Chapter 5 - Snap, Marvel & IMAX!
Close Encounters of the Third Dimension
The surprise success of Avatar at the turn of the decade was fittingly a turning point for the film industry. For one thing, the resurgence of 3-D viewing (a tool first used as a gimmick in the 1950s) convinced other filmmakers to get on the band wagon and convert their anticipated blockbusters using the same technology. Some of them even did so at the last minute during their respective post-production phases. Only a certain few, like Alfonso Cuaron's Gravity (2013) and Martin Scorsese's Hugo (2011), were done with genuine expertise--generally because they were shot in the native format--while others (lots of others) had poor results; dizzying, even. Some directors like Peter Jackson and Ang Lee even experimented with higher frame-rate resolutions (i.e., 48 frames or 120 second, in contrast to the industry standard of 24), with mixed to negative reviews.
A few classic films from the 1990s were re-released in the 3D-conversion process near the beginning of the decade as well, including The Lion King, Finding Nemo, Titanic (to commemorate the real-life ship's centennial anniversary in 2012), and Jurassic Park (for its 20th anniversary). The latter reissue soon placed the 1993 Steven Spielberg-directed dinosaur epic as the most financially-successful film in the history of Universal Pictures at the time (unadjusted for inflation). But poor box-office returns of other re-releases in the animation libraries of Disney and Pixar led to the cancellation of other such theatrical runs.
For a period, it seemed as if shooting digital was the wave of the future and that the old-fashioned way of making movies photochemically was yesterday's news. Just look at the fascinating 2012 documentary Side By Side. And yet, even as most of this decade's films relied heavily on CGI, previsualization, fast cars (Fast and Furious, anybody?), robot smashing (we're looking at you, Michael Bay), and even virtual reality, many veteran and current directors stuck with celluloid as the best way to tell their stories.
Quentin Tarantino utilized 70mm Panavision cameras for the roadshow run of his ensemble western The Hateful Eight (2015). Steven Spielberg transported audiences back to pre-20th century America and World War I with Lincoln (2012) and War Horse (2011), respectively. In the midst of a digital run of comic books adventures from Marvel (which we'll get to later), Zack Snyder led the charge by using 35mm film for his roster of DC Comics' movies, including the heavily-divisive Man of Steel (2013). And then there were up-and-coming directors like Greta Gerwig (for her debut coming-of-age feature Lady Bird [2017]) and Patty Jenkins (for her adaptation of DC's origin of Wonder Woman [2017]).
Getting back to animation, Pixar (which was purchased by the Walt Disney Company in 2006) released follow-ups to their features Cars, Finding Nemo, The Incredibles, and Toy Story, while only four original films were produced under their banner (including Oscar-winners Coco [2017] and Inside Out [2015]). DreamWorks Animation churned out numerous projects including the acclaimed How to Train Your Dragon, while Fox's Blue Sky Studios struck box-office gold predominately with their Ice Age series. The newly-formed Illuminating Entertainment (co-founded by former Blue Sky executive Chris Meledandri) became a prominent division for Universal Pictures since Amblimation and DreamWorks in the Nineties, with smashes like the Despicable Me series.
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| (L-r) Illumination's Despicable Me, Blue Sky's Ice Age, and Disney's Frozen |
Just Like Taking A Stroll Through the Woods . . . 65 Million Years Ago
The number of films to gross over $1 billion (including some of the aforementioned animated hits) has exponentially increased during just about each year since Avatar's release. In fact, the 2010s highlighted a growing trend in these and other franchise features.
While no Jaws, E.T., or Titanic sequels were in sight (the former proved in the late Seventies and Eighties that one movie was enough, and no shark movie since has matched the original's superb impact), there were new renditions of James Bond and Star Trek, thanks to directors like Sam Mendes and J.J. Abrams, respectfully. (To be fair, Cameron did direct a subsequent Titanic documentary in 2002, titled Ghosts of the Abyss, and has devoted much of the past decade to developing Avatar sequels, scheduled for releases throughout the next decade.)
