While the messaging is on the heavy-handed side, those who agree with Blomkamp’s statements are going to eat up his commentary on class warfare and our collective descent into a dehumanized society by the bucket loads, the filmmaker constructing arguably the most anti one-percent motion picture financed by a major Hollywood studio in recent memory.
They keep things intimate, personal and close to the vest, events revolving around Logan’s battles with his inner demons above all else. The Wolverine isn’t interested in the big or the audacious, instead choosing to turn inward whenever it can, in essence making it one of the more anachronistic Marvel superhero epics to grace the multiplex up to now.
I didn’t dislike Man of Steel, not at all, but I just as readily didn’t enjoy it nearly as much as I wanted to, either. Nothing about this latest Superman iteration captivated me, none of it connected on an emotional level, and while the action theatrics fly considerably higher than any previous adaptation the shortcomings found in the human department frustratingly kept the project as a whole from soaring.
Say what you will about either movement but the heart and soul of Occupy Wall Street and the Tea Party did bring about conversations about wealth disparity and cultural (and corporate) privilege in this country, those ideas taken to a grotesquely unsettling extreme in the world imagined by DeMonaco.
Without a doubt, this big budget high-concept science fiction spectacle is Summer 2013’s first unmitigated disaster, and seeing how anyone involved creatively could walk away from this calamity unscathed is way beyond me.
Unlike a lot of summer monstrosities that label themselves as being nothing more than “dumb fun” but forget to treat the audience with respect, Fast & Furious 6 remembers that people who do in fact watch this might actually have brain. While the movie itself is pretty stupid, it doesn’t treat viewers as being so themselves, understanding and respecting the audience in a way big budget enterprises of similar ilk rarely do.
It’s great, filled with superb set pieces and moments, not the least of which is a dynamic attack on the Stark mansion that had the majority of the preview audience sitting on the edge of their seats holding their breath, and I can’t say I was ever bored by anything that was going on. At the same time, there is an almost television-like efficiency that can grow stale, nothing ever popping out or calling attention to itself in a way I could ever say was entirely memorable.
It’s hard for me to say that Oblivion didn’t keep me entertained, and even though after it was over I wanted to pick all 126 minutes to pieces, while I was sitting in the theatre I was more than content to soak in the visuals and not worry about anything else.
My feelings towards Olympus Has Fallenaren’t exactly euphoric, and my reaction to the overall motion picture itself isn’t anywhere near positive. At the same time, for a schlock Die Hard variation (i.e. knockoff) Fuqua’s film isn’t anything close to a disaster, it’s too competently acted and directed for that to be the case. At the same, it’s also not anything even slightly special, making watching it more of thing to do when there’s nothing else to do than a necessity worthy of rushing out to the multiplex to experience.