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Smart Watching of Movies for You Now

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Once you know the recipe, the strings begin to appear. All of a sudden the films all look alike, and many scenes seem forced and arbitrary as if written from screenplays. Why is Kirk criticized for his irresponsibility by Admiral Pike at the start of Star Trek into Darkness? Someone has to explain the theme to the main character. A visit to makes things essential.

Why does the character of acolyte played by Gina Carano defect in the team of the villain for no reason almost exactly in the hair of the three-quarters of the film Fast & Furious 6 because this is the moment when everything is lost, so you have to destabilize the hero? Why does the character of Gerard Butler in The Fall of the White House suddenly call his wife after the decisive scene of the failed White House attack in three-quarters of the film? Because the second act always ends with a moment of quiet reflection the dark night of the soul.

Young men everywhere

And if the villain of the films of recent years is the male teenager for whom it would seem that all the big products of the Hollywood industry are intended, it turns out that the instruction manual of Snyder has indeed helped this villain to close the door in the face of other potential spectators.

  • Certainly, elementary rules do not go so far as to require that all the protagonists be men. On the other hand, he tells aspiring screenwriters to confine themselves to stories about young people, because they are the ones who go to the movies. Following this advice to its logical conclusion means having many more stories about young men since they are the ones who are most likely to show up in multiplexes.
  • It is no coincidence that the chapter dealing with the creation of the hero is entitled. It is the story of a guy who and not It is the story of someone who and with a young and male hero, women are literally relegated to the secondary intrigue the lover or assistant who helps the male character to overcome his personal problems. It’s no coincidence that Raimi’s mega-budget film on Oz replaced Dorothy with a male hero.

Watching sloppy movies with Snyder’s recipe in mind can become a tiring and repetitive chore. How many times can you see a young man fight his problems and then find new energy before saving the world? There is something to ask the question: is not this excess of confidence in Snyder’s recipe killing cinema?

Towards the death of cinema

If this is the case then all is lost. The main studios are increasingly relying on a small number of mega-budget blockbusters to make their profits. But big-budget is synonymous with big risk, and the only way to mitigate these risks is to stick to proven ideas. In other words, recipes – and the more specific they are, the better. America’s largest art form heads straight Into Darkness, into darkness, as the Snyderized sequel to Star Trek points out. Not that this recipe is not capable of producing good fun films: Monsters University is very appreciable. Star Wars, Die Hard, Matrix and Avengers all follow more or less the narrative thread stretched by Snyder.

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