Director Dive - Steven Spielberg: Part 3 'Healing and Passing Down to the Next Generation'

Welcome to Watch More Movies and today we are discussing arguably the most legendary American filmmaker to ever put a movie on screen, Steven Spielberg. His newest release, Disclosure Day, is now in theaters and today we round out his filmography; including the newest release!

With this series, I hope to visit or revisit all of a filmmakers work and discuss either themes, stories throughout their filmography; or just discuss their work as a whole

Whether you’re here for recommendations, nostalgia, or to argue about what should have made the list, you’re in the right place.

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Transcript

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Hello ladies and gentlemen. Welcome back to Watch More Movies. I'm your host, Ricky, and here we are at the final part three of three, Director Dive of Steven Spielberg. His newest release, Disclosure Day, is now in theaters everywhere. This third chapter in his filmography is a bit perplexing to me. It took me a while to kind of wrap my head around of what I think he wanted to do or say and feel with these films that he did. Of course, like the other two parts, he never definitively says what he these phases are about or indicates any intentionality with them. But to me, in my interpretation, this feels a lot like someone who wants his films and his stories to be a gift or lesson or torch being passed to the next generation of filmmakers and just next generation of people. Especially with one of his last films, he feels like he's telling the next generation of lessons to be learned and ways to carry themselves. When talking about the world at large, he still is heeding warnings of anti-violence, anti-war, despite how patriotic he is as a person, and learning to deal with your emotions and moving on from your troubled past. Or at the very least, trying to process all these things. So today we are starting this conclusion, at least his final film, in a franchise that he helped create and turn it into what's become. And that is Indiana Jones and the Kingdom of the Crystal Skull. Nearly 20 years after the Last Crusade, Spielberg returns to the world of in character of Indiana Jones. After a run-in with Russian-Soviet agents at the height of the Cold War, Indiana seeks out a crystal skull that an old colleague of his was in search of that can give unlimited power in the mythical city of Akator or Akator. This film gets a bad rap, and I just can't figure out why, because this really feels like a true Indiana Jones film that even with some ridiculous moments, seeing Harrison Ford play this character again with such passion, even more than Han Solo when he came back for that, is such a treat because you can tell how much he loves him at every single scene. His enthusiasm bleeds through every line of dialogue, and you can see his own maturing with the character. The set pieces are really well done here too, with the advanced VFX, but that also is a double-edged sword because some of it felt overly reliant and did go too far with the use of CGI. Of course, I'm referring to the monkey scene with Shia LaBeouf. Spielberg does film it to be entertaining, but it is a bit ridiculous, to be honest. Personally, I find this an entirely worthy sequel, Diana Jones, and for Spielberg, a bit of a send-off. It did not work out this way, especially with the reception, but you can see he wanted to pass a torch and move on from the character. Whether it was his intention to produce anything more with this world, it's very unclear. But Indiana having a son and having a happy ending here is something that he starts to show more of in these next nearly 20 years of his filmography. Three years later is 2011's The Adventures of Tintin. The Adventures of Tintin follows a young journalist, Tintin, and his dog Snowy, as he buys an old model ship. What he does not know is that the ship holds the key to a mysterious legend and treasure hidden away. The movement of the action has Spielberg written all over it, flowing movement in small spaces, gorgeous wide shots of landscapes, and tight up close scenarios of tense adventure. I don't think Spielberg wanted to make something with profound meaning in Tintin, although there are some deeper themes that you could explore. It truly feels though like a classic swashbuckling adventure that could reach a younger audience, especially at a time that sci-fi and superheroes were really taking off in the cultural zeitgeist. The choice to make it animated really is a smart move for this story. You can give the characters and situations a whimsical nature that simply wouldn't work in live action. It is an absolute joyous blast in a world that Spielberg and Peter Jackson created. Although adapted from nearly a hundred-year-old comic series, this feels wholly original and Spielberg's love letter to Indiana Jones, without wanting to, especially so soon, retread that character and something he would have wanted to make for children to have fun with, to give them their own Indiana Jones to grow