The Abyss

Cameron understands each individual emotion so perfectly, almost humanly, that you have to give in.

James Cameron’s another sci-fi adventure surprisingly doesn’t resemble with Ridley Scott’s Alien but Steven Spielberg’s Close Encounters Of The Third Kind; I know that’s a lot of name drops, but I am going to try and write about the film with as many references as possible. Like how the film also resembles with Danny Boyle’s 28 Days Later in the sense that nature doesn’t behave as an evil entity (just as Anne Hathaway whispers it beautifully in Interstellar) but by the humans at the point of crisis.

And it is simply moving to see a visual galore like such, fit in both socially and politically. Usually you’d have to enter a different screening for that amount of drama. Speaking of drama, Cameron is monetizing the film by doing something impossible even for now, I am not even going over the fact at what year was this released. Perhaps this has always been his style or motto or identity, he has always been ahead of both the technology and expectations of a movie goer.

If he has kept his arms tied on pushing the boundaries as a narrator, he certainly directs then, all his guns towards the embroidery of that iconic fabric. While making such green screen CGI mashup, Spielberg has always said that he prioritizes his animation on having emotional bond with the audience. And Cameron with his wit is weaving a nail-biting drama from such technical aspects that you wouldn’t expect it to be anything beyond a distraction or a matter of panache. There is celebration with that technology, but surfing for almost three hours, he terrorizes the textual communication that we are told, comes from The Abyss. Now walking in the dark alone is really scary, but someone or something strange present in that darkness is on a whole new level.

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