Hayter takes a different
cinematographic approach — speed ramping, dizzying superimpositions, hyperactive step - by - step montages, hyper - stylized lighting — to every stage in this rush of exposition without ever sacrificing a clear sense of cause and effect, and the result suggests some unholy hybrid of the aesthetic and
genre indulgences of Michael Bay and the hyper - literalist plot construction of Christopher Nolan.
How can we read these different artistic approaches against the backdrop of current
genre - crossovers, commercial orders and the
cinematographic tradition itself?