Image by Haris imran from Pixabay “I think movies…are going to become long-form storytelling…the audience’s appetite for storytelling is evolving…people want to spend time with characters for many years.” – Joe Russo Over the past several weeks, I have delved into the history of the “blockbuster movie” from some of the inceptors of the style to the best blockbusters of the 1980s, 1990s, and 2000s. Today, I bring this multi-part series to a close by examining how the blockbuster has evolved in the past decade…and ask where it might be going in the next decade.
So, without further ado…LET’S GET STARTED!! Toy Story 3 (2010) During the mid-2000s, when the working relationship between Disney and Pixar was up in the air, other animation studios created story treatments and scripts for a threequel to Pixar’s first film Toy Story. Two of these scripts involved a whodunit-style plot about finding missing toys and Buzz meeting recalled toys from around the world, respectively. However, once Disney bought Pixar in January of 2006 these scripts were cancelled and John Lasseter (Toy Story, Cars) was put in charge of the studio. Not long after, Lasseter met with fellow Pixar employees Andrew Stanton (Finding Nemo, WALL-E), Pete Docter (Monsters, Inc., Up, Inside Out), and Lee Unkrich (Coco) over a weekend at the house where the story for Toy Story was conceived and concocted the narrative for this threequel. Unkrich, the film’s chosen director, felt immense pressure to avoid making Pixar’s “first dud” and thus aimed to create a completely original story that none of the scripts from other animation studios had already conceived of. After a few years of voice recording and animation, Toy Story 3 was released on June 18, 2010 and received near-universal praise from critics due to its ability to invoke such powerful emotions from the audience with computer-generated toy characters. Reviewers particularly spoke to the strength of the dynamic between the main characters and its exploration of universal, mature themes such as impermanence and loss. Toy Story 3 ended up grossing over one billion dollars and became the highest-grossing animated film of all time (until being surpassed by Disney’s Frozen in 2013). The film also won two Oscars for Best Animated Feature (Unkrich) and Best Original Song (Randy Newman’s “We Belong Together”). Notably, it is one of only three animated features to be nominated for Best Picture (the other two being Beauty and the Beast and Up). I vividly remember seeing this Toy Story 3 in theaters when it came out. At a mere fourteen years old, I had grown up with the beloved characters of the Toy Story franchise and was excited to see how their story came to an end (at least at the time). And sitting in the theater with my mother, we both went on an emotional rollercoaster from start to finish with this movie. Seeing these amazing characters, from Woody and Buzz Lightyear to Jessie and Bullseye, confront the prospect of eternal loneliness and lack of purpose with their owner Andy heading off to college is both heartwarming and tragic. Watching them try to adapt to life at Sunnyside Daycare under the tyrannical regime of Lotso is intense. And living through what the characters believe are their final moments, holding hands as they stare at death before them, is arguably the biggest gut-punch that I have ever experienced in a movie theater. Of course, their journey culminates in a bittersweet ending with Andy donating all of them to a new child owner, Bonnie, and the toys must say goodbye to their past while embracing their future. If any film perfectly captures the mixed emotional experience that is growing up and moving on, it is Toy Story 3. Harry Potter and the Deathly Hallows – Part 2 (2011) Initially, Warner Brothers was going to adapt J.K. Rowling’s seventh entry in the Harry Potter fantasy saga into one film. However, producer David Heyman insisted that “creative imperative” demanded they split the final book into two distinct movies: the first being a gritty “road movie,” while the second being more “operatic” with “huge battles.” Similar to other two-part cinematic events in recent memory (Hunger Games: Mockingjay and Infinity War/Endgame come to mind), these last two Harry Potter movies were filmed back-to-back from February, 2009 to June, 2010. The films’ shared budget was 250 million dollars. Released on July 15, 2011, Harry Potter and the Deathly Hallows – Part 2 raked in over 1.3 billion dollars becoming the highest-grossing film in