100 Greatest Directors Quiz (3)

[A] F. W. Murnau | German Expressionist pioneer who painted shadows into nightmares; Nosferatu and Sunrise forged the language of cinematic dread and lyricism.

[C] Sydney Pollack | Elegant chronicler of moral mazes and romantic longing; Out of Africa and Tootsie balance sweep with intimacy.

[B] David Cronenberg | “Baron of Blood” who turns flesh into technology; The Fly and Videodrome fuse body horror with cerebral chill.

[D] Luis Buñuel | Surrealist provocateur slicing bourgeois pretense; Un Chien Andalou and The Discreet Charm of the Bourgeoisie still shock and satirize.

[C] Roman Polanski | Master of paranoid claustrophobia; Rosemary’s Baby and Chinatown trap viewers in elegant, tightening cages.

[C] Terrence Malick | Poet of whispered voice-overs and golden-hour reverie; Badlands and The Tree of Life chase transcendence in wheat fields.

[B] Harold Ramis | Architect of smart-aleck comedy and time-loop philosophy; Groundhog Day and Ghostbusters mix laughs with cosmic questions.

[D] Ang Lee | Cultural chameleon bending genres and emotions; Brokeback Mountain and Crouching Tiger, Hidden Dragon glide between restraint and release.

[A] Danny Boyle | Hyperkinetic Brit who turns rave energy into cinema; Trainspotting and Slumdog Millionaire sprint on neon and hope.

[A] Jean Renoir | Humanist maestro of class and chaos; Grand Illusion and The Rules of the Game remain timeless studies of society’s dance.

[C] Steven Soderbergh | Restless experimenter juggling heists, viruses, and Ocean’s swagger; Traffic and Erin Brockovich show brains and bravado.

[B] Mel Gibson | Brutal, operatic storyteller of martyrs and warriors; Braveheart and Apocalypto revel in blood and redemption.

[B] Frank Darabont | Prison-yard bard of hope behind bars; The Shawshank Redemption and The Green Mile wring tears with gentle giants.

[C] Victor Fleming | Studio-era craftsman who gave us both ruby slippers and burning Atlanta; The Wizard of Oz and Gone with the Wind.

[D] Darren Aronofsky | Ecstatic tragedian of obsession spirals; Requiem for a Dream and Black Swan pulse toward beautiful breakdowns.

[A] Kathryn Bigelow | Combat-zone virtuoso of kinetic tension; The Hurt Locker and Zero Dark Thirty put viewers in the crosshairs.

[C] Bernardo Bertolucci | Sensual historian of power and desire; Last Tango in Paris and The Last Emperor paint politics on silk sheets.

[D] John Sturges | Ringmaster of men-on-a-mission bravado; The Great Escape and The Magnificent Seven swagger with brass and sweat.

[A] Peter Weir | Explorer of obsession and awakening; Dead Poets Society and Master and Commander chart both classrooms and oceans.

[C] Sam Peckinpah | Poet of slow-motion carnage; The Wild Bunch and Straw Dogs turn violence into elegy.

[A] Cecil B. DeMille | Epic showman of biblical thunder and chariot races; The Ten Commandments and Cleopatra invented spectacle.

[D] Sergei Eisenstein | Father of montage who cut images like weapons; Battleship Potemkin and Alexander Nevsky still charge the barricades.

[B] Richard Donner | Adventure craftsman who let Superman fly and Goonies treasure-hunt; big heart, bigger set pieces.

[C] Rob Reiner | Feel-good raconteur of coming-of-age and courtroom fireworks; Stand By Me and A Few Good Men.

[A] Spike Lee | Brooklyn street prophet with a camera in one hand and a bullhorn in the other; Do the Right Thing and Malcolm X.

[D] Otto Preminger | Defiant taboo-breaker who stretched censorship to the breaking point; Anatomy of a Murder and Laura.

[A] James L. Brooks | Sitcom king turned bittersweet dramatist; Terms of Endearment and Broadcast News marry laughs and tears.

[D] George A. Romero | Godfather of the modern zombie; Night of the Living Dead turned flesh-eaters into social commentary.

[A] Yasujirō Ozu | Master of tatami-mat minimalism and quiet generational grief; Tokyo Story and Late Spring bow with stillness.

[D] Ida Lupino | Trailblazer who carved noir and social-issue dramas behind the camera; The Hitch-Hiker and Outrage.

[B] Kenneth Branagh | Bard of Shakespeare on screen; Henry V and Belfast fuse verse and modern heart.

[A] Mike Nichols | Wry observer of sexual politics and societal masks; The Graduate and Who’s Afraid of Virginia Woolf?

[C] Edgar Wright | Rhythm-section editor of genre mash-ups; Shaun of the Dead and Baby Driver cut to the beat.

[D] Norman Jewison | Humanist ringmaster of race, justice and song; In the Heat of the Night and Fiddler on the Roof.

[A] Penny Marshall | Big-hearted chronicler of underdog dreams; Big and A League of Their Own.

[C] Michelangelo Antonioni | Architect of modern alienation; L’Avventura and Blow-Up turn empty spaces into loud questions.

[B] George Roy Hill | Swashbuckling nostalgist who paired Newman and Redford; Butch Cassidy and the Sundance Kid and The Sting.

[D] Don Siegel | Lean chronicler of urban grit and reluctant anti-heroes; Dirty Harry and Invasion of the Body Snatchers.

[A] Laurence Olivier | Stage titan who brought Shakespeare to the screen; Henry V and Hamlet radiate theatrical thunder.

[C] John Landis | Comedy anarchist of werewolves and road trips; Animal House and An American Werewolf in London.