In the earlier film, that was the entire trajectory of the plot. This crazy ambition is an apparent in a key moment when the plots of this film and Olympus Has Fallen truly intersect: the president’s evacuation to his bunker, at which point the inside man is revealed and the hero must intervene.
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Only a director like Emmerich, popular for movies that set up disaster scenarios and then build on them toward a big and brash climax, could make a movie that uses its gargantuan size to critique its director’s style. Each insane development is equally hilarious in how ludicrous it is, and (in a twisted way) logical because the lunacy has focus and purpose. The genius is in how this all somehow feels entirely organic within the way James Vanderbilt’s screenplay leaves absolutely nothing to chance.
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In this case, we have a movie that starts as a fairly simple riff on Die Hard and keeps building on that simple premise until the President of the United States is leaning out of his limousine wielding a rocket launcher. What the film revealed itself to be proved another of Ebert’s valuable film criticism claims: that the point is not what a film is about but how. residence ahead of an important cabinet vote. On paper, there did not seem to be anything special about this iteration of the gimmick, either: Channing Tatum is John Cale, a security officer with ambitions to be on the Secret Service staff of the White House, a man who interferes with terrorist plans to take over the Pennsylvania Ave. Not only had we just seen that concept come to life in the easily inferior Olympus Has Fallen three months earlier, a month before that was the fourth (terrible) sequel to the John McClane classic that popularized that plot strategy. The director was Roland Emmerich, and this is the type of overtly earnest blockbuster that commonly made him the butt of several jokes-the concept was basically Die Hard in the White House. For if any action movie of the past decade could be described as one that builds upon itself in insanely ambitious ways, it was this one, yet the film also had everything working against it. The great critic died only two months before White House Down was released in June 2013, but one can imagine or hope that he would have gotten an enormous kick out of the film’s particular brand of grandiloquent lunacy. Roger Ebert once coined a moniker for a specific type of action picture, called the Bruised Forearm Movie, a film that kept building upon its own premise and spectacle until the forearm of one’s seatmate was bruised from the experience.