JAWS (1975). I've been trying to formulate accurately this filmmaking approach I call "kinetic classicism." Basically, it's when a director moves the camera freely, but tends to begin and end their shots with classically-composed frames. 1970s Spielberg is the epitome to me. 
Other examples would be Peter Bogdanovich's PAPER MOON, where individual frames look like they're lifted directly from a John Ford film, but the camera glides and pivots with a post-French New Wave freedom. Bong Joon-ho's MEMORIES OF MURDER also comes to mind.
There's a great EVERY FRAME A PAINTING that I watch and re-watch, about how Spielberg has mastered the 1 to 3 minute continuous shot, subtly repositioning the camera and the actors' blocking to piece together dynamic, largely invisible master shots:
I also really noticed how incredible Spielberg's framing can be when Soderbergh posted a black and white silent version of RAIDERS OF THE LOST ARK where you appreciate how perfectly-framed, lit, and staged the film is, beyond its great popcorn pleasures: extension765.com/soderblogh/18-…
Here's a nice bit from JAWS, where the entire scene is one continuous take. But it never, ever drags. First of all, three great actors are given great material. But also check out how their blocking shifts depending on who feels they have the leverage:
Instead of cutting into individual coverage and jumping from angle to angle, Spielberg has the trio walk into frame, then the individual players will turn away and re-enter the frame from different angles. It feels organic & naturalistic, but the energy escalates...
But I think Spielberg's quiet genius is to then track the trio as they walk at the end of their conversation and to have a defaced billboard (established earlier) enter that frame as a fourth character, or a smartass Greek chorus, commenting on the conversation we just saw.
Another good video essay is this one on the Spielberg face, the dolly-in close-up that's become his signature: vimeo.com/199572277
