Watching Pacific Rim last Friday made me wonder: What constitutes a 21st century sci-fi “game changer”? What determines the kind of movie that gets labeled “instantly iconic” or “revolutionary,” that accumulates a fandom by the end of its first weekend in release? Pacific Rim, for example—whose goofy kid-in-a-bathtub mayhem I really enjoyed—struck me as kin to a couple of other recent movies, Avatar and Inception. Here’s what the three have in common:
- They’re written and directed by men with considerable nerd cachet. (Co-written, in the case of Pacific Rim.) They all started life as “original” projects, but are banking on audience members’ knowledge of their auteurs—and willingness to see anything from the mind behind Aliens, The Dark Knight, or Pan’s Labyrinth.
- That “original” status. Although all three draw heavily from their sci-fi forebears, they’re brand new properties, with minimalist titles calculated to tease. At least prior to their respective releases, they all looked new, mysterious, and intriguing.
- The near-future worlds crafted for these movies are all dependent on CGI for their size and detail. Each of these worlds also centers on a series of conceits—e.g. avatars, dream theft, drifting—meant to hook the viewer, with “rules” which must be explained via endless exposition.
- Brooding, recently bereaved white men headline these movies, each of them leading a team on a redemptive mission. Outside of a few minor flourishes in Inception, they’re all very conventionally plotted, with conflicts that are easy to grab hold of: “natives vs. imperialists,” “thieves vs. the mind,” and of course “robots vs. monsters.”
- As decidedly PG-13 action movies, they lack any sexuality (beyond a single chaste scene in Avatar) or graphic violence. They disengage from the reality of human bodies, opting to make them one more glossy component of these digital fantasy worlds instead.
- Given their shared interest in charting the mind’s interior and playing with characters’ identities, they’re all indebted to the work of Philip K. Dick, as well as to The Matrix—their most obvious predecessor as far as conceit-driven sci-fi sagas go.
None of these traits are inherently negative, but together they do lay out some very narrow parameters for Event Movie sci-fi. I don’t expect to be blowing any minds here, but given how familiar these three films’ stories, ideas, and visual grammar are from countless earlier movies, maybe (just maybe) “game-changing” has less to do with content and more to do with packaging.