There are films about the right things.
There are films that say the right things.
There are films that mean the right things.
XXL is better than all those films for the most revolutionary reason: it just is the right thing.
"Better" than the last two, but just by being a bit more reigned in. It's just as vile a depiction of law enforcement as the last one, but it doesn't wear it as proudly on its chest as Bay's films do... maybe that makes this worse.
Between this and Miami Vice, what the hell is a South Florida detective's salary?!
Advancements in digital technology have allowed "real time cinema" the ability to cover the events without jarring cuts, though not without editing. In a technically complex illusion, the events are unfolding in a kind of more direct discovery method resulting in stronger empathetic attachments to the subjects, which is a suitable for action (thriller) and horror (or as Joe Hill would call it "Extreme Empathy").
Hitchcock figured this out in 1948 with Rope, though abandoned it as a "failed experiment"…
PA at Warner: Sir, I'm sorry, but the five Justice League scripts you asked for were not collated when they got printed.
Zach Snyder: What does that mean?
PA: Well, the scripts are in order, but they were printed together. Each page is from a different script.
ZS: Whatever, we shoot tomorrow.
PA: But sir, each scene just ends arbitrarily, and there is no logical progression from one scene to the next.
ZS: It'll be fine, we'll figure it out on set.…
A celebration of facades, as an aging Western actor finds himself lost and insecure in an industry moving more and more towards gritty realism. His best friend, appropriately, is his out-of-work double, a real-life cowboy in charge of maintaining the illusion of his fame. Throughout the film, we sense a ticking clock of the horror to come, as scenes of a truly radiant Sharon Tate seem both thematically appropriate (shown with glimmers of the same insecurities that cloud every character)…