the Harry Potter franchise and the thirteenth-highest-grossing film of all time as of now (above Star Wars: The Last Jedi and below Black Panther). It also received widespread praise from critics and audiences alike who praised the performances, action sequences, musical score, and its ability to serve as a satisfying conclusion to a journey ten years in the making. The film also received three nominations at the Academy Awards for Art Direction, Visual Effects, and Makeup, but won none. Every time I begin watching the Harry Potter film franchise, I always question whether or not the hype of seeing Deathly Hallows – Part 2 in theaters for the first time can be recaptured. And yet every time I have rewatched these eight films that were central to my childhood, I find myself loving the journey concluding with this film. I am not sure exactly why this is, but I think I’ve narrowed it down to a few key elements. First and foremost, the payoff of Harry Potter’s hero’s journey. Seeing him both physically and mentally mature from a feeble, ignorant and rather incapable wizard in Sorcerer’s Stone to a strong, intelligent leader and powerful sorcerer in this movie remains quite fulfilling. Suffice to say, there are plenty of other hero’s journeys in cinema that it has to compete with (notably Luke Skywalker in the original Star Wars trilogy and Frodo Baggins in The Lord of the Rings trilogy), but this one holds up as a great example of this mode of storytelling with suck a likeable character and a pretty strong supporting cast helping him on his way. Furthermore, the kinetic action that was sprinkled throughout the film saga (from Harry in the Triwizard Tournament in Goblet of Fire to Dumbledore’s duel with Voldemort in Order of the Phoenix) is front-and-center in Deathly Hallows – Part 2. The obvious standout set piece is the Battle of Hogwarts with its multifaceted structure to the many hype moments (I particularly enjoy Professor McGonagall commanding the stone army to defend the school). Ultimately, however, I think what makes this film special for me is the emotional payoff of Severus Snape’s character arc. As an audience, we saw so many scenes of Snape expertly concealing his true allegiances only to (supposedly) confirm his genuine loyalty to Voldemort during the tragic climax of Half-Blood Prince. Yet we feel sadness watching him suffer a painful and understated death at the hands of Nagini, only to give Harry the key to understanding both of their roles in this journey as his final act. And the reveal of his backstory as a man who loved and lost but did everything in his power to protect his love’s only child (despite how much he reminded Snape of his childhood nemesis) is such a powerful character turn. It is that kind of payoff that makes Deathly Hallows – Part 2 a special movie for me (if not a full-blown masterpiece). Marvel’s The Avengers (2012) As far back as 2003, Marvel Studios was bouncing around ideas for a film based on the superhero team the Avengers with the intention of introducing the main heroes in their own solo films before bringing them together in a crossover adventure. Once their first film Iron Man proved a success, the studio set a release date for their Avengers film (initially July of 2011 before being pushed to May of 2012) and began the casting process. Over the next few years, Robert Downey, Jr., Samuel L. Jackson, and Scarlett Johansson, among others, became attached to the project (along with Iron Man director Jon Favreau as an executive producer). In July of 2010, Joss Whedon (Serenity, Much Ado About Nothing) was officially hired to direct the film and he began reworking the script written by screenwriter Zak Penn (The Incredible Hulk, Ready Player One) back in 2005. He aimed to focus the emotional core of the film around the fact that these heroes “shouldn’t be in the same room let alone on the same team,” thus making them a true family. He cited films such as The Dirty Dozen for inspiration for the misfit family dynamic between the film’s heroes. Around this same time, Mark Ruffalo (Foxcatcher, Spotlight) was signed by Marvel Studios to replace Edward Norton as Hulk (even though Norton claimed years later that he made the decision to not return to the role, not the studio). Principal photography lasted from April to September of 2011, spanning locations such as Albuquerque, New Mexico, Cleveland, Ohio, and New York City. The decision to include Thanos in a mid-credits scene was Whedon’s, who wanted an even more