It is both poetic irony and a great shame that Tomorrowland shares two features with its fellow May 22, 2015 wide release, Gil Kenan’s Poltergeist remake. First, both films boast directors who are inordinately perfect for the films they were matched with. Second, in each case, that director didn’t do their job, or found themselves victims to outside interests. In both cases, the acquisition of the ideal candidate for shepherding a certain film did little to actually ensure said film was any good. If nothing else, this phenomenon tells us one thing: auteur theory, and the idea that a director can do anything to ensure their films will reflect the core of their talents and personhoods, ain’t everything when all is said and done. Continue reading →