The problems largely center around Thanos (Josh Brolin), the villain of the sprawling film, a large purple man who wants to wipe out half the universe’s inhabitants in a population control plan that suffers from a basic misunderstanding of exponential growth.
“Alto’s Odyssey” succeeds with such beauty and grace, one forgets that what one is playing is “just” an endless runner, “just” a game for a phone or tablet. “Alto’s Odyssey” isn’t just the best of its genre—it’s better than its genre.
The film should have ended there. This opening sequence was spectacular. It took practically all of the franchise’s standout features—vibrant urban scenes, beautiful cars, thrilling race footage—and compressed them into a simple but outstanding ten minutes. And unlike the rest of the film, it was actually about car racing.
Oe expresses fear of "drowning" in both the physical decline of the characters and the stylistic deterioration of Choko’s own writing across most of the novel in an adroit move that risks losing momentum but, due to its expert handling, still succeeds.