A tweet from Mark Horowitz alerted me to this dissection of Steven Spielberg in Slate from a once and future admirer, named Bill Wyman (not THAT Bill Wyman, he must be tired of saying). For shorter discussion purposes, this list ranks all his movies from "The Sublime" down to "We're going to need a bigger boat. " (In the latter: "the Terminal" and "Always", which he likes less than the last Indiana Jones movie....). I liked this about Spielberg's effect on other, younger, directors:
In the last year, both Jon Favreau (Cowboys & Aliens) and J.J. Abrams (Super 8) have offered us Spielberg homages (in both cases, oddly enough, under the protective producership of Spielberg himself). Is it a coincidence that, in both cases, the directors delivered work far beneath what they are capable of? In Cowboys & Aliens, which could have taken Indiana Jones into a new world of genre mashups, a delicious premise starts out amiably enough, introducing a spectrum of characters one by one. But then the demands of showcasing the technology overwhelms the story. The characters become inconsistent and the plot becomes increasingly risible. (Wait—the aliens sent Daniel Craig back to earth with a secret weapon on his wrist that could blow up their spaceship?!)Super 8 is even weirder; it’s a deliberate homage to the Great Master’s work, right down to the camera flares that salute E.T. It starts with group of kids making movies, just like Spielberg himself did. Abrams elicits their charms and emotions effortlessly. But the movie’s second half is a drag; forced, arbitrary, noisy, and senseless, just like much of the later work of Spielberg himself. Abrams let his sensibilities be overwhelmed, just as Spielberg did—by the stiltedness of The Color Purple, the heavy-handed sentimental manipulations of Hook, the schlockiness of War Horse, or just the sheer noisome randomness of Minority Report or War of the Worlds. It’s almost as if Abrams’s unconsciously encoded into the film the arc of Spielberg’s career. It’s the story of a filmmaker whose talent for great pop art was too thin a foundation on which to build bigger things—and it’s ultimately an arc of failed promise.
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