#Metro last light good ending moral points movie
The ecological disaster movie achieved a rare combination of critical acclaim and box office success (especially for what some consider to be a horror film) for good reasons- it's an exciting, funny, and hugely entertaining parable of the toxic havoc unleashed by humanity, with an excellent cast of memorable characters and fantastic special effects. The antithesis of subtlety, the movie is ridiculously over-the-top, and John Cusack is as enjoyable as always as the unlikely protagonist guiding the audience through one epically staged disaster sequence after another until positing that the only way to prevent global disaster is to unite together.īut alongside the hopeful fantasy of moral simplification and international unity embodied in the science fiction films, lurk the deepest anxieties about contemporary existence Besides these new anxieties about physical disaster, the prospect of universal mutilation and even annihilation, the science fiction films reflect powerful anxieties about the condition of the individual psyche.īefore Parasite was the first international film to win the Academy Award for Best Picture, Bong Joon-ho made an international breakthrough with The Host. Director Roland Emmerich continues to obsessively destroy cities and monuments, going ham here as he taps into the Mayan apocalyptic prophecies and unleashing two hours of straight disaster. Roger Ebert called 2012"the mother of all disaster movies (and the father, and the extended family)," not because it was high art but because of just how meticulous and intricate it was in its depiction of total destruction. Modern historical reality has greatly enlarged the imagination of disaster, and the protagonists-perhaps by the very nature of what is visited upon them-no longer seem wholly innocent.
Recent science fiction films have a decided grimness, bolstered by their much greater degree of visual credibility, which contrasts strongly with the older films. "Pursue your present course and face obliteration," the film admonishes. Like all great disaster films, it taps into contemporary anxieties like war and climate change the film serves the same function as it's invading aliens, warning humanity that disaster and possible extinction is highly likely if the species continues on its current trajectory.
#Metro last light good ending moral points update
One would imagine that a film with Keanu Reeves as an alien named Klaatu, a laser-eyed robot named Gort, and Kathy Bates as the Secretary of Defense would be silly entertainment, but it's decidedly grim here in Scott Derrickson's bizarre update of the 1951 classic The Day the Earth Stood Still. (Excerpts from Sontag's article will be seen throughout.) With so much of the future unknown, and disaster becoming socially ubiquitous, the following list of the best disaster movies of the 2000s may provide needed comfort for troubling times, or at least prepare people for what's even worse. The Cold War may have ended but the threat of nuclear destruction remained prevalent climate scientists began to strongly suggest that the world would fall apart if something wasn't environmentally adjusted 9/11 and the Iraq War initiated a seemingly endless, bloody conflict regarding 'global terrorism.' Interestingly enough, there was a massive uptick in disaster films after the unexpectedly enthusiastic success of Al Gore's climate change documentary An Inconvenient Truth, itself a kind of disaster film. The 2000s were a terrifying time, and the movies mirrored the decade. Related: 10 Best Apocalyptic Movies, Ranked The disaster film generally ends with disaster the apocalyptic film simply begins with it. The cinema of disaster, however, is invested in mindless natural disasters totally indifferent toward the human race, some destructive spectacle which can be stopped but will surely kill many in the process-these tend toward action-packed responses. Apocalyptic cinema deals with a certain irrevocable extinction due to the hubris of science and society or the invasion of other intelligent species-these are geared toward dramatic despair. Sontag defines disaster cinema as "concerned with the aesthetics of destruction, with the peculiar beauties to be found in wreaking havoc, making a mess." There is an important distinction to be made here between 'disaster' and 'apocalypse,' (along with the extensive genre of zombie cinema).
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