By deferring the consequences of this conflict, he buys time for a process he does not yet fully understand, which will involve encountering the divinity in the forest.
Ashitaka's deliverance of San from Iron Town about 45-50 minutes into Princess Mononoke features what we call superpowers, yet transcends power fantasy and arrives at genuine, gripping drama.
And it's all grounded in wants and needs.
The trail of his blood that he leaves is the path of a peacemaker who is content to risk his death now, knowing that a gruesome death awaits him anyway.
@bkoo Agreed. Tubi's approach to catalogue-building...I don't know how to categorize it, other than just an understanding of how (small-c) catholic a huge portion of movie-watchers' taste well and truly is.
@ShaneRyanHere The idea, however fanciful, has everything to do with tech varying from situation to situation. A match ostensibly could be run by an official using a regular ol' clock, rather than a stopwatch.
Is this everyone's idea of an ontological good? Not really. But here we are.
The movie puts itself in a real dilemma that it has no idea how to resolve: the protagonist played by Nicolas Cage only really comes alive when he's stealing cars, but this cannot be a movie about a man stealing cars and saving his brother for it.
Hence, the third act.
The blocking and composition for Gone in 60 Seconds is far better than maybe 10 popular movies you'll see this year.
The casting (Delroy Lindo! Timothy Olyphant! Grace Zabriskie!) is even better. Victoria Thomas earned every dime of that paycheck.
Given that the director is Dominic Sena, the visual style is Propaganda Films run through a Bruckheimer funnel - some Bay, some Fincher, and it all comes together in this pulpy crime adventure.