Word: speilberg
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There is no mistaking this movie as a Speilberg creation, even if the mass-market messiah is only one of three executive producers listed in the seemingly endless movie credits. Holmes is almost a Spielberg parody. Outrageously expensive special effects trot across the screen screaming aloud, "We cost millions to make you piss in your pants," as terminally cute characters engage in chaste romance and enormous props explode and collapse in a display of Hollywood consumerism so grotesque they make The Blues Brothers Movie look like a college thesis project...
Certainly, Speilberg's movies are exciting and amusing, and Holmes is no exception. The tricks and cutesy antics in Holmes are now archetypes, engraved in our minds from E.T. and Gremlins and irrelevant in the context of a 19th century Victorian detective drama...
...RARELY has there been such grace under velocity in a film. Speilberg and Lucas, of course, have the credentials to pull is off if anyone does. Lucas started out with American Graffiti before he hit upon the Star Wars saga, and Spielberg has made possibly the best thriller ever with Jaws before moving on to the constantly mutating Close Encounters, All of those movies managed to hold that line--exuding innocence without necessarily being shallow (though Star Wars, arguably, was not so successful at this). Spielberg and Lucas, along with Coppola, are the epitome of the new breed of film...
...contrast, Speilberg has telescoped the film's middle section, which describes Roy's ascent, through madness, to the space traveler's wave length-his alienation. Instead of inching away from his baffled family into the cocoon of his tran scendence, Roy breaks with them in an abrasively strong scene, a kind of group tantrum. At the end, Roy enters the starship, and this time the audience goes with him-for a brief survey of the ship's angelic multiterraced interior. Roy grins beatifically; the wooden husband has turned into a real boy. Pinocchio lives...