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.
Not exact matches
The way a
movie like this often goes is that the audience is invited to revel in the
spectacle of sexual violence and also in the violent punishment that follows.
In a sense, a
movie like «Thor: Ragnarok» represents the apex
of Marvel's strategy — a giant
spectacle that in many respects plays
like a comic book come to life, while being liberated enough to experiment with light - hearted quirks and idiosyncrasies.
Once the Furious
movies slipped the realism leash, they went from being pulpy B
movies to something
like blockbuster superstores — a one - stop - shopping center where you can sample Mission: Impossible - style assignments, MMA bouts (see Furious 7's Michelle Rodriguez and Ronda Rousey's formalwear tussle for a combo
of both), A-list action heroes, gunfights, analog stunts, CGI
spectacle, capeless superhero
movies and a bit
of broad comedy on the side.
Once upon a time, noted the doom - mongers, before the
likes of it got squeezed by low - cost, high profit fare
like horror
movies and mega-budget, T.V trumping
spectacle,
like your average $ 200m blockbuster, a film
like Annihilation — mannered and mysterious — that 30 years ago might have shared a double bill with John Carpenter's Starman, would have done very well.
This is a so - so idea for a
movie,
like Moses» tale in «Exodus» without the
spectacle, that is only elevated into something more due to the professionalism
of all involved.
But while an arms race for
spectacle has engorged Hollywood action pictures to often grotesque proportions, «little»
movies like this one become almost their own kind
of unintentional criticism.
And it's weird to think
of a $ 200 million sci - fi
spectacle like «Edge
of Tomorrow» flying below the radar, but with all the hype and hoopla about this summer's superhero
movies and animated sequels, that's exactly what's happened.
It struck me almost as an attempt to achieve, in book form, the sweep, propulsion and visual
spectacle of a
movie —
like a mad mixture
of Holly Golightly, Bond, and Private Ryan.