Ten years ago, writer Drew McWeeny posed a question in the headline of his latest column: “Has life in the age of casual magic made moviegoers numb to the amazing?” Frustrated by news of what would be 2016’s Alice Through the Looking Glass, which he considered an unnecessary sequel to a film everyone saw and no one really loved, McWeeny revisited the film’s predecessor, Tim Burton’s Alice in Wonderland. He concluded that it was both a terrible movie and a technical marvel. McWeeny’s column articulated an existential crisis in both moviemaking and moviegoing: In a cinematic world without limits, the combination of extraordinary technical innovation and the lack of narrative ambition to match was making moviegoers numb.