A thoughtful piece on how action movies have given in to Chaos Choreography.
“The Wolverine” is many things—another piece of Marvel’s big-screen superhero puzzle, a sturdy vehicle for Hugh Jackman’s soulful ferocity, a moderately gripping fish-out-of-water story of self-discovery and redemption. Yet just as important, it’s an action film helmed by a director who is, by any reasonable measure, not an action director. Although he’s staged solid, classically conceived action in “3:10 to Yuma” and “Copland,” he’s better known as an actor’s director, more at home with the intimacy of “Girl, Interrupted” and “Walk the Line.”
By employing directors with backgrounds in drama, the studios hope action-heavy films will be infused with greater depth. The catch, however, is that drama directors are usually inexperienced at, and thus incapable of, properly handling their material that is the film’s main selling point, or one of them.
The full post is at roger ebert.