Marvel has been able to avoid franchise fatigue — with the exception of a couple of hiccups, like whatever the hell Thor: The Dark World was — by incorporating
more auteurist visions to its films in recent years.
Not exact matches
By now, the
auteurists have become the establishment, to be challenged by newer,
more contentious critics.
And it seems to me that there's nothing a baby - boomer
auteurist hates
more than a technically skilled apolitical genre filmmaker.
Argento's work in the States brings out his
more gothic sensibilities (for him, Poe was our founding father) and Jenifer's
auteurist stamp is most visibly felt in its frills and flourishes: the Claudio Simonetti score (part Goblin lullaby, part Bernard Hermann melodramatic ambience), the scary cat, and the lonely overhead from a second - floor window.
From Joseph Kosinski's Oblivion, a derivative film about derivatives, to the
more or less solid
auteurist permutations of the Mission: Impossible franchise, the results have varied, but Cruise's reputation as the sort of star who can get moderately interesting pulp bankrolled and realized by moderately interesting talents has deservedly persisted.
But the post — Dirty Dozen era also brought Marvin into a series of
more memorable antagonisms, duked out in richly drawn
auteurist microcosms.
It might be argued that this strategy is
more attributable to Kubee Glasmon and John Bright's script than to Wellman's direction — a typical oversight in the
auteurist 60s, even from an alleged antiauteurist.
It's a noble effort — and one worth a look for the super serious film buffs, as outsize
auteurist projects of this scale are, indeed, rare events — but something is amiss when I come away with
more to chew on about what guided the filmmaker's technique than what drove the title subject.