powerful Marvel villain to be behind Loki’s invasion of New York. Furthermore, the Avengers-eating-shawarma post-credits scene was filmed one day after the world premiere and was partially inspired by a real-life experience between Whedon and two actors on an episode of the television show Angel that he wrote and directed. In total, the film cost 220 million dollars making it the most expensive Marvel Studios film at the time (and the fifth overall as of now, behind Captain America: Civil War and all subsequent Avengers films). Released on May 4, 2012, The Avengers became the third-highest-grossing film ever at the time by grossing over 1.5 billion dollars (it currently ranks eighth, above Furious 7 and below 2019’s The Lion King). The film was well received by critics and audiences, who particularly enjoyed Whedon’s direction and screenplay, the visual effects and action sequences, and the central performances (particularly Mark Ruffalo). Some critics even referred to it as the epitome of blockbuster filmmaking. The film received a nomination for Best Visual Effects at the Academy Awards, and its success served as the foundation for the future of Marvel Studios leading up to three sequel films and the birth of one of the most profitable film franchises in cinematic history. I will keep my thoughts on this film brief as I have already written about them in last week’s blog about the “Infinity Saga” as a whole. Having just rewatched The Avengers about a month ago, it is clear that this movie holds up so well for so many reasons. First and foremost, the writing and characterization here is top notch as Whedon does a great job mixing all of these heroes’ disparate personalities into a fun-filled cocktail of witty banter back and forth as well as genuine conflict. By doing so, Whedon services the film’s overall narrative structure and makes the third-act payoff of the team finally coming together that much better. Of course, the writing cannot be pulled off without the devotion of the cast here. I particularly appreciate the strenuous relationship between Downey’s Tony Stark and Chris Evans’s Steve Rogers: while the former’s resentment for the latter works well to divide the two obvious leaders of the team, their ultimate respect for one another creates a solid foundation for the teamwork exemplified during the Battle of New York. I will also side with the critics with regards to Mark Ruffalo, who exceeds expectations as a paranoid yet subtly in-control Bruce Banner despite the tall order he had of taking over for Edward Norton. As I said in my “Infinity Saga” blog, The Avengers contains one of the best third acts in modern cinematic history. Full stop. And while it has been topped by one of its three sequels, I struggle to believe it will not be remembered in due time as deserving the credit I’m giving it as on par with the likes of Return of the Jedi and Aliens as a great conclusion to a memorable blockbuster action flick. The Force Awakens (2015) Despite talking about making a sequel trilogy for years after the release of 1983’s Return of the Jedi, George Lucas (American Graffiti, Star Wars) ended up selling Lucasfilm to The Walt Disney Company in October of 2012, thus allowing the Star Wars franchise to live on without his direct involvement (Lucas did, however, serve as a creative consultant on Episode VII which involved attending early story meetings). Early on in the writing process, screenwriter Michael Arndt (Little Miss Sunshine, Toy Story 3) realized that introducing Luke Skywalker anywhere except for the end resulted in his character becoming the dominant force of the narrative and therefore overshadowing any other protagonists. Thus, the decision was made to Skywalker serving as a plot device that would only appear at the very end of the movie. Despite several notable directors being considered for the project, from David Fincher (Fight Club, Zodiac, Gone Girl) to Jon Favreau (Iron Man, The Jungle Book), before (at Steven Spielberg’s suggestion) Lucasfilm president and film producer Kathleen Kennedy hired J.J. Abrams (Star Trek, Super 8) in 2013. After Arndt requesting an additional year-and-a-half to write the film’s script, Abrams took over screenwriting duties alongside Lucasfilm veteran Lawrence Kasdan (The Empire Strikes Back, Raiders of the Lost Ark) who were able to complete the first draft in six weeks. Now-infamously, Kennedy admitted that the sequel trilogy was not intricately planned out despite claiming that Abrams was collaborating