Wow! What a brave bare knuckle review-- not only of a movie but also of Hollywood and American cinema. It disects the current fixation on repetitions, safe scripts produced by huge corporations that have more interest in other products that make them more money. And audiences seem to lack a thirst for discerning art if they are fed faux CGI excitement that takes them away from themselves for 90 or so minutes. Essayists today repeat dystopia themes with observations about people experiencing loneliness, enui and general border. I suppose this is a ripe field for unimaginative there repetitions. How many films diverge from set themes such as revenge ( for the murder of a family membemember), finding or rescuing someone close to the hero; being disappointed or betrayed in love and trust-- all packaged with impossible car chases, exotic weapons, blazing fires and great big explosions? Plots are scant and many times dialogue is improvised. Of course, dialogue is even less rich when cars and trucks become sentient or interplanetary space travel blasts off into Warp Speed.
Kerstin has done more than review a film. He has used it as a device to explore corporate box office tryranny that is afraid to back creative stories. He extends this as metaphor for slack audience desire, critical cowardness and the sniffling of challenge by the unfamiliar. The result is mendacity and the loss of creative art except for some modest scale production and auteurs brave enough to risk their own money and careers. If anyone can turn the dynamics around, it might be tech billionaires who could finance ambitious projects. The egos of these Master's of The Universe, might, however fail to give creative types to make films that jeopardize their self-esteem or the cash cows that have made them so tremendously rich.
This is a really good, brave and inciteful review. It's definately thought-provoking.
Wow! What a brave bare knuckle review-- not only of a movie but also of Hollywood and American cinema. It disects the current fixation on repetitions, safe scripts produced by huge corporations that have more interest in other products that make them more money. And audiences seem to lack a thirst for discerning art if they are fed faux CGI excitement that takes them away from themselves for 90 or so minutes. Essayists today repeat dystopia themes with observations about people experiencing loneliness, enui and general border. I suppose this is a ripe field for unimaginative there repetitions. How many films diverge from set themes such as revenge ( for the murder of a family membemember), finding or rescuing someone close to the hero; being disappointed or betrayed in love and trust-- all packaged with impossible car chases, exotic weapons, blazing fires and great big explosions? Plots are scant and many times dialogue is improvised. Of course, dialogue is even less rich when cars and trucks become sentient or interplanetary space travel blasts off into Warp Speed.
Kerstin has done more than review a film. He has used it as a device to explore corporate box office tryranny that is afraid to back creative stories. He extends this as metaphor for slack audience desire, critical cowardness and the sniffling of challenge by the unfamiliar. The result is mendacity and the loss of creative art except for some modest scale production and auteurs brave enough to risk their own money and careers. If anyone can turn the dynamics around, it might be tech billionaires who could finance ambitious projects. The egos of these Master's of The Universe, might, however fail to give creative types to make films that jeopardize their self-esteem or the cash cows that have made them so tremendously rich.
This is a really good, brave and inciteful review. It's definately thought-provoking.