In its uniquely closeted, cornered off, undemonstrative and aloof way, this brilliant albeit maddening film manages to jettison subtext in favour
of cinematic spectacle.
Among those appearing are lead voice cast members Tom Hanks (goateed) and Tim Allen, acclaimed animation directors Brad Bird and Hayao Miyazaki (who delivers only a brief subtitled anecdote), helmers
of cinematic spectacle George Lucas and a surprisingly svelte Peter Jackson, Disney's go - to film historians Leonard Maltin and John Canemaker, and Roy E. Disney (who gets to sprinkle in the sage observation that the film excels because of story, not CGI - a philosophy Pixar seems to be pushing here).
That Goold never does anything outrageous, like drastically alter facts in order to derive a denouement more befitting
of cinematic spectacle is a strength.
Not exact matches
King Kong is a lightweight compared to the trio
of mutant creatures who climb atop Chicago's famed Willis Tower in Rampage, a
cinematic adaptation
of the classic arcade game that emphasizes big - budget
spectacle over narrative substance.
There's something about the
spectacle of movies like «King Kong» and «Godzilla» that's singularly
cinematic — it's not something that other forms like theatre, TV, or fiction can do in quite the same way.
They use the medium to their advantage, staging their numbers with and for the camera; through framing, camera movement, editing, choreography, or production design, they craft rousing, sometimes resonant
cinematic spectacle out
of their theatrical raw material.
At the same time, Civil War is arguably a better Marvel
Cinematic Universe crossover «event» than either
of the first two Avengers films, when it comes to delivering balanced amounts
of standalone plot development, universe - building, and superhero - based
spectacle.
I was expecting to like Avengers: Infinity War as directors Anthony and Joe Russo delivered two
of the best previous films in the Marvel
Cinematic Universe franchise, but I was not anticipating just how strong the storytelling and
spectacle would be.
Overflowing with surreal, dazzling surprises, this intoxicating
cinematic spectacle is a delirious excursion into the dark heart
of fairy tales from the visionary director
of Gomorrah.
In both instances, there is some sadness, in the
spectacle of once hopeful actors realizing they have made a
cinematic punch line.
Twenty years on, «Jurassic Park» remains one
of the great
cinematic thrill rides, a masterful piece
of genre - hopping pop
spectacle.
Lincoln mostly feels like one
of Spielberg's straight - faced historical films with a couple
of key moments reminding audiences just how good Spielberg is at coaxing an emotional response from the audience with
cinematic spectacle.
Even the most enchanting
cinematic fantasies
of recent years tend to have some noticeable drawbacks, whether it's in overstuffed plots, overreliance on
spectacle, or just general bloat.
That strategy will probably pay off this weekend, as movie - goers starved for a good, edge -
of - your - seat summertime
spectacle flock to «10,000 B.C.» amid the annual springtime
cinematic doldrums.
The latest installment in the «Planet
of the Apes» franchise (arguably the best series in
cinematic history), «War for the Planet
of the Apes» is concerned less with
spectacle than it is with delving into how one defines humanity and what are the right paths to take in order to claim rightful equality.
«Chasing Ice»: Science,
spectacle and human passion mix in this stunningly
cinematic portrait as National Geographic photographer James Balog captures time - lapse photography
of glaciers over several years, providing tangible visual evidence
of climate change.
Zemeckis is not always the subtlest
of filmmakers — his beats are often heavy — but he believes in
cinematic spectacle, and this new film delivers the goods... on that end.
It is a massive
spectacle full
of fun character moments, impressive action sequences and a real sense
of stakes that serves as a great beginning
of the end
of the Marvel
Cinematic Universe as audiences have come to know it.
The characters maintain their own agency within their
cinematic circumstances, and Prager — fascinated with the notion
of identity and the performative aspects
of public life — creates a universe where the true
spectacle is the crowd that gathers.
The show features artists working in different regions and from within different contexts, all sharing a particular focus on personal and distributed media, the
cinematic, and the contemporary culture
of spectacle.