with Episode VIII’s director Rian Johnson (Looper, Knives Out) as was Johnson with Episode IX’s then-director Colin Trevorrow (Jurassic World). Later reports from cast and crew have confirmed that Abrams had written at least story treatments (if not full-on drafts) for the rest of the sequel trilogy. Ultimately, Abrams viewed Episode VII as needing to feel familiar (thus mandating the use of plot elements from previous Star Wars movies). It was not initially confirmed that Carrie Fisher, Harrison Ford, and Mark Hamill would be reprising their roles from the original trilogy in Episode VII. Many actors and actresses reportedly auditioned for the film, from Saoirse Ronan (Lady Bird, Little Women) to Michael B. Jordan (Fruitvale Station, Creed), before the official cast was announced in April of 2014 which included Fisher, Ford, and Hamill, as well as Daisy Ridley, John Boyega, Oscar Isaac, Adam Driver, Andy Serkis, Domhnall Gleeson, and C-3P0 himself Anthony Daniels. Principal photography commenced in May of 2014 at Pinewood Studios in England, however some landscape cinematography had already been done in April on location in the deserts of United Arab Emirates. Location shooting occurred in Abu Dhabi, Skellig Michael of Ireland, and in English forests. Infamously, Ford fractured his leg while filming in studio when the hydraulic door to the Millennium Falcon set fell on him. While Ford ended up recovering pretty smoothly, there was a lawsuit involving a subsidiary of the Walt Disney Company for apparent health and safety breaches and a nearly two-million-dollar fine. Filming wrapped up in November, the same month that the first teaser trailer for the film was released online. Also, the film’s official title was announced. Star Wars: Episode VIII – The Force Awakens was released on December 18, 2015. Made on a budget exceeding 259 million dollars, it ended up grossing just over two billion dollars and thus became the third-highest-grossing film of all time upon its release (currently ranks fourth behind Titanic). The film was also universally praised by critics for its ability to rekindle fans’ love for the franchise’s past while also injecting it with new energy and fresh talent. However, some viewers found The Force Awakens to be excessively derivative of the original trilogy. In many interviews since the film’s release, Abrams has expressed regret in response to several direct criticism of the film’s derivative nature and other elements of the plot (notably fans’ disappointment in Leia not embracing Chewbacca on Takodana after Han’s death on Starkiller Base). Nevertheless, the film received five nominations at the Academy Awards (notably Best Original Score for John Williams). The two sequels that came after The Force Awakens grossed over one billion dollars each, and together they form what many fans refer to as the “sequel trilogy.” As a diehard Star Wars fan, I can appreciate elements of all the movies of the franchise (although it is pretty difficult with some of them). When it comes to the newer movies of the “Disney era,” my personal enjoyment of them seems to lack consistency with most fans of the franchise of my generation. Specifically, I find The Force Awakens to be the post-1983 film of the franchise that comes the closest to recapturing the magic of the original Star Wars film from 1977 while also being a thoroughly enjoyable movie in its own right. Is that because it’s highly derivative of the narrative structure of the original film? Perhaps, but I think it’s equally important to point out how it differs and is therefore unique within the greater lexicon that is Star Wars. For instance, the character of Finn (John Boyega) as a deserting stormtrooper who lacks strong allegiance to either sets of institutional morals established in the film, but rather an admiration for the protagonist Rey (Daisy Ridley). Are there some echoes of Han Solo in that description? Sure, but I think Finn’s inherent optimism and desire to do good for the sake of others, rather than himself, make him (slightly) more likeable than Han (if only they paid off Finn’s arc in future movies ☹). But, I also really love The Force Awakens because of how much it reminds me of the original trilogy (specifically A New Hope). Less so for it’s specific easter eggs and homages and more for its tone, action, pace, and emotional core. From the chase with the Millennium Falcon through a wrecked Star Destroyer on Jakku to Han confronting his son Ben (Adam Driver) on Starkiller Base (leading to his death at his son’s hands), the disparate elements of the movie come together so well to serve as both a great invigoration of modern sensibilities for the franchise and a very entertaining reminder of why I love Star Wars (and why you should, too). Avengers: Infinity War (2018) and Avengers: Endgame (2019) In October of 2014, Marvel Studios announced a two-part sequel to the soon-to-be-released Avengers: Age of Ultron that would be released in 2018 and 2019, respectively. The next spring, brothers Anthony and Joe Russo (Captain America: The Winter Soldier, Captain America: Civil War) were announced as the directors for both films which would draw on the 1991 comic “The Infinity Gauntlet” by Jim Starlin and the 2013 comic “Infinity” by Jonathan Hickman. Initially referred to as “Part 1” and “Part 2,” producer Kevin Feige clarified that the films would be two “distinct” stories and thus would be retitled: the first would be called Avengers: Infinity War and the second would be called Avengers: Endgame. The films were shot back-to-back, with principal photography kicking off in late January of 2017 and spanning multiple locations from England, Scotland, and the Philippines to New York and Atlanta. With the budgets of both films exceeding 300 million dollars each, they rank #3 and #4 on the list of the most expensive films ever made (behind Pirates of the Caribbean: On Stranger Tides and Avengers: Age of Ultron). Avengers: Infinity War was released on April 27, 2018 to impressive box office returns and largely warm critical reception. Specifically, the writers and directors received praise for ably juggling such a large cast of superheroes while Josh Brolin’s motion-capture performance as Thanos received the most direct acclaim. The film was nominated (but did not win) for Best Visual Effects at the Academy Awards. Its sequel, Avengers: Endgame, was released approximately one year later on April 26, 2019 to even greater box-office success and critical approval, with particular attention being paid to the performances of the original six Avengers (Robert Downey, Jr., Scarlett Johansson, Chris Hemsworth, Jeremy Renner, Chris Evans, Mark Ruffalo) and it serving as the prime example of blockbuster filmmaking. Both films currently rank in the top-five highest-grossing films of all time (Infinity War at #5 and Endgame at #2), with the latter overcoming 2009’s Avatar as the highest-grossing film ever until Avatar was re-released overseas in recent months. For my extensive thoughts on both Infinity War and Endgame, click here. I will not rehash the points that I made in that blog about these two movies, but instead simply highlight my favorite moments from both films. First, to comment on Infinity War. In line with the theme of the Avengers being divided contributing to their loss against Thanos, I appreciate how our various heroes are split up throughout the entire runtime and never fully reunite (the closest to that is the Battle of Wakanda where four of the six original Avengers are present, along with several other heroes). In many ways, the narrative structure of Infinity War tends to have a breakneck pace as it jumps from one group of heroes to another thousands of miles away which makes for a super intense and engaging thrill ride with non-stop kinetic action. With my recent rewatch of the movie, I think that my favorite mini-fights are Thanos beating Hulk on the Asgardian ship (a great way to introduce Thanos’s physical prowess), Tony working with Dr. Strange, Wong, and Spider-Man against Ebony Maw (Tom Vaughn-Lawlor) and Cull Obsidian (Terry Notary) which does well to introduce the hyperinflated ego competition between Robert Downey, Jr. and Benedict Cumberbatch, and Tony, Dr. Strange and Spider-Man leading some of the Guardians of the Galaxy against Thanos on Titan (a super-fun combination of several different power sets that also showcases some great one-on-one battles). Of course, Infinity War is not without its hype moments. I particularly enjoy Thanos throwing a moon at Iron Man on Titan for its dramatic intensity, and Thor, Rocket Raccoon and Groot traveling on the Bifrost to Wakanda to wreck shit for its exhilarating euphoria. All in all, though, I appreciate Infinity War most for how it serves as the tonal and narrative tragedy for the Marvel Cinematic Universe at large: the heroes lose, the villain wins, and the audience has to accept that (at least for a little while). Now onto Endgame, which has its own plethora of amazing