J.K. Rowling's boy wizard Harry Potter had his final big-screen adventures in 2011 (The Deathly Hallows, Part II), while the Pirates of the Caribbean series continued with a fourth installment that same year (On Stranger Tides) before sinking with a disappointing fifth chapter six years later (2017's Dead Men Tell No Tales). The same could be said for the Jurassic Park sequels, now titled Jurassic World, which some believe (particularly with 2018's Fallen Kingdom) has become stale. Again, like with Jaws, some filmmakers learn the hard way.
Disney, meanwhile, began producing live-action remakes of their beloved animated classics, starting with Tim Burton's eye-popping-though-occasionally-creepy take on Alice in Wonderland (2010). Others that followed (alphabetically) included Aladdin, Beauty and the Beast, Cinderella, The Jungle Book, The Lion King, and Sleeping Beauty (2014’s Maleficent). Most of these were met with lukewarm results, with many questioning the reason behind their inceptions--other than, perhaps, introducing said stories to a new generation and taking advantage of quantum leaps in visual effects (Cinderella [2015] and The Jungle Book [2016] are exceptional in these regards.)
More importantly, Disney experienced another renaissance in their animation department, with hit movies that were extremely well-received commercially, critically, and culturally, especially from children. From the wintry landscapes of Frozen to the glorious oceans in Moana and the animal kingdoms of Zootopia, audiences were taken, like snow queen Elsa, into the unknown realms of imagination and wonder. They also produced many worthwhile themes from these films.
Because Disney had their hands full these ten years (having purchased Marvel in 2009 and Lucasfilm in 2012), I want to talk about two specific franchises that stood out above the rest: one resurgent (if divisive); the other, ever-growing.
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| Disney's goes live-action with (l-r) Beauty and the Beast, Alice in Wonderland, Sleeping Beauty, Cinderella, and Aladdin |
To the Stars
After helming two Star Trek features, J.J. Abrams became the first director to helm films involving the Starship Enterprise and a new chapter in George Lucas's Star Wars saga. In fact, the sale of Lucasfilm to Disney represented, in many ways, a passing of the baton on to a new set of filmmakers--and introducing the galaxy far, far away, to a new generation while honoring the old one.
Fans and critics were pleasantly surprised when they first caught a glimpse of the anticipated seventh episode. The gritty atmosphere and practicality in this new chapter recalled the original trilogy, compared with the CGI of the prequel series, which many fans believed agreeably lacked an aesthetic realism. Similar things were said about Peter Jackson’s prequel film trilogy based on J.R.R. Tolkien’s The Hobbit (An Unexpected Journey [2012], The Desolation of Smaug [2013], and The Battle of the Five Armies [2014]), with many ridiculing said film adaptations for their overlong run-times and overly-computer-generated action sequences. (These films, on the other hand, did have some impressive work, particularly the makeup effects for the central dwarves, Martin Freeman’s performance as Bilbo Baggins, Ian McKellen’s return as the wizard Gandalf, and the astounding digital presences of the mischievous Gollum, played by Andy Serkis, and the villainous dragon Smaug, played by Benedict Cumberbatch.)
The resulting seventh (chronological) Star Wars episode, titled The Force Awakens, brought back the visual and visceral impact of the originals, emphasizing real sets, practical effects, and 35mm Kodak film, while integrating current CGI tools. This is something filmmaker George Miller also took advantage of when he made Mad Max Fury Road, released the same year.
It also brought back original characters (Han Solo, Leia, and Luke Skywalker), while introducing a roster of new ones (scavenger Rey, reformed Stormtrooper Finn, X-wing pilot Poe Dameron, sinister apprentice Kylo Ren), which have quickly become part of the canon. And it's always a thrill to hear John Williams' iconic score return as well. (The celebrated composer eventually scored his fiftieth Oscar nomination in history with his work on this film.)
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| Chewbacca and Han Solo return in Star Wars: The Force Awakens |
Even though The Force Awakens does have some obvious comparisons to the 1977 original, the quality in the filmmaking and story is done with such skill and affection. It's no wonder the film grossed more than $2 billion worldwide and became the highest grossing film in North America. (Adjusted for inflation, it's the 11th, and the second most successful Star Wars film in history.) It paved the way for the saga's first anthology feature, Rogue One, the following year, which is a great example of how to do a prequel and more specifically a stand-alone story. The 2018 Han Solo spin off fell short of expectations, despite being generally favored by critics.