up with. Given that it came out as his next film after the last Indiana film he directed, I really feel like he wanted to give this a send-off to just that type of story. He directed this, and Peter Jackson was supposed to direct the sequel, and I know nothing's been officially gone in production for years. They've said they're still working on it, but this feels like his, you know, his sort of like I said, send-off to that kind of story. Given that it isn't layered to the bone like a lot of his other work, and that's not negative by any means, there isn't really a ton of to say. But if you want another film that feels reminiscent of an Indiana Jones type adventure with the same kind of flair, the Adventures of Tintin is definitely one you should be checking out. Now, releasing in theaters just a few days later is Spielberg's next film, Warhorse. It is kind of marking a tradition in these eras, each of them, of Spielberg's overly sentimental and fluffy film, and that is Warhorse. It follows the story of the son of a farmer who buys a horse at auction for helping tend to his land. After much criticism from the town about this is the right horse for the type of job, the son develops a close bond with him and overcomes the impossible with his horse being able to plow. At the end of World War II, the military go through the town to buy product and equipment from townsfolk, and a soldier ends up buying the horse from his father. The rest of the film is about the son, Albert, and Joey, the horse, he names them, trying to make their way back to each other and find each other after being separated across Europe in the middle of the war. To me, this really was just not up my alley. I appreciate its heart and sentimentality and intention, but it just felt like a TV episode of something that really doesn't want to say much or do much. I know some people love it, but it really just was not my cup of tea. The performances felt overly eager at all times and over the top and joyous, and the choices all these characters make, even with some suspension of disbelief, are really far out there, and I just did not invite myself into them. It's an easy watch and entertaining at times with the war scenes, but never as a full story. And if that's your kind of cup of tea, then great, I hope you like it, but just it wasn't really for me. Next is Lincoln. Lincoln stars Daniel Day Lewis as President Abraham Lincoln in his second term in the midst of the Civil War, as he's on the verge of passing the 13th Amendment through Congress, abolishing slavery. Now, biopics, especially around this time, and with lots of them being super conventional, this is anything but Daniel Day Lewis gives such gravitas and power to this important figure in American history, but never making him feel like a caricature or in reenactment in some cheap thing. You really feel the gravity of this man, this larger-than-life figure that was so important to the history of this country. What him and Spielberg managed to do is to show you this larger-than-life figure is someone that everyone saw this way at the time and commanded the room whenever he was just present. The film itself really just wants to grapple with this tragic time when people still tried fighting for slavery to be legal and why politics playing into this was such a horrific thing. Never considering how these were people but just property to them. Even when some of them acknowledge this as an atrocious atrocity and how horrible it is, it comes back to, well, the southern economy will crumble and never once focuses it on them as humans. What I also love is that it doesn't let it show that Lincoln did everything himself, but had people with him who helped execute this plan and get the votes to abolish slavery. There were decent people in Washington who wanted to end this horrific time and knew the consequences of their career and lives for opposing it in the first place. While it is long, containing men and rooms talking about politics, it is riveting and feels like he's telling a giant story he always wanted to tell. It's something that he feels like he wanted to tell a younger generation and pass on these lessons to a younger audience about our history. It is a really high recommended if you've not seen it, if for nothing else than Daniel Day-Lewis as Abraham Lincoln. A few years later is 2015's Bridge of Spies. Bridge of Spies follows New York lawyer James Donovan, played by Tom Hanks, tasked with representing a man found to be a Soviet spy in the midst of the Cold War, while Russia has taken a U.S. citizen and a U.S. pilot hostage. While this takes time in its buildup and it isn't typical Spielberg, wondrous or bombastic, it is reserved and less tense than you might expect in a traditional sense. The espionage isn't something that he typically does in his war films, but it is very reminiscent to me in some moments and broad strokes of Munich, where there are a lot of things going on behind the scenes and you don't know about and the uncertainty is what creates the tension. Hanks is of course great, but Mark Rollins is absolutely terrific here and a real