Posted On May 14, 2015
Posted in Culture, Film
The Scourge of Smart Movies
I sat in a crowded movie theater, in the very last row, centered on the action that would be taking place on the huge, panoramic screen in front of me. There was still a good forty minutes until the film would actually start, but the place was already almost full. There was a smattering of different types of individuals filling the seats, from families looking for a night of action-packed fun, to groups of adult guys sitting together, chuckling and quite obviously single. Marvel paraphernalia was all over the entire building, including a group of 5 individuals cosplaying in the lobby in front of a huge homemade Avengers display, taking pictures with kids.
As the tape began to roll, and the official Marvel theme and logo played, about 50% of the folks in the theater started to clap and holler. The long awaited culmination of the first Avengers movie was beginning, and they couldn’t wait.
I have to begin by saying this. As good movies go, until The Winter Soldier, 2014’s Captain America sequel and the supremely original Guardians of the Galaxy the Marvel films fell in a category far below Chris Nolan’s Batman films, but significantly above The Fast & the Furious franchise. Even with last year’s additions to the canon, they still fall far below The Dark Knight trilogy, but the two from 2014 were a great step in the right direction. The Russo Brothers, who directed Winter Soldier and James Gunn, who wrote and directed GOTG began a pattern of taking Marvel’s source material and raising it to amazing new heights of character development, hard-hitting action and depth of story that hadn’t been a marker of the Marvel films in my estimation. As I sat in that theater two weeks ago, I realized that Age of Ultron built on that.
I sat, engaged for the entire two and a half hours of Ultron, watching as Joss Whedon delved deeper into some of his characters backstories than he had been able to do in the first movie, assisted in part by Iron Man 3 and Winter Soldier, and brought a sense of darkness to the villain that hadn’t permeated any of the other films.
Hear me say this, Joss Whedon did an admirable job of directing and writing this movie in many ways, but the end of the movie left me with nothing to chew on. It didn’t take a lot of thought to piece together the ideas. Whedon threw 2+2 on the screen and then gave you 4.
I didn’t have to work to enjoy it, I could just sit back and take it in. Ultron unfortunately turned out to be just another summer popcorn flick with huge budget, major box office take, tons of devoted fans, but not much depth.
I look at all of this in contrast to another crowded theater I was in.
This was a collection of predominately well dressed young people, middle aged couples, my Dad, my cousin and myself. It was November 5th, and I was sitting in a gigantic stadium style IMAX theater waiting to see the movie that I had waited for for months, from one of my favorite working directors. I was expecting something amazing from Interstellar, a project written and directed by Christopher Nolan, and I had my expectations absolutely blown away. The imagery, the story, the characters, the depth, the score. Everything was even more amazing than I had been led to believe. As the credits rolled at the end, and everyone began silently filtering out of the theater I was completely dumbfounded and literally speechless.
But above all of this, Interstellar was a smart movie. It’s a movie that puts every inch of your brain to work, makes you think, and leaves you with the deep set impression that you have witnessed a masterpiece. It explores themes of space exploration and scientific endeavors that have been lost in our society. But the most significant theme it explored is the depth of human relationships. It teaches us that “love is the one thing we’re capable of perceiving that transcends time and space,” and Nolan explores this idea to the max, in a way that will leave you both sobbing and reeling from the sheer genius with which it is written and executed. It’s a mental and emotional workout that is worth every second.
From the picture I’ve painted, I think it’s fair to say that I think Interstellar is a far better movie. But, why say all of this?
The core theme of Age of Ultron was… wait, was there a core theme? Maybe ‘be a hero’ and don’t create artificial intelligence because it will become sentient and kill you? Who knows.
The core theme of Interstellar? Explore. Go beyond the realm of the known into the realm of the unknown to find new things and humanity will be better for it. Love transcends everything that we know, all of our reality. A human emotion is the thing that in many ways unifies all of us. It doesn’t take a rocket scientist (see what I did there?) to see that Interstellar is in a completely separate category from Marvel’s admittedly fun films. Yet, when you look at the box office reports, which are the industries’ barometer for success, the entire US take of Nolan’s masterpiece was almost ten-million dollars less than Ultron’s opening weekend. Either way, it’s easy to pull the theme from Interstellar’s story because it actually has one to begin with.
Personally, I don’t look at box office numbers as a gauge for the success of a film. In my book, that’s directly related to the story and the film’s execution. But in this case, box office take is a dismal gauge for our society.
I say all of this because I believe that smart movies are a result of smart people, and are nominally successful because you have some smart people that care. Dumb movies are usually a result of studio heads that want to feed a beast and appeal to dumb audiences.
So, when a culture decides that it’s going to stop thinking, you get a steady stream of movies that make money, but generally aren’t good movies. Toby Ziegler, a character from Aaron Sorkin’s brilliant show The West Wing said “there is a connection between the progress of society and the progress of the arts.”
Movies like Ultron are a success because of people who don’t care to have to think. They’re dumbed down, fast-paced flicks that hold your attention because they are essentially scene after scene of quick witted dialogue followed by big battles where everyone destroys a major metropolitan city, and big explosions make everyone ooh and ahh. Audiences that flock to these movies and give studios two-hundred million dollars in one weekend want everything spelled out for them in black and white so that they can be entertained, have a laugh and then go home and not care. In the end, smart, intelligent movies won’t typically be the summer blockbusters that pull in billions for studios. Christopher Nolan will remain successful, because he’s smart enough to know that making good movies is more important than having the #1 spot on opening weekend. Unfortunately, filmmakers like Chris Nolan will rarely have the #1 spot, because there are enough dumb people to keep him in the #2 spot behind franchise based popcorn flicks. Right now, that’s just the way it goes. Maybe one day it will change, but it will take a collection of people that actually like to think and want to be challenged with new ideas. As a society, we need to learn from the messages of Interstellar. When we explore the unknown, when we dive wholeheartedly into the meaningful, we’ll learn- we’ll gain knowledge that we’ve never had before. And a little bit of knowledge will go a long way towards making us a better society.