Starship Troopers is intended to be viewed as a meta film that the highly militaristic United Citizen Federation would make about itself. However, audiences and critics dismissed it as nothing more than a typical sci-fi action film, unlike countless others in the 1990s film catalog.
Kritikers were largely dismissive of the 1997 film Starship Troopers, which was generally regarded as a shambles-filled B-movie spectacle created solely to please teenagers. At first glance, the film treats the viewer to a slew of excessive violence. Troopers are shown carpet bombing the surface of entire planets, launching enormous machine guns and missiles, and being destroyed by giant insects.
The actors in this film were selected for aesthetic reasons, since the filmmaker believed they would have suited Leni Riefenstahl's Triumph of the Will (the central protagonist, played by Casper Van Dien, has an almost implacable square jaw) between conflicts. When not simply expressing their joy in fulfilling their civic duty in fighting humanity's enemies, the characters have only a brief glimpse of their future.
The desire to believe that everything was intentionally wrong was at least halfway correct, but few seemed to understand what Verhoeven was aiming for. Starship Troopers has come to be re-applauded and appreciated for what it is, even if the viewer is already aware of the situation. To the point, Verhoeven is hesitating them over the head with it.
In one of the film's opening scenes, a teacher educates his class on the failure of democracy and the necessity of military service. Several in-universe advertisements distract viewers from the film, including a segment depicting soldiers handing out bullets to children.
The lack of any clear dystopian imagery in the Federation's everyday life (that any lesser film would have preferred to spoon-feeding to its audience) may have resulted in the joke being lost. It appears that Starship Troopers is basically the same as any other war or action film produced by Hollywood.
The valorization of not only individuals, but also the military institution and its noble purpose; the careful choice of attractive actors, backed by teams of make-up artists, to depict what is supposed to be the average, everyday soldier; and the insistence on portraying the enemy as a faceless and malicious entity driven by a singular desire to destroy everything that is good and civilized These are all common themes that everyone can identify.
The recent box office success of the sequel to Top Gun, Top Gun: Maverick, showed off their finest equipment at a young, hot, and cool dudes who played shirtless beach volleyball wearing jeans and aviators when not destroying the sky in their F-14 Tomcats and facing a nameless foe.
The MCU, one of the most powerful and politically relevant franchises right now, has characters who are either actively employed by the military, veterans, or government agents, whether they are fictional (S.H.I.E.L.D) or real, all of whom are driven by a desire to help humanity. The previously unreported methods of spying, murder, and government overthrowing are no longer replaced with funny, humorous, self-deprecating humor when not keeping an eye on alien threats to the world.
As demand for original content on each new platform grows, other superhero films are being released on streaming services at an increasing rate. From The Gray Man to Operation Mincemeat, viewers seem to have an insatiable appetite for such films. One need only look at this month's latest titles, compare them to the last, then moving backward, realize that the method for entertainment and propaganda has long existed and far predates Starship Troopers, making it no wonder then that its satire remained mute in comparison to