redhawk23
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FilmCritHulk has a wonderful piece examining Star Trek into Darkness, JJ Abrams work as a whole and many current trends in big budget filmmaking, essentially that they aim for convolution rather than any kind of story telling function. As Hulk argues, story and plot are not necessarily the same thing.
http://badassdigest.com/2013/06/12/film-crit-hulk-smash-the-age-of-the-convoluted-blockbuster/
If you have some time to kill definitely check out the full article.
This quote in particular jumps out
http://badassdigest.com/2013/06/12/film-crit-hulk-smash-the-age-of-the-convoluted-blockbuster/
If you have some time to kill definitely check out the full article.
This quote in particular jumps out
THE TITULAR KAHN FROM WRATH OF KAHN, WHO NOT ONLY HAD A PHILOSOPHY THAT MADE SENSE AND WAS DRAMATICALLY EXECUTED IN THE INITIAL ACT, BUT WAS ALSO SOMEONE CONSUMED BY A PERSONAL VENDETTA OF KILLING KIRK. SURE, IT WAS JUST SIMPLE REVENGE, BUT THAT MAKES FOR A REAL, FUNCTIONAL THREAT. MORE IMPORTANTLY, THE FILM USED THAT CONSTANT THREAT TO MAXIMIZE THE DRAMA OF EVERY MOMENT OF SUSPENSE. WE’RE MADE TO INTRINSICALLY FEAR AND FEEL EVERY OUNCE OF KAHN’S HATRED. BUT STAR TREK INTO DARKNESS ONLY SEEMS TO SEE VILLAINY PURELY IN TERMS OF FORM. CUMBERBATCH'S VILLAIN IS A FRANKENSTEIN AMALGAMATION OF SEMI-RELEVANT FEARS: PART TERRORIST, PART DEMI-GOD, PART ANTI-HERO, AND PART EVIL GENIUS, BUT NONE OF THOSE THINGS IN WHOLE. AND AT THIS POINT YOU MAY GET THE JOKE OF HULK NOT CALLING HIM BY HIS NAME EITHER BECAUSE THE TWO CHARACTERS COULD NOT BE MORE DIFFERENT IN TERMS OF FUNCTION. THE MODERN INCARNATION IS ALL TEXTURE. AND QUITE HONESTLY, NOWHERE IS THE FILM’S MISUNDERSTANDING OF PURPOSE MORE APPARENT THAN IN A SERIES OF CHEAP NOSTALGIA PLAYS AT WRATH OF KAHN, BY OUTRIGHT RECREATING SCENES WITH MINOR INVERSIONS… HULK ASKS YOU A SIMPLE QUESTION REGARDING THIS: WHAT’S THE CEILING ON THESE KINDS OF EMOTIONAL EXPERIENCES? WHY DIVORCE THE EMOTION OF THE MOMENT BY TURNING IT INTO REFERENCE? BY TRYING TO FEED OFF AN ASSOCIATIVE MEMORY, IT INHERENTLY ROBS THE SCENE OF ANY SINCERITY BY INVITING THE DIRECT COMPARISON. IT IS “COVER BAND” FILMMAKING AND IT’S THE PERFECT METAPHOR FOR A FILM MIMICKING THE THING IT WANTS TO BE, INSTEAD OF ACTING LIKE THE THINGS THAT INSPIRED IT.