IndianaJones and the Dial of Destiny is the latest example of how hard it is to make a sequel to a StevenSpielberg movie.
A few weeks ago, Disney offered the first real look at Indiana Jones and the Dial of Destiny, then premiering at the Cannes Film Festival, now in theaters everywhere.
Recommended Videos The problem isn’t so much what the scene is as what it isn’t. Watching it, you can’t help but compare it to its superficial inspiration: the moment in Raiders of the Lost Ark where Indy runs down the truck on horseback. Four decades later, that mad gallop is still a platonic ideal of how to block and film a chase. Every shot captures the action it depicts from the right distance and angle.
Has any series experienced a greater chasm between its highs and lows than Jaws? The sequels to Spielberg’s ultimate beach-blanket rampage are like a case study in immediate and drastically diminishing returns.
A related issue plagues most of the Jurassic Park sequels. Except that instead of relying too heavily on a practical monster, they lean too hard on the digital variety. Spielberg’s first Park might still be the essential special effects movie, because, like the park itself, it collided two eras: The director mixed the pinnacle of animatronics with the latest advances in CGI, creating continuity between them through careful shot selection. The T.
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