4DX falls squarely within — and furthers — this tradition. It jostles your seat, which is larger and more like something you might buy at Brookstone than your typical movie theater seat, and sends you bumping along as Vin Diesel and his Furious co-stars race through the streets of various global metropolises. When the camera tilts, the seats often tilt with it, and an early set of shots of the blue ocean waves is accompanied by a gentle rocking motion that made me a little sleepy.
Every so often, little puffs of air burst by your face to accentuate, say, gunfire or a big explosion. On your 4DX armrest, there’s an option to “turn water off,” but Fate of the Furiousis not an especially wet movie, so I did not get sprayed once. But other effects are also possible: Guardians of the Galaxy Vol. 2 director James Gunn has promised “snow and bubbles” for his film when screened in 4DX.
–Todd VanDerWerff, How can movie theaters compete with your living room? By building a better living room.
This sounds horrible. Why in the name of everything holy would I want to go to a cinema, of all places, and have to figure out how to “turn water off?” A bidet belongs in a bathroom, not movie theater. No doubt the “turn water off” option will be available exclusively on a smartphone app. I’d have to ask someone from the “smartphone section” to hack my seat for me. Ugh.
VanDerWerff gets it right at the end of his article: “There’s still something potent about sitting down, in the dark, with your loved ones, and forgetting everything but what’s onscreen. You don’t need your seat to move around for that.” When I go to Six Flags, I want a Six Flags experience. When I go to the cinema, I want a cinematic experience. Instead of asking themselves how to make going to the movies more than a moviegoing experience, theater owners should be asking themselves how to make it more of an moviegoing experience.
“Mankind, which in Homer’s time was an object of contemplation for the Olympian gods, now is one for itself. Its self-alienation has reached such a degree that it can experience its own destruction as an aesthetic pleasure of the first order. This is the situation of politics which Fascism is rendering aesthetic.”
—Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction
Couldn’t help but think of the perennially-relevant Benjamin when I read Todd VanDerWerff’s analysis of Donald Trump’s mastery of reality TV and what it might mean for his candidacy.