Cult filmmaker and director Steven Spielberg has lots of films under his belt which streaks from literary, historical drama, to thrillers that were bold, across many genres. One of his most recent films, Ready Player One, a pop-culture-oriented name adapted from Ernest Cline's original book of the same name was extremely successful raking in over US$475.1 million worldwide since its release. His second movie is a brand new Indiana Jones and following this, a film adaptation of DC Comics' Blackhawk, that will mark his first foray into the superhero genre.
Let's take a peek at the ones that are underwhelming, in addition to some of Spielberg's directing masterpieces. Listed in no particular order.
Fresh off the top ten records, Ready Player One drew some criticism from the movie-watching community for portraying pop culture at a shallow way. While the character development and storyline could do with more detail, there is no denying that this easter egg festival was topnotch concerning cinematography, and its magnificent VFX functions as one of Spielberg's greatest works in that department.
The historical drama epic did an outstanding job at encapsulating the basis of the life of the previous President, without the harsh prognosis that's often connected to the master director's functions of the drama genre. Casting Daniel Day-Lewis as the considerate lead definitely did justice to the title character, and the entire concoction of camera work, well-paced storyline, and a powerful outfit makes Lincoln a highly-memorable watch.
Despair is strong in this one. Focusing on the horrors of the Holocaust, Schindler's List catches the scope of the human tragedy and puts forth the question of humanity to the desk. It but the narrative could have been fortified with resonant topics or characters. However, a respectable effort.
An interesting premise and expertly-crafted storytelling set up this crime movie for success. Despite its focus on the art of deception, the film goes beyond that to tell the story of a wounded kid torn under the disguise of a cheerful veneer, apart from the family play that is gloomy. If there's 1 complaint about it, however, it is the lead-up into the end was too long, but nonetheless, Catch Me If You Can is much more than deserving of all the respect it's garnered.
Before Dunkirk, there was Saving Private Ryan. A story of loss, grief, triumph, and hope, it is largely regarded for its notable portrayal of warfare around among the best war films. The film's first 27 minutes has gained fame for its merciless intensity of the Omaha Beach assault, and that nature proceeds to carry through to the end.
Inspired by Philip K. Dick's short story The Minority Report, the neo-noir film set the bar to get more sci-fi works to come from the 2000s era. An excellent balance of catastrophe, fate, and reconciliation, Minority Report was a poignant portrait of a society that has lost its moorings. It is a shame about the lazy, cliche ending that robbed the movie of being the movie, but it did indeed prove Spielberg's superb ability to capture the zeitgeist's paranoia and surveillance civilization.
The true Indiana Jones movie, Raiders of the Lost Ark had all of the makings of the best adventure film: a powerful throw lead (Harrison Ford), masterfully-executed activity, light-hearted humor, sophisticated SFX (for this time), and last but not least, fully fleshed-out characters. The following installments never did quite hold a candle to this masterpiece that is the 80s, so it would be reasonable to say the film likely remains one of Spielberg's biggest pride.
Who has guessed that a dinosaur theme park's concept is going to end up among the classics in history? Jurassic Park's a crazy ride through and through, where the sense of discovery and wonder runs strong. While it may appear to be another standard monster-wrecks-humanity film, it really calls out the need to satisfy their hubris and person's disrespect for nature. A fantastic blockbuster is undiminished by time, indeed.
Before E.T the Extra-Terrestrial, the portrayal of outer space beings has always skewed towards the negative side, therefore it came as a nice surprise to see one that is equipped to form a strong and warm relationship with people. The real beauty of E.T, however, lies in the fact that it is as much of a kids' show as it is an adult movie, covering many important values such as trust, family members, respecting of one's childhood dreams, and house ("E.T. phone house").
Jaws, despite its focus on the monstrous, horrifying sharks, is at its heart a movie that lives and breathes its character minutes. It is also the first Hollywood blockbuster film, in that it described the notion and described Hollywood that no single director has. Yes, there are moments in which crowds have jumped from their seats because of a sudden shark strike on screen, and yes, the consequences are spectacular to get a film of its time, but the real magic is bringing all of these elements for a memorable, riveting viewing experience that's not yet been beaten from the trials of time.
He flounders occasionally, although the master director might be the best in his job. Since he mentors a pilot, all of the while watching him fall in love A romantic comedy-drama film, the story follows the soul of a newly deceased pilot. It has got a premise and also many cheesy elements, making it a mess. To provide Spielberg the credit he deserves for diving into a new land, Consistently really isn't that bad, only very, very underwhelming from him whose skills pool definitely does not include the romance genre.
The fourth Indiana Jones was not worth the long wait for fans for a few reasons. For one, it ended up more of a mockery than a genuine adventure movie; two, it was awfully dull, lacking the simple lightness of Raiders and Indiana Jones and the Last Crusade, as well as the dark overtones of both Temple of Doom; and last, the casting of Shia LeBeouf as Indy's son was a mistake. Boo. Perhaps you have heard the phrase nuked the refrigerator? Guess where it came out?
Quite perhaps Spielberg's worst directing attempt up to now, 1941 marks some of the filmmaker's thread into foreign waters, but same as Always, it was an unfortunate flop. Meant to communicate levity to audiences, the comedy ended up more exhausting than it's comical, with humor substituting the bliss that comes with his works. Perhaps it's the overuse of running gags or the overly-try hard nature of the jokes -- either way, 1941 is far from a true index of the director's ability.
Spielberg has continued to grow, and inaugurate cinematic movements and innovations over his close five-decade-long career. The films listed above show why he's the very deserving recipient of The King of Hollywood title -- and the fact he has broken the US$10 billion mark for most directors is simply further proof of this.