Every detail in the first act is a clumsily dropped breadcrumb to be used later on: a joke about Campbell’s character being terrible with technology, a kid’s asthma, a hi-tech tourist attraction high in the building … it’s all screenwriting 101. While it’s a far cry from actual representation for amputees on-screen (Johnson is able-bodied, after all), it’s a small step in the right direction.Įlsewhere, the script fails to make any real inroads towards that much-touted originality. The film kicks off with our hero experiencing some standard character-building trauma (as seen in Cliffhanger, Hostage, Along Came a Spider, etc), though in a somewhat unique touch it leaves our hero without a leg. Right from the opening scene, we’re locked into familiar, box-ticking territory. Even Universal has referenced this in the marketing, with posters mimicking both Die Hard and The Towering Inferno. But using the word original in the same sentence as Skyscraper feels ill-fitting, given that it’s such a shameless regurgitation of so many other films. Even Johnson himself sub-tweeted this, selling it as some sort of scrappy underdog.
SKYSCRAPER 2018 NETFLIX TV
Early tracking has suggested that Skyscraper will become the year’s biggest original hit, given that it’s a rare film with a $100m-plus budget that isn’t a sequel, a reboot, a remake or based on a TV show, a comic, a video game, a tweet or a discarded piece of food.
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