As the curtain falls on another year of cinematic spectacles, it’s time to sift through the rubble of Hollywood’s latest offerings. One might wonder if the silver screen has lost its luster, with filmmakers churning out carbon copies of past glories or bold departures that end in narrative oblivion. The past year demonstrated this trend with a selection of films that tiptoed between brilliance and burdensome.
Edgar Wright’s “Running Man” kicked things off with a bang, crafting what seemed to be a promising action-packed voyage. The film boasted an initial 40 minutes dazzling enough to make even the most jaded action aficionado sit up and take notice. Yet, midway through, the plot seemingly surrendered to a laundry list of grievances, taking aim at everything from reality TV to wool scarves. Avoiding the cliché of a cohesive narrative, it instead paraded as an aggravating assault on modern society. Viewers found themselves puzzling over content that didn’t run much beyond superficial irritants.
Steven Soderbergh swooped in with “Black Bag,” an espionage flick that, refreshingly, exchanged espionage orthodoxies for domestic intrigue. Stars Cate Blanchett and Michael Fassbender lit up the screen as a glamorous married spy duo, all while juggling espionage with spousal squabbles. Soderbergh served up a lavish helping of style and substance, blending the perilous world of spycraft with the intricacies of love and marriage. The film looked as good as the plot felt, a testament to having mastered making the audience care about both international espionage and marital discord.
Turning to more eccentric fare, Ari Aster’s “Edington” found itself in the unenviable position of annoying its audience before it managed to endear itself. With Joaquin Phoenix at its helm, the film bravely tackled serious issues, notably the botched handling of a societal crisis. While hardly a partisan film, it shone a harsh light on the fumbling rhetoric surrounding controversial topics. Despite its bleak tone, “Edington” proved to be a contemplative piece, leaving viewers to digest its resonating aftermath rather than rejoice in mere cinematic escape.
Then there was “One Battle After Another” by Paul Thomas Anderson, offering a splash of left-wing romanticism marinated in violence. Despite its propensity to glamorize mayhem, the film showcased strong performances from Sean Penn and Leonardo DiCaprio. It may not have been morally palatable for all, yet its execution—no pun intended—remained skillful.
Finally, Brad Pitt’s high-octane “F1” under the direction of Joseph Kosinski brought some conservative fuel to the cinematic circuit. This film, a love letter to discipline and perseverance, stood out by seamlessly weaving core values into the adrenaline-pumped racing world. Indeed, its commitment to presenting characters who embraced traditional discipline hit a high note for those yearning for cinematic content that resonates with conservative values.
In a year filled with hits and misses, the films that rose to the occasion did so by daring to tell stories that were either delightfully or disturbingly offbeat. Whether cheering for the spy-couple dynamics or savoring the overture to discipline on the racing circuit, audiences found moments worth remembering amid the noise. And as always, the hope remains that next year’s productions will surpass mere escapism, pushing the envelope of storytelling, creativity, and maybe even a little more common sense.