discovery. Someone who represents a reflection of a soldier for his country at a time where we are at all odds against Russia and communism, but the same could be said for all the same people on our side who are doing their duty without directly harming anyone and just being told what to do. Another theme I like that Spielberg plays with, especially in relation again to Munich, is the never-ending cycle of violence that plagues this mentality in politics and in the military. And the meaning of duty when every life is worth the same as the next. Another lesson I want I feel he wants us to learn that even in times of required war, to not forget that aspect that we should care for most is the lives of one another before anything else. Hanks really nails the sentiment in his role that's straightforward and I wish he had more to do, but nonetheless still nails it. It's a solid thriller, definitely not my favorite of his political thrillers, but still a really good uh movie and recommendation. Not even a full year later is 2016's The BFG, adapted from a ruled doll story. We follow Sophie, a 10-year-old orphan who is one night snatched from her foster home by an over 20-foot-tall giant who is self-named the BFG or Big Friendly Giant. Just like the adventures of Tintin, the BFG, Spielberg tries to recapture the magic of something he did before, like with E.T., but much less successfully. The giant country that the BFG is from is beautiful to look at and really interesting and cool, but the other giants are all just cookie-colored villains or goofy brainless henchmen. The heart of the story, the friendship between Sophie and the BFG, is endearing and believable, but everything outside of it just feels very silly and not wondrous as you would like to be throughout the entire runtime. Give or take one or two scenes that do capture that. The third X itself warrants this my opinion on this and just comes out of left field and is very out there, closer to a cartoon than it is anything else. I do like the visuals, the relationship between the BFG and Sophie, but once we get back into the real world, it just falls off the rails even more. This had a lot of potential to be something special for a new generation, but it falls so falls so short of that that I just was not a fan of it. Next is 2017's The Post. The Post follows the staff of the Washington Post in the midst of the Vietnam War as they uncovered documents that the government has been lying to the American people about the extent of our involvement, the necessary involvement, and how much of it was our fault to begin with, resulting in the loss of thousands of lives. Starring Tom Hanks, Meryl Streep, and many others, this is a solid enough journalism thriller. I think it was not as high up for me as, say, something like Spotlight or Dark Waters. It gives a bigger scope to the topic at hand and gets you upset at all the political factors into play. I just did not find much personal connection to it, despite the subject matter being something to have strong feelings for. I think at times it plays the story way too safe or conventional and wants to get this message but be also emotionally engaging, but can't commit to one or the other. Each of these ideas he tries to tackle are engaging and work on their own. They just did not work as well together for me. What I love is another idea he did successfully get across is that he wants to show us how the government at the time showed its cracks and true colors when it came to lying to us about global conflicts that we're a part of. And no matter the scare tactics that they try to use, the people and press should never give up telling the truth because that can only lead to fascism and when the press can't even report factual things despite having evidence. It worked in broad strokes, but felt formulaic and very easy, which is not something Spielberg always does. Still a very soft recommendation for an easy watch, but not his strongest outing in this era or in this sort of genre. Now going completely in the other direction with his sci-fi film is 2018's Ready Player 1, based on the acclaimed novel. Ready Player 1 takes place in the future where virtual reality is the escape for everyone's lives. After the death of the creator of this game in this virtual world known as the Oasis, he leaves behind a contest that will see the winner take ownership of the entire game and inherit all of his stake in it. Ready Player 1 is a lot more divisive than I realized, but I personally adore it. While yes, it does take a lot, and I mean a lot of IP, and use it for audiences to go, look at it is this thing I know the reference for, the thing I love. Spielberg makes it work, and to be frank, it does fit into part of the story. I have never played it, but it feels a lot like Fortnite the movie, and this is the closest we'll ever get to something like that, and someone actually making it work. He uses a lot of his wonder and awe, but brings it to a new generation on their home turf. Virtual reality and video games. The characters say as much, but the idea that you can be anyone and feel like more than you