franchise-defining moments. First and foremost, the set-up and pay-off that is the “Time Heist.” Thanks to Scott Lang’s amateur understanding of quantum physics, the newly-formed, post-Thanos team of Avengers devise a method to travel back in time, retrieve the Infinity Stones at various times and places in the past, and using them to bring those dusted by Thanos back to their future. Of course, the film’s theory of time travel breaks most peoples’ brains as it does not line up with the rules of this fictional concept established in films like Back to the Future. (I love the scene of Professor Hulk explaining this to Lang and Rhodey who feel betrayed by their favorite 80s sci-fi movies). Admittedly, the emotional core of the film is focused on the original six Avengers. However, there are two smaller character moments that I want to point out. Every time I watch Endgame, I nearly choke up at seeing Scott Lang reunite with a now-young adult Cassie due to the sheer strength of their relationship as built in the first two Ant-Man films. The other moment is Nebula killing her past self, not only to save Gamora but also the Infinity Stones (and thus the universe). I appreciate the arc she has in this movie and look forward to seeing more of Nebula in Guardians of the Galaxy, Vol. 3. While not the most hype moment of Endgame, I have renewed appreciation for when the Avengers plan the “Time Heist” (particularly the comedic beats involving Lang and Thor). But then the “Time Heist” itself, which offers the best moments in 2012 New York with Captain America tricking the undercover H.Y.D.R.A. agents in the elevator and his fight with his younger self in Avengers Tower. Undoubtedly, however, the greatest hype of this film (and arguably in the whole Marvel Cinematic Universe) comes in the third act when 2014 Thanos arrives on present-day Earth to kill the Avengers. From Captain America finally lifting Mjolnir (much to Thor’s appreciation) and Sam Wilson/“Falcon” showing up by informing Cap that he’s “on your left,” this third act outdoes most third acts in modern cinematic history. Not to mention all the team-ups and reunions that just offer up all the excitement and emotion (I particularly love Iron Man and Pepper Potts/“Rescue” in aerial combat, Star-Lord’s less-than-ideal reunion with Gamora, and Captain America throwing Mjolnir for Spider-Man to catch and escape on). While certainly forced, I do respect the power-move of all the female heroes (in honor of Scarlett Johansson’s Black Widow) teaming up in one shot to show what the MCU has built over the past decade. If Infinity War is the “Empire Strikes Back” of the MCU, then Endgame is its “Return of the Jedi”―and I am more than okay with that. At the end of the day, the legacy of the “blockbuster” is (mostly) an impressive one. Certainly, there are some black spots early in its history with films like The Birth of a Nation and Gone with the Wind. However, as sensibilities evolved starting in the 1970s, audiences sought out action-oriented entertainment for their big-budget, summer flicks. From Jaws and Star Wars, E.T. and Indiana Jones to Jurassic Park and Titanic, The Lord of the Rings and The Avengers, the blockbusters of the future have a hefty legacy of solid entertainment to compete with. Where does this style of filmmaking go? Does it continue down the road of franchise-oriented flicks, or will we see the successors to Titanic and Avatar appear in the 2020s with identities of their own? Will they go the way that Joe Russo says in the quote that opened this blog: will blockbuster movies adopt the best attribute of television to become long-form storytelling? It’s hard to say, but whatever the case I am very excited to see what blockbusters show up over the course of the next decade and beyond. With all that being said, below are my top-five blockbusters that I have written about over the past couple of months spanning (almost) all of the decades that I discussed:
Which of these 2010s blockbuster films is your favorite? What other 2010s blockbusters that I did not mention here do you think are important? What opinions of mine do you find absolutely ridiculous? Let me know in the comments below. Until next time, this has been… Yours Truly, Amateur Analyst
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Austin McManusI have no academic or professional background in film production or criticism; I simply love watching and talking about movies. Archives
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