Just as the Marvel universe did later, Star Wars reached a visual stepping stone in digitally resurrecting deceased actors for supporting roles (i.e., Peter Cushing's Grand Moff Tarkin in Rogue One). Although a better example of this improvement in computer graphics was the work done by Weta Digital (the visual effects company behind The Lord of the Rings and Avatar) for inserting the late Paul Walker into the seventh Fast and Furious movie, titled Furious 7 (2015).
Interestingly, fans have expressed disappointment (or rather, "a disturbance in the Force") over the eighth Star Wars episode, The Last Jedi (2017), which portrayed Luke Skywalker as a pessimistic trainer. Well, audiences and critics initially did the same with Lucas's prequel trilogy, as well as The Empire Strikes Back and Return of the Jedi during their premiere releases in the 1980s. (Just saying.) But 2019's sequel trilogy closer The Rise of Skywalker (which received mixed reviews) may have been the slaw that broke the camel's back. What could be seen as another reported case of studio interference and fan service, over creative freedom and originality, may have put the future of the film franchise up in the air for now.
To paraphrase Yoda, there is another hope for the saga, what with the acclaimed success of The Mandalorian series on Disney+, as well as recent news of actor Ewan McGregor reprising his role as a younger Obi-Wan Kenobi in an upcoming spinoff streaming series.
Beginning with Iron Man in 2008, audiences first caught a glimpse of not only grounded superhero stories that still delivered on a visual level, but also a glimpse of "a bigger universe," as Samuel L. Jackson's now-iconic Nick Fury proclaimed. Director Jon Favreau's better-than-expected origin story of billionaire Tony Stark was gritty, engrossing, and redemptive.
Proceeding standalone films involving the Incredible Hulk, Thor and Captain America led to what was then unheard of: a crossover film involving multiple characters and story arcs. Helmed by TV veteran Joss Whedon (Buffy the Vampire Slayer, Firefly), The Avengers (2012) also introduced meatier roles for fellow characters Black Widow and Hawkeye as S.H.I.E.L.D. director Nick Fury recruits "Earth's mightiest heroes" to stop the villainous Loki from starting an alien invasion.
Other independent films and studio films have had crossovers before, whether involving characters or different franchises. Remember Freddy Kruger and Jason Voorhees going toe to toe? What about Nickelodeon's Rugrats meeting the Wild Thornberry's? Even Michael Keaton's Ray Nicolette character from Quentin Tarantino's Jackie Brown (1997) made a brief cameo in Steven Soderberg's Out of Sight (1998), both films adapted from novels written by Elmore Leonard. With Marvel, never have such crossovers been done on a massive and universal scale.
Subsequent interlocking films did a brilliant job (mostly) of developing the aforementioned characters, as well as lesser-known heroes like the Guardians of the Galaxy, Ant-Man, Captain Marvel, and Black Panther. The latter film became an instant, surprise phenomenon, particularly for audiences of color. It also made history by being the first comic-book-based film to ever be nominated for a Best Picture Academy Award. More importantly, it was a highlight in this decade's progression of diversity and representation onscreen. Just look at the most successful films, including DC's Wonder Woman, Disney's Moana and Pixar's Coco, to name a few.
It should be noted that, just as Star Wars launched the careers of actors Mark Hamill, Carrie Fisher, and Harrison Ford, the Marvel films have served as staples in the careers of the Chris's Hemsworth (Thor), Evans (Cap) and Pratt (Star-Lord); Elizabeth Olson (Scarlett Witch); Mark Ruffalo (Hulk); Jeremy Renner (Hawkeye); Paul Rudd (Ant-Man); Tom Holland (Spider-Man); Scarlet Johannson (Black Widow); and, of course, certainly Robert Downey, Jr. (Iron Man). The same goes for filmmakers like James Gunn (Guardians of the Galaxy), Scott Derrickson (Doctor Strange), and Taika Waititi (Thor: Ragnorok).