see yourself in this world, it is something palpable to everyone. While a lot of the references in IP used are for eye candy for people, I love how Spielberg utilizes them to not feel like all the time. For example, the use of the Shining and putting the characters in the Shining is genius and really adds to its story and uses Kubrick's atmosphere to enhance the set pieces, but never feel like a retread. Ready Player 1 feels like Spielberg's introduction himself to the video game world. He himself said as much that he loves playing Call of Duty games, but the lead character, Wade Watts, feels like himself talking to people about how the online environment has turned into and what we have to remember now to not to count your life or dedicate your every waking moment to it, and that it can be something wonderful if we all treated it with as such or in moderation. The ending kind of fits this narrative, and I love that it does not feel like a condemnation of this, but a joyous thing that it can be, that he you know praises, and how sort of be to be responsible with it. A total blast sci-fi adventure that brings back a lot of Spielberg magic into this new world. 2021's Westside story, see Spielberg remake in a classic film 60 years after the original. We follow two rival gangs, the Puerto Rican Sharks and the White American Jets, are head-to-head with each other over territory within this small radius of New York. When one of the former members of the Jets, Tony, played by Ansel Elgort, falls in love with the sister of the leader of the Sharks, Maria, played by Rachel Zegler, their love complicates and escalates tension between the gangs to an all-time high. Spielberg's adaptation or remake is not one that ever needed to be made, but if you're going to do it, he's probably one of the very few directors that could be hired and instilled confidence with anyone that it will be good at all. When I first saw it, I was very lukewarm to positive on it, admiring more than loving or liking. That was not the case with second viewing, as I admired and loved it so much more. Aside from the obvious cringiness of seeing Ansel Elgore on screen again, I don't really want to talk about that performance so as to give that much attention to him as an actor. But the cast all around is absolutely terrific. I love the time period, and sometimes over-the-topness took me out, you know, on the first viewing, but it absolutely works. The standouts for me were Mike Faced and Ariana DeBose. Of course, she went out to win the Academy Awards, so no surprise that she was great. But Faced is also someone who has seemingly an over-the-top performance to give while also being layered and expressive through his eyes and movements that isn't spoon-fed to the audience. I will say all the actors who have musical numbers to perform in absolutely knock it out of the park. The standout scenes being the dance at the gym and the song America. The choreography, production design, and camera work are all jaw-dropping and perfectly mesh with Spielberg's signature movement that just fit like loves. The themes here of racism, even some trans or non-binary issues being touched on are all very mature for someone of Spielberg's stature and age to tackle. While I do think some of them maybe were a bit middle ground and feel fair to both sides, I do think he handled it as best as he could. That being said, a scene in the film involving Anita, you know, Ariana DeBose, and the group of Jets is heartbreaking and so hard to watch. Hands down, the most well done and emotional scene of the film that wasn't a musical number. I really appreciated Spielberg's maturity. Obviously, he's much older, so you would hope that to do something like this and keep the core themes and not try to completely go the other way with it. You can see him trying to communicate to us these things and feelings and people had back in the day and show why it's obviously not a good thing to be like that and it doesn't benefit anyone at all. Much like Munich, anger, violence, and revenge only get you more death and revenge and anger and violence. This is a really underappreciated film that I obviously came out shortly after COVID, but I really wish it had done better in the box office because it absolutely deserved to. As we near the end of this chapter of Steven Spielberg's career, he directs a film that could very easily be his last. At least make it make sense in the terms of the content of the film. It is 2022's The Fablements. This is a nearly complete autobiography of Spielberg's childhood from the first moments of being inspired to make films, dealing with his parents' marital issues, the anti-Semitism he faced, falling in love and having his first heartbreak. All this gets through told in his life and through Sammy Fableman in Gabriel LaBelle's breakout role as a surrogate for Spielberg himself. Also starring Paul Dano as his father, Michelle Williams as his mother, and Seth Rogan as his uncle's slash parents' best friend. Another of Spielbergs that I was lukewarm to positive on in my first viewing, and have come around to being much more positive