The Blockbuster Problem

Perhaps my biggest reservation about the monolithic might of the summer blockbuster is simply that they seemingly crush smaller films underfoot. It is almost impossible to see anything intelligent or meaningful when the local multiplex has dedicated most of its screens to a film that consists of robots hitting each other for no discernable reason. The result is that for the next couple of months the release schedules show a distinct lack of intelligent films with the few that are around either receiving shockingly small distributions or hiding in between the releases of these colossal behemoths. Next Friday sees the Terrence Malick’s Tree of Life doing just this, fitting itself in between Michael Bay’s latest special effects and the Harry Potter finale that will undoubtedly knock it out of cinemas almost immediately. The only reason it got its wide release in the first place was down to the auteur’s magnificent back catalogue and the fact it won in Cannes.

None of this would be problematic if not for the fact that most are seemingly tailored towards specific demographics for the biggest opening weekend, or perhaps more insidiously toy sales rather than an actual interest in telling a half decent story. As a result there are certain boxes most blockbusters need to tick, mostly in terms of set pieces, there being attractive male/female stars for members of the opposite sex to ogle over, and perhaps worst of all creatures, machines and set pieces designed for increased toy sales. The result is that numerous blockbusters feel overlong, tired, but worst of all have no heart, soul or character at all, becoming only a cliché collection with ridiculously expensive CGI. As a rule studios keep to these precepts too implicitly, and it is rare to see anything too adventurous in a blockbuster with Christopher Nolan’s work the exception that proves the rule. After all, why take the plunge on such a risky venture with more adventurous fair like Scott Pilgrim (which flopped spectacularly) when you can rehash the same old formula and make millions. As shown by the fact Pirates 4 is about to break over the billion-dollar mark let alone what it makes in toy sales.

Yet why we continue to watch them remains a mystery I guess. Maybe it is their sheer size or because there is nothing else on, and after all they are very pretty and there is nothing else around. It is just that at the end of the day, they do not seem healthy and we end up with what is often largely the same regurgitated mess with different special effects, that seemingly most blockbusters consist of. For me I think the main reason I watch them is, embarrassingly enough, because everyone else does and therefore I know what people are talking about and join in any discussion, along with the desperate hope I’ll be pleasantly surprised- after all, some can be good fun. A terrible decision as it is means I am just as much to blame as everyone else for the continued presence of these enormously expensive exercises in finance.

Add Comment

You must log in to submit a comment.