DC: A Dark World
In the mean time, following Christopher Nolan's completion of his Batman trilogy with 2012's The Dark Knight Rises (released the same year as The Avengers), Warner Bros attempted to replicate and capitalize on the success of Marvel with their own "Extended Universe." That attempt, unfortunately, didn't exceed expectations as audiences and critics had hoped, as criticisms over the darker interpretations of characters like Batman and Superman (not to mention grim atmospheres and saving the world from giant skybeams) didn't help.
They did, however, produce exceptional standalone films with Wonder Woman (2017) and Aquaman (2018), which proved that such stories can be sincere and jaw-dropping without being melancholy. This spring, Zack Snyder's long-awaited director's cut of Justice League will even see the light of day, in the form of a miniseries on the relatively-new HBO Max streaming service. The aforementioned standalone films could also be seen as a form of therapy from what many would consider to be "franchise fatigue."
Then again, there were a few critically-acclaimed R-rated comic book movies like Deadpool (2016) and Logan (2017). Even DC's Harley Quinn got her own R-rated spinoff earlier this year with Birds of Prey. 2019's hard-R Joker (the second Best Picture Oscar nominee inspired by the comics) stands as a more recent example of bold and original, yet provocative and jolting, cinema that works outside the conventions of its "comic book" guise. (I should emphasize that that statement is far from a recommendation.)
"Is This An Old Message?" "It's the Front Gate"
To get back to Marvel, perhaps no character in the studio's pantheon has arguably had more development and maturity than Chris Evans' take on Steve Rogers and his difficult adjustment to the 21st century. And that's where directors Anthony & Joe Russo come in.
Along with J.J. Abrams and Joss Whedon, the Russo brothers began their careers writing for television, including episodes of the acclaimed and popular series' Arrested Development and Community. Their work on 2014's Captain America: The Winter Soldier (which was more political thriller than popcorn muncher) and 2016's Captain America: Civil War (an unofficial Avengers chapter) showcased and proved that they aren't interested in just mere spectacle (as so many genre films have recently been accused of, whether from Martin Scorsese or Francis Ford Coppola), but more so in character investment and complex emotional arcs. Compare the first Avengers movie with Civil War and you'll see the difference (or at least a maturity).
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| (L-r) Benedict Cumberbatch, Robert Downey Jr., Mark Ruffalo, and Benedict Wong in Avengers: Infinity War |
The Russo's decision to film the last two Avengers films entirely in IMAX set a new benchmark, as well as a good reason the technology stands superior as specific film viewing. No other filmmaker knows that better than Christopher Nolan. An independent writer-director who began his career with cerebral, mind-bending thrillers (Following [1998], Memento [2000], Insomnia [2002]), his work on the Dark Knight trilogy (2005, 2008, 2012), the space-travel adventure Interstellar (2014), and the genre-defining war thriller Dunkirk (2017) showcase his persistent use of IMAX technology as well as immersive and gripping storytelling.
Avengers: Infinity War's culmination of over 60 characters and story arcs (the simple plot pits most of these characters against the mad titan Thanos, whose main goal is to obliterate half the universe) resulted in a thrilling, mind-blowing, and gut-punching experience that left audiences polarized yet anticipating for a year in how the series would officially end. That being said, the marketing campaign for the penultimate Avengers: Endgame was brilliantly done, keeping the plot as under wraps as possible. After all, it was the end of Marvel's now-official "Infinity Saga," as well as the start of a whole new universe of possibilities. (And no, I'm not going to bother going into plot details, so as not to "Spoil the Endgame" for those of you who haven't yet seen it.)
I will say this--as I've said in previous posts--that these Marvel films represent the Saturday matinee serials of the 21st Century, just as Star Wars and Indiana Jones represented at the end of the 20th Century. And I stand by that claim. Plus, along with the spaceships in Star Wars, bikes across the moon in E.T., dinosaurs and helicopters in Jurassic Park, dragon-like banshees in Avatar, and even the bow of the Titanic, the Avengers invoke a sense of flight, which has helped keep the moviegoing experience (with some support from IMAX presentations) alive, enduring, and unparalleled to the end.
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| Chris Evans in the blockbuster to, ahem, end all blockbusters (at least for now). |
But it hasn't and won't stop there. Not yet. As they advertise in sneak previews, stay tuned for coming attractions.
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