With every subsequent movie, it becomes increasingly clear that Cameron Crowe is only interested in one thing: Finding the least hospitable environment for a romantic comedy, and forcing it to accommodate one. The Seattle grunge scene. The wild world of sports agents. A private zoo. Kentucky. The afterlife. (Though, in the spirit of full disclosure, it’s only fair to mention that Vanilla Sky makes a half-hearted attempt to subvert the genre’s most familiar tropes.) The guy is like a cross…
At one point in San Andreas, in which the largest earthquake in recorded history slices and shakes its way through California, Dwayne "The Rock" Johnson parachutes into the middle of a San Francisco baseball stadium with his estranged wife, Emma (Carla Gugino), clinging to his bulging midsection. “It’s been a while since we’ve been to second base” he tells her as they land safely on the field, sharing a chuckle after an afternoon spent watching several thousand people be swallowed into the earth. The disaster movie is back!
The fourth installment of George Miller’s rambunctious postapocalyptic saga arrives in theaters like a tornado tearing through a tea party. In an age of weightless spectacles that studios whittle down from visions to products, here’s a movie that feels like it was made by kidnapping $150 million of Warner Bros.’ money, absconding with it to the Namibian desert, and sending footage back to Hollywood like the amputated body parts of a ransomed hostage.
GODZILLA is the TRUTH.
one of the most satisfying, well-paced & beautifully directed blockbusters since Jurassic Park. a genuine spectacle of humility. Many complaining that the film abandons interest in its characters, but the perils of human egocentrism in the face of global crisis = the entire point. genuinely registers as the first post-human blockbuster. i almost feel like people have been conditioned to the explosive banality of contemporary tentpoles... but if any $200 million monster movie is going to feel…