Steven Spielberg’s film is a display of means and good action until the time comes to end the story and, instead of picking up the spirit of Philip K. Dick’s story, decides to mess it up and take all the meaning out of the story. Originally the writer conceived the denouement of Minority report as a dilemma in which the protagonist, John Anderton, must commit the murder that the Precogs have seen and recognize that the Precrime corps is infallible, or throw everything down while avoiding committing the crime, which would mean the end of that system.
The movie messes things up by bringing in an evidence-rigging Precrime boss (and the Precogs) and completely doing away with that anthology ending contemplated in Philip K. Dick’s novel. a pity
The film starring Will Smith has very interesting moments but, unfortunately and as in the case of Minority reportmove away from the original text, where everything makes sense and the ending is anthological. Richard Matheson’s novel ends with a revelation that leaves the reader speechless since we see how our protagonist is the only living human being while all the others are vampires (zombies in the movie).
And what does that mean? Well, the real threat is not the vampires, who live in their own way, but that human who is the monster that attacks them during the day and causes havoc and terror among those who are now the majority population in the world. The film, as you may remember, concludes with the protagonist discovering an antidote to that infection zombie and giving it to a woman who manages to escape and find other survivors. I mean, a total nonsense.
Open your eyes
Alejandro Amenábar’s film was a resounding success that demonstrated his talent for making films. The problem of Open your eyes is that there is a time when things have become so entangled that there is no choice but for someone to come out and explain to us what we have seen. That takes place on the roof of the Torre Picasso in Madrid, in the final sequence, where the protagonist decides to put an end to the nightmare.
The flaw in that outcome is that, Without that explanation, no one would have known what was going on. in the film so, just as Amenábar chooses to tell us the story of cryogenization, anything else could have fit in without anyone missing that story. a pity
Indiana Jones and the Kingdom of the Crystal Skull
Many fans were quite angry with the end of this fourth installment of the Indiana Jones adventures, for closing all the unknowns and not giving room for other theories or future arguments since it explains everything thanks to the presence of a huge spaceship hidden in a temple that, at the end of the film, shoots out into space.
For many, that decision was not in tune with what was seen in the first three films and was too simplistic, even in the design of the UFO, which looks like something out of a B movie from the 50s of the last century. In this case, there was a certain division of opinions, but connecting the Indiana Jones universe with the fashions of the decade in which it takes place was not bad either… or was it?
War of the Worlds
It seems that Steven Spielberg continues to dominate this top list of disappointing endings and, this time, we return to his filmography with War of the Worlds. here the problem It’s not so much the way they kill the invaders (a virus), like that tendency of the director to sentimentality and for things to end well, at least for the protagonist and his entire family who, after experiencing authentic episodes of horrific horror with thousands of deaths, come out unscathed and safe in the end.
Neither the wife nor the children of Tom Cruise (Ray Ferrier in the film) suffer a scratch while practically half of humanity is disintegrated in massive attacks on towns and cities around the world. Hopefully one day Spielberg will explain to us how something like this can happen, even statistically…
Star Wars Episode IX The Rise of Skywalker
We are certainly before one of those endings that put the community on a war footing starwarera: A clone of the Emperor in the last installment? That the protagonist of the new movies is his granddaughter? That in the end Kylo Ren becomes Ben Solo as if he were a new Anakin Skywalker in Return of the Jedi and joins his power to that of Rey? What manage to defeat the tyrant uniting the two lineages protagonists of the nine films?
Wait, wait for us to assimilate it. Nope, we don’t like this ending and of course we doubt very much that anyone remembers it with the same delight that we experienced the Emperor’s first death in Episode VI after falling down the Death Star shaft at the hands of Darth Vader. Don’t you think?
This film is a little nonsense that doesn’t even wait until the end to disappoint us because, when we go to see it at the cinema, we expect it to be about one thing, and suddenly it turns around and is about another. In this case we don’t want to blow you away what happens, in case you decide to give it a chance and live in first person that anger of seeing what the scriptwriters have devised, but if halfway through the film we can consider it to be the end, this Loss will disappoint you like few others. How awful!
With all the love that we have for Christopher Nolan for his superb work in each of his films, and the enormous efforts he makes to show original narrations, this British film is a sample of his talent. Although in the end I throw everything down a bit and resort to a hackneyed topic to leave us with honey on our lips, leaving us not knowing if what Dominick Cobb is experiencing is reality or a dream.
Is that pendulum spinning without falling the evidence that the protagonist has not managed to escape and reality is far, far away? Or does that last hint of falling mean the opposite? Perhaps that lack of definition is genius, but many viewers were left wanting to have a real confirmation of what ends up happening to the protagonist…