And unsurprisingly, a genre predicated on the ultimate worst-case scenario has tended to reflect the anxieties of the time. We’ve seen it carried out by deranged scientists and comic-book villains, by robot uprising and cosmic collision, by viral outbreak and biblical flood, by dragons, birds and talking monkeys. The more muted end-times films have been generally been left to less popcorn-hungry countries like Russia ( The Sacrifice), France ( Time of the Wolf, Delicatessen) and Canada ( Last Night).īut the mainstream movie industry has nonetheless made sure that even the most casual filmgoer will be well used to witnessing humanity’s spectacular destruction. Historically, though, they have largely come in the form of razzle-dazzle showstoppers, be it during the original disaster-movie boom, with titles like When Worlds Collide, or more recent CGI-fuelled fare such as The Day After Tomorrow. Why the sudden change? After all, existential catastrophe is hardly a new subject for Hollywood, which has been churning out such tales for the best part of a century. Running from McCarthy … The Invasion of the Body Snatchers.
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