Citadel and Ghosted are just two recent failures in a genre that can’t catch a break
that making movies for streamers means making very different artistic choices because of the numbers which the studios have to hand.
“You can’t make a film for streaming the same way you make a theatrical. You can’t. There’s different metrics and there’s a different approach.” Fletcher talked about a long sequence he’d put at the opening of, with de Armas driving through mountains as a nod to the opening of the 1978 comedy-thriller“They said you can’t, because if it goes on and nothing happens in the first 30 seconds, we know the data shows that people will just turn off. I’m like well, OK, I don’t want that.
That compromise can kill a movie’s chance of being halfway decent. It matters even more with spy stories because the landing zone for a decent one is so incredibly small. We’re not making an earnest coming of age film set in rural France, where if you put in enough pregnant pauses you’ll probably get at least three stars.
There’s a particular sweet spot where the plotting is tricksy enough, the heroes sufficiently unique and engaging, and the action bits the right degree of wild. All the interesting spy movies of recent years have been meticulous, finely wrought things.might not look or move the same, but they worked because they were trying to make their own film, not bodge together bits of other people’s.
A rubbish spy film is no more frustrating and disappointing than most other rubbish films. But the really galling thing about this run of dud spy flicks? They’re being made with very low audience expectations in mind, as though their faults can be papered over with celebs, bullet cases and heavy marketing. But now, like a subpar spy in a sticky situation, their cover is blown.
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