoiled it by mentioning them at the opening of the article) are Fincher and Nolan. They are arguably better than the director I placed in the fifth spot, but I resisted the urge for now to avoid listing them out of the favorable bias I have for the movies they have released this year.

This preface being its by-now-usual length, I’ll now turn to the impossibly narcissistic task of listing the five Best Directors of all time (who haven’t won an Oscar, etc.).

5. Darren Aronofsky

I have seen all six of Aronofsky’s directorial feature films and only the last, Noah, is a truly weak link. Meanwhile, from his very first feature, Pi, Aronofsky has wowed audiences and critics alike with his unique surrealistic style, his unabashedly dark views of humanity, and his impressive use of haunting and jarring soundtracks to evoke suspense and create tension. Nor are many Oscar-less directors as adept at bringing out fantastic performances from his cast - with nominations or wins for Natalie Portman in Black Swan, Mickey Rourke in The Wrestler, and Ellen Burstyn in Requiem for a Dream.

But Aronofsky’s true genius lies in the fact that every one of his pieces says something - both subtle and explicit - about the human condition and the dark desires that drive us. Obsession, alcoholism, other forms of addiction, compulsiveness, and paranoia all pepper his work in disturbing yet realistic ways. His point of view is too compelling and brutal in its honesty to be able to turn away. Aronofsky is in touch with the dark side of human nature in ways that few working today except perhaps Scorsese are capable of achieving. Indeed, it should be no surprise that Aronofsky cites Roman Polanski as one of the biggest cinematic influences on his work, given that director’s dark vision and style with respect to human nature.

Other than Noah, The Fountain is perhaps Aronofsky’s least impressive movie, the science fiction genre clearly not being his forte. But the effort is no less admirable in that in reaching for new areas of versatility, Aronofsky at the very least told a touching story about grief and loss that is only mildly weakened by some of the thematic/artistic distractions. In the end, of course, movies like Pi and Requiem for a Dream earn him a spot among masters, and he only has a single Best Director nomination to show for all of it (for directing Black Swan).

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