We are living in the most exciting era when it comes to M. Night Shyamalan. The era I would call "A lottery". M. Night started strong. Critical acclaim and commercial success hit him hard, when he was a young film-maker. They were calling him "the next Spielberg". Then doubt possessed his sole. Some critics said something about something he did. And there he went. On a downward spiral towards the bottom. The Happening, The Last Airbender, After Earth... M. Night never truly recovered from this turmoil. He did great films since: The Visit, Split, Knock at the Cabin. But he then made strangely not so great films in between: Glass, Old, the strangely The Happening esque ending of Knock at the Cabin. Going today to an M. Night Shyamalan movie is truly a lottery. You never know what you are gonna get. With Trap we all got a fucking jack-pot!
"Listen" is the message of Steven Spielberg's 2026's alien picture Disclosure Day. Why would Spielberg do this specific movie, about this specific subject matter? What should we listen to? What is the Disclosure of the Disclosure Day?
There are quite some differences between the Scott brothers ( Ridley and Tony ) and the Maximus himself Michael Bay. You can read Troler's observations and then my rant in the comments to see why they aren't quite the same. But specifically Tony Scott films sometimes feels almost like Michael Bay movies. Especially early Tony Scott and early Michael Bay, before both of them knew how similar they are and before they started trying to develop each other into opposite directions. Which happened roughly in time with the 21st century. And yet with all this the Ridley Scott epic Gladiator which was shot at 20st century and released at 21st, bluntly steals one of the shots Michael Bay is known for.
The second installment in the Final Destination saga is different from the first film. While the first film was breathing mystery and suspense, this time around, the film feels almost like a slapstick comedy, if not for the gruesome deaths.
It seems like the entire world of film-enthusiasts came together and decided to bully one person for no reason what so ever. And that one person is Michael Bay.
Wrath of Man is one of such, very Guy Ritchie, very crime trillery, very Quentin Tarantino
inspired films. It has just enough cold detachment, just enough calculated precision and just enough artful pathos to make you feel the false-psychopathy of the main character played byJason Statham.
I decided to re-watch the first Transformers film today, but differently. Instead of indulging in it as mindless entertainment, I decided I want to actually view it seriously, as I would with somebody like Steven Spielberg, who, by the way, was an executive producer on the film.
It's interesting sometimes what different artists do with the same material when this material is not bound by copyright. Good filmmakers like Kenneth Branagh can make wonderful adaptation of things like plays by Shakespeare into insane epics. Bad filmmakers like Rhys Frake-Waterfield can make awful twists on beloved characters, like the horror film Winnie-the-Pooh: Blood and Honey.