Netflix doesn’t make art; He makes products. They may pretend to be prestige by spreading the amazing artistic expressions of famous filmmakers – such as this year’s contender for the best film, The Power of the Dog – but it’s just a smokescreen. It’s a trick to try to get consumers to think that the company is committed to creating great works of art. In fact, the ones that bring in the most money, the most publicity, and the most attention are always safe, uninspired films that end up leaving no cultural mark unless they become mem.
The Adam Project, the latest in this endless factory line of boring corporate fever, seems to have been created by an algorithm. This is a combination of the worst in creating blockbusters over the past 5-10 years. Stupid pop songs that ultimately add nothing to the scene? Check it out. Dexterous, trying to be a clever joke between characters, even if it doesn’t match the characters or the tone of the scene? Check it out. Lighting, editing and composition of pictures that make it more like a TV show than a movie? Check it out. It never feels like some real choice has been made. Any decision as to how a film looks or was written seems to have been predetermined by the computer long before it began.
Lack of risk really becomes a problem in the story. For a film so focused on the plot, one would think that its narrative structure would be a little more intriguing. Indeed, the premise – a science fiction adventure that travels through time, where a person returns to the past to meet his young – seems to be rich in interesting twists, as it was in other films such as Ryan. Johnson «Buttonhole». Instead, it denotes a very basic three-act structure that strikes the story and emotional shocks we’ve seen a million times before. It’s safe. This is predictable. It’s sad. There is nothing wrong with this plot structure, but if there is almost nothing interesting thematically in the film, it really makes you wonder why it is first of all it was necessary to tell a concrete story.
It is becoming increasingly clear that success “Deadpool” influenced the creation of Hollywood blockbusters in all the worst ways. Ryan Reynolds (“Free Guy”) has made all the great non-franchise films that have come out in the last couple of years (see “Free Guy” and “Red Notice”). The humorous, ironic dialogue that has become a trademark of Reynolds, and the cinematic universe of Marvel have captured modern high-budget cinema. But it’s already tired by the time “Deadpool 2” came out in 2018. Now in a movie where every character – including 13-year-old Walker Scobel (debut) who does his best with bad stuff – is always in need To stay the last word, listening to how everyone says is exhausting and annoying.
While it’s nice to see that Hollywood will still spend a lot of money on making a film not based on existing property, all of these films suffer from the same problems the average franchise has been facing for some time: they’re not really original. When audiences demand more original mainstream films, they’re not talking about a departure from intellectual property; they talk about movies that take risks and try something new. In fact, from the existing franchise you can make a pretty great “original” movie (seeCrazy Max: The Road to Rage»). But for that, you need to make a bold choice, and since Netflix cares more about making money than creating art, it is very reluctant to take the risks needed to create a truly “original” high-budget film. It’s just the nature of business, unfortunately. This is hostile to creativity because the whole goal is to minimize risk. When you target the widest audience, it becomes very difficult to try things that can repel potential consumers.
“Project Adam” is not the case with the modern blockbuster. It makes the safest choice at every turn and as a result becomes a very boring end product. This is a film created for people who want to turn off their brains and mindlessly consume media. We, the audience, have to demand more from our art than to make it just entertainment. Unfortunately, as long as companies like Disney and Netflix are filming, big-budget filmmaking will remain nothing more than pointless, disinfected content.
You can contact daily art writer Mitchell Green at email@example.com.