The point of a disaster movie is to have exactly the same script as every other disaster movie.
Not exact matches
Yet it's beside the
point: The achievement, at any age, is not simply to make a
movie, which - as «The
Disaster Artist» proved — is mostly a function
of funding and persistence.
I still have at this
point only heard bits
of the real Wiseau speaking, and that's during the end credits
of the
movie, when they show the side - by - side scenes
of the original film and The
Disaster Artist's version.
An old - fashioned
disaster movie, this film describes the all - too - plausible calamity
of a collapsing fjord creating an all - destroying tsunami (which actually has happened several times in the past and will surely happen again at some
point).
Even though director Jean Pellerin milks as much suspense out
of the script and characters as possible, anyone who remembers those cheesy ABC
Movie of the Week
disaster movies from the early seventies and «Daylight» with Sylvester Stallone will recognize every plot
point.
Even the above - average cast — with Paul Giamatti livening things up as the requisite concerned - scientist / exposition - delivery - machine — can't seem to make it work as anything more than a series
of reasons to get from
point A to
point B. Which should be fine, given that it's how
disaster movies generally play, but Peyton can't sustain suspense past the first earthquake scene, set at Hoover Dam.
The original «Poseidon Adventure» may have preceded it, but make no mistake: no matter where it places on this list, «Inferno» is still used as a
point of reference for how to make a great
disaster movie.