upon rewatch. I didn't go over the moon for it like I thought I would, like I did with West Side's story, but nonetheless, this is something that shows someone directing essentially his life story in the most vulnerable way possible and tackling the issues he faced with his mother and father individually, especially his mother. This is an emotional story as you follow this child go through inspiration, hope, betrayal, and heartbreak, just like all the emotions and some things we go through at that age growing up. Someone that had hoped to do something he loved and wanted to pursue, but never feeling like he got support from the person he needed validation from the most, while at the same time getting all the love and support for your passion from the person you want it least from or are the most mad at. The film is shot beautifully and gives you the inspiration to want to do something creative and follow your own passions. I think if your takeaway from this is a straightforward story about growing up and not much else, try rewatching it and reading, you know, reading some you know good pieces on it. It helped me a lot after the first viewing because I did not see it much more than that. After second viewing and reading into it, I saw it much more as a man wanting to strip away and conduct his own therapy into his art. Straight ahead, no metaphors or symbolism, like he's done so well with his other phones. It is someone who wants to show you his life, raw and unfiltered, but never demonizes anyone in it or that causes him the pain. Such a beautiful way to tell your own story, and I really hope more people check it out. It also did not do very Well at the box office, so I hope over the years everyone can watch it and reflect a bit and really take some lessons from it as well. Now to his newest release in theaters, Disclosure Day. Disclosure Day follows Daniel Kellner as he's about to expose the secrets that a large company and the government have been covering up for decades about extraterrestrial life and that extraterrestrial life having already been on Earth. This, while still good, was a pretty big letdown for me. The things that worked well really worked in the Spielberg sci-fi realm. The things that did not work really did not work well whatsoever for me. What I liked is everything we follow with Daniel Kellner, played by Joshua Connor. He was a great, really great actor for this role, has a really great leading man potential for these types of films. His character is just someone who has a checkered past but wants to do right by himself and the world by not letting any secrets to be kept in the dark any longer. I like what he wanted to tackle around the genre. The film almost starts out in similar ways to Close Encounters and has strokes that are also similar. But here it's not asking the question, are we alone in the universe? It's asking, Well, would human civilization go crazy and turn on each other to find out that we aren't alone? It is already dealing with government lies in ways that his other films, like Munich, The Post, or British Spies did, just in a very different subject matter that impacts the entire world, not just America or its standalone country. It's a subject of. What does not work so much for me is the execution. Of course, I'm not someone who expects everything to be spoon fed answers or resolution. Not at all. But it fails to really even poke at these themes it's trying to interrogate. It's a lot of buildup for not so much payoff and even the slightest. Even when we take a slow-down break and sidetrack to ask how the religious aspect of people of Earth would feel about deities probably more powerful than us being real and what we have believed in God this entire time and how that affects us. There is so much at play that it does not feel like it addresses in sufficient ways that were at least satisfying for me. Disclosure day could have easily been trimmed by 20, 30 minutes and a few characters taken out. I feel like from point A to B took too many routes and did not need to. I will say when I go into a Spielberg Alien film, I have a certain idea or expectation to get this wondrous or larger than life feeling of the unknown. The third act certainly did that for me, and it's exactly what I wanted out of it. It's just a shame that the rest did not work for me as much as I would hope it would have. Now that is it for this three-part director dive series for the one and only Steven Spielberg. This has been a huge blast to go through when you visit and some of them for the first time. If you follow me on Letterboxd, Ricky D, now that the final part of this series is up, I have a list on my profile of all the Steven Spielberg films talked about, fully ranked, top to bottom. Next week I'll be talking about Toy Story 5 and talk about all the Pixar films and give you my personal ranking of them. That's also been quite a journey to go through. If you're watching on YouTube, like, comment, and subscribe. If you're listening on Spotify or Apple Podcasts, rate and subscribe. These things help out the show so much. So until next time, watch more movies.