These days you’ll find no shortage of movie pundits, of …
The camera in J.J. Abrams’ Star Trek: Into Darkness often operates as though it were a satellite in space – at times orbiting actors, but not as tightly bound to the laws of gravity. In the first shot, the camera is entering a colorful planet’s atmosphere, slowing down as it catches wind resistance and using its zoom to call attention to some ruckus happening on the ground – a very literal approach to dropping the audience into the middle of the action.
There comes a time when all things must come to a close, and when it happens all one can truly hope for is that this closure in some way lends the satisfaction to assuage the loss. It seems like a strange notion now, when every fictional story has to have an “epic conclusion” whether it be Batman, Lost or Harry Potter, but there used to be a time when one could wrap up a fable by essentially allowing it to continue off-camera.