Out of the top ten highest-grossing films of 2014, nine were either sequels or reboots for franchises already long-established – the remaining film was Christopher Nolan’s Interstellar. With the current film industry an unarguable golden age for comic book adaptations, it’s become customary for most studios to play it safe and rely on audience familiarity to sell their productions. And it’s unfortunate – original stories like Edge of Tomorrow end up suffering in sales as a result while at the same time gaining critical acclaim (Edge of Tomorrow was even retitled Live Die Repeat around the time of its home video release in an attempt to re-market the film).
Given the criticisms warranted towards Interstellar (Oh man, that dialogue…), it was still refreshing to see a new, original, and all-around good science fiction film become a box-office blockbuster in the middle of Oscar season. For directors not as well-known as Nolan, making a film like that is a particular risk when taking sales into account; back in 2013, Director Joseph Kosinski took that exact risk with the release of his second film. After his debut with Tron: Legacy, Kosinski brought the cinematographer Claudio Miranda on board once more for a story he’d been working on since 2005. The result was a film released eight years later, titled Oblivion.