Like many modern directors, F. Gary Gray cut his teeth on music videos (mostly rap artists) before breaking-out as a feature filmmaker. His sleeper hit, Friday, has spawned two sequels with a third reportedly on the way. That first film was a likable-enough stoner comedy, but Gray proved to be far more suited for the action genre. Set it Off, while flawed, was an unexpectedly moving heist drama. The Negotiator, however, was a taught, tension-filled film which displayed Grays knack for amping-up the action while still keeping the primary focus on its characters. He would accomplish the same feat with films like The Italian Job and the underrated Law Abiding Citizen. Grays strength lies in effectively establishing the personalities and flaws of every important character (even in such a supposed misfire as Be Cool, the unjustly-maligned sequel to Get Shorty). In Grays films, we are always able to sympathize, or at least empathize, with both the protagonists and antagonists. Most of Grays films have been successful, but hes seldom given due credit for them. He may not ever make a classic, but any producer ponying up tens of millions for an action film should feel confident with Gray in the directors chair. Perhaps this makes him the Peter Hyams of the new millennium. Of course, this is just the tip of the iceberg. What directors can you think of whove never been given due-credit they deserve for their body of work or classic one-shots?
D.M. Anderson works and lives in Portland Oregon. He is the author of two young adult novels (Killer Cows & Shaken) and a collection of dark tales (With the Wicked). He has also published several short stories which have appeared (or will appear) in various anthologies and magazines such as 69 Flavors of Paranoia, Night Terrors, Trembles, Encounters, Implosion, Strange Fucking Stories, Perpetual Motion Machine. He documents his adventures in the dark on on his movie site, Free Kittens Movie Guide
