Doomsday Blockbusters

A few years have gone by since the release of Rogue One, and it seems like it has had enough time to marinate and be evaluated for its place in the Star Wars universe. I’m comfortable saying it may be my favorite Star Wars film, or even property (including TV shows). Now that its director, Gareth Edwards, has a new film out, his body of work is being examined. A.A. Dowd writes for Digital Trends about the apocalyptic visions common in Edwards work.

Disney infamously wrested Rogue One away from Edwards late in the process; some estimates attribute nearly 40% of the finished film to screenwriter Tony Gilroy, who was brought in to handle reshoots. Yet one look at Edwards’ new movie, the original sci-fi epic The Creator, is enough to put questions of ownership to rest. These two event pictures, along with his 2014 Godzilla, offer a clear continuity of majestic, apocalyptic vision. Taken together, they establish Edwards as an anomaly in modern Hollywood, an orchestrator of genuinely spectacular spectacles. Watching his work, you may feel a sensation that’s gone largely missing in the age of CGI wonderment. It’s called awe.

I’ll go to the mat with anyone who doesn’t think the scene where Orson Krenic gazes up to see his machine of destruction, the Death Star — hovering over the planet Scarif, poised for annihilation — is one of the best in all of Star Wars.

It has been a while since I’ve been excited about a new movie, but I would really like to see Edward’s new one, The Creator.

Source: The Creator’s Gareth Edwards makes beautiful doomsday blockbusters like no one else

The databank on the plant Scarif from Rogue OneThe databank on the plant Scarif from Rogue One


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