10 Best George Roy Hill Movies, Ranked

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Luc Haasbroek is a writer and videographer from Durban, South Africa. A lifelong movie nerd, he's written for sites like Paste and Briefly. Luc has also worked behind the camera on short films and other projects. When not writing or watching LOTR marathons, Luc hangs out with his cats and generally forgets where he's left his keys.

George Roy Hill was a filmmaker active in the 1960s and '80s. He started as an actor off-Broadway before directing theater, TV, and, eventually, features. His work spans a range of genres: rom-coms, musical spoofs, crime capers, epic dramas, sports films, sci-fi, black comedies, and revisionist Westerns. A history buff, Hill's films tend to be nostalgic and are mostly set in the past. "I like to be able to sit back and pick out the most fascinating facets of an era.

Funny Farm is a simple fish-out-water story with a mediocre script but many hilarious moments from Chase. Hill handles the bizarre situations with a light touch, turning moments that could have been goofy and crude into comedic gems. As a result, the movie is a little more restrained and subtle than most of Chase's '80s output, in a good way. Although not successful on release, Funny Farm now has something of a cult following, and its defenders include Roger Ebert and Gene Siskel.

Hawaii is a grand costume drama with terrific production design and ambitious, sweeping cinematography. Hill's direction is confident, and the lead performances are compelling. However, the story sometimes veers into melodrama and is a little dated by modern standards; for instance, it could have focused more on the perspectives of the Hawaiian characters.

Thoroughly Modern Millie is a madcap musical that makes a few false steps narrative-wise but compensates with infectious tunes and whimsical performances. Julie Andrews plays Millie with wit and mischief, preventing the character from becoming a mere caricature; she's key in maintaining the movie's lighthearted tone. Plus, her singing is as fantastic as one would expect.

Like The Bad News Bears, Slap Shot is a satire of American competitiveness. Both films are simultaneously sweet and sour in their portrayal of sports culture, but Slap Shot stands alone with its fantastically vulgar dialogue. Nancy Dowd's profane screenplay verges on poetry, and Newman practically sings his cuss-laden lines. Editor Dede Allen also deserves praise for maintaining coherence amidst the chaos of the hockey matches.

 

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