![]() ![]() In the 2010s, on the other hand, horror has been reborn as one of the only genres in which original dramas with provocative stories and bold conceits can be made on a reasonable budget, and go on to be embraced by critics and audiences alike. And there were countless cheesy efforts to sell old characters to new audiences, eg, Halloween: Resurrection, Freddy vs. The Blair Witch Project was imitated by far too many found-footage horror movies. The success of Saw and its annual sequels led to a spate of ‘torture porn’ films which were more disgusting than scary. The 2000s were a frighteningly bad decade for horror. ![]() It’s Stan Lee’s world the rest of us just live in it. Meanwhile, films which were theoretically in other genres, such as Hobbs & Shaw, Doctor Sleep and Frozen II, were really superhero movies in disguise, and every studio tried to copy Marvel’s ‘shared universe’ model, in which a bunch of separate films all took place in the same reality. Dare to admit that you’re not impressed, as Martin Scorsese and Ethan Hawke did, and prepare for the social-media avengers to assemble. But none of them can match the triumph of Marvel Studios, whose tidal wave of blockbusters swept all before it. Now it seems that a month can’t go by without Fox releasing an X-Men film, Sony releasing a Spider-Man film, or Warner releasing a film about Superman, Batman, Wonder Woman or the Joker. The Oscars might not be SoWhite from now on.įor those of us who grew up reading superhero comics back in the 20th Century, it’s been unsettling to see our geeky niche interest swelling like a gamma-irradiated nuclear physicist until it towered over the rest of mass entertainment. ![]() In the meantime, hits such as Creed, Black Panther and Spider-Man: Into The Spider-Verse reminded producers that non-Caucasian stars could attract mass audiences Moonlight won the Academy Award for best picture Mexican directors became Oscar regulars and racism was the theme of The Help, 12 Years a Slave, Django Unchained, Selma, Green Book, BlacKkKlansman, Harriet, and more. ![]() The lack of diversity in the 2015 Oscar nominations prompted the #OscarsSoWhite campaign Ghost in the Shell was condemned for casting Scarlett Johansson in a role which originated in Japan and Disney was careful to choose actors of Polynesian descent to voice Moana. Scott was sticking to the Hollywood tradition of white-washing, but he had fallen behind the times. I’m just not going to get financed.” And that would have been a tragedy, wouldn’t it? Imagine if Exodus: Gods and Kings hadn’t been financed! and say that my lead actor is Mohammad so-and-so from such-and-such. When it was pointed out that none of them looked especially Egyptian, Scott argued to Variety: “I can’t mount a film of this budget. When Ridley Scott was casting 2014 Biblical epic Exodus: Gods and Kings, he decided that the ideal people to play a group of Ancient Egyptians would be Christian Bale, Joel Edgerton, Sigourney Weaver and Aaron Paul. Let’s remember how revolutionary this decade was with our 10-point guide to film in the 2010s. Still, let’s not worry about the next decade just yet. But there is a good chance that, by 2030, a digital avatar of Marlon Brando will have starred as Spider-Man in an interactive virtual-reality adventure beamed directly into a corner of your brain owned by Netflix. It’s difficult to say whether cinema will even be around at the end of the 2020s, and what form it will take if it is. The film industry has been shaken up more in the 2010s than in almost any other decade – and the shockwaves haven’t subsided. The Irishman: Is this the end of the gangster movie? As for the cinema, why go there when you can catch a brand-new big-budget Hollywood movie on TV or your phone instead? maybe the set doesn’t exist, except on a computer screen. If you wanted to see a film, you went to the cinema and watched some actors delivering their lines on a meticulously constructed set. ![]()
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