The Martian: A Financial Masterpiece

It is possible to divide the work, and we must describe it as such, of Ridley Scott, into two portions: The major and the minor pieces. The major being of the medium; and the minor, the product. 

These "products" are defined by the same elements which define corporate cinema, which are literary or "of plot".

Now The Martian is a problematic film. It's light tone trivializes it's survivalist narrative.  However, note the number of establishing shots, disguised by an inept device, visual shelves for dates which feign importance. Cinema's probing transgression is found least in these simple expressions of language. The prime of convention, they are non-committal assurances.

Yet, is it not this confrontation-lessness that defines the corporate cinema? Alas in narrative but certainly! This is the convergence of the major and minor. Corporate principles but by language.

The Martian (2015)

dir. Ridley Scott

Concerning Exposition

An artform is simply that which expresses an idea and/or emotion through specific attributes. There are certain unique attributes which legitimize separate mediums but there are also attributes which are shared amongst multiple mediums. And the legitimizing power of those elements are usually reduced given the loss of their exclusive relationship with a single medium. Exposition is an evil to just about anyone that could properly define the word for you. Provided of course that the definer was speaking of cinema. If you spoke to one whose interest lie in literature, the word would be relatively mute. As literature, to one degree or another is a medium comprised of various forms and degrees of exposition. So while exposition is not uniquely cinematic, there is still an art to how one uses it (whether in literature or cinema) and there is no right or wrong in the making of art, there is however, a question, of motivation and execution.
As to possible necessity in regards to the use of exposition, those issues are rendered void to me by the question of effect and effectiveness of those attributes which the director chooses to express (or at least a portion of) the intended idea or emotion.

The Maltese Falcon (1941)

Adapted and Directed By John Huston 

Kiss Me Deadly (1955) Relevancy of Genre By The Evolution of Key Attributes

Dir. Robert Aldrich
Adapted By: A.I Bezzerides
From A Book By: Mickey Spillane
I have not had the pleasure of reading any of Mickey Spillane's work so I have no idea if Mike Hammer is taken to monologue in his literary interpretation, but I do know that Robert Aldrich's Mike Hammer does. But not through words, he monologues through his actions.
His actions dictate a complete awareness (one of the few things "awareness" can be applied to in his life) and utilization of, even indulgence in sexual depravity. And more thematically predominate, increasing investment in an economy of violence, a sadistic pleasure taken in his stock. And regarding this economy, we observe that violence organically develops as a result of living, and violence is ultimately how an individual moves forward. There is a much stronger theme present though.
Ambiguity, a defining factor of Film Noir, born from a psychological scarring of a filmmaker's mind. A moral ambiguity, as discussed earlier. There is a visual ambiguity, Hammer's eerily pristine apartment, or a girl left alone, striking an oddly seductive pose. And finally, a partial narrative ambiguity, obsessed with "The Big Wutzit", his "investigation" slowly killing him, his end goal? What should be and still partially remains, destruction. however, this loose image of destruction takes partial concrete form, eventually, the audience knows what "The Big Wutzit" is, just shy of not being told straight out. This sacrifices the completeness of it's narrative ambiguity but shapes a entirely separate, but still as potent, theme, the ultimate award for the atrocities he endures? Complete Annihilation.
"Kiss Me Deadly" is pulp Noir, it arrives quite late, when Sam Spade tropes began to overtake the intelligence and complexity of the original French-classified Noirs. How fitting, the film itself, a dying breed. It's claim to relevancy and life? A play on purpose, updating from a World War ambiguity, to a Cold War ambiguity.

Scorsese said concerning bit-part players "...that can kill ya' if you don't get the right person"

 "Getting the right person" is certainly exemplified throughout the film, including this excellent sequence

 between Ralph Meeker's Mike Hammer (right) and bit-part player Strother Martin (left)

Auto Focus (2003): No Purpose Besides Malice

Dir. Paul Schrader 
Adapted By: Michael Gerbosi
From A Book By: Robert Graysmith
Presented or rather translated in a complete narrative objectivity, giving the film a sense of hostility, that lack of the subjective in said presentation separates it, from when it is functioning as a character study, and the overall assumption of biography. This however, is matched by it's visual sensibilities which find an equal objectivity in their internal overt contrast.

The former sense, that is "of hostility" and the latter, that is "of separation" are exacerbated by the repetitious nature of the "disturbing scenes", which are problematically stark in their separation from the scenes that actually further the narrative.
Schrader tells the story from a surprisingly moralist perspective. And utilizes that perspective as a fortification from which to throw stones at the central characters for the entire duration of the film.
He shows his audience that Crane is a perverted individual repeatedly but never challenges us to do something with that information.

Concerning Adaptations

At the heart of every excellent adaptation, there is not necessarily a complete narrative accuracy, but rather a re-examination of themes under the new form's unique attributes.

Manhunter (1986)

Adapted and Directed By Michael Mann

On "Tinker, Tailor, Soldier, Spy" (2011)

Shot By: Hoyte Van Hoytema
Dir. Tomas Alfredson

Within the oppression of the natural elements, only that which is immediate is truth, that which is behind or forward is subjective, it is the current moment in time which can be objective. Within this complex atmosphere, the bleak mundanity of spy realism.

Analysis of The More Objective Qualities of The Opening Shot of "Prisoners" (2013)

Shot By: Roger Deakins
Dir. Denis Villeneuve

(Click on above image for video)

The camera pulls away from the content of the shot, removing the emotional ties to the situation, the gun appears but is out of focus, asking us to reflect subtext rather than the shot's physical or narrative properties. A deer can represent a regal sense of male pride or self-assurance. Similar to Jackman's basis of faith, the deer even enters visibility just as Jackman begins quoting scripture.  But taking the deer's life is an act of working outside God's purpose, violence that shows a lack of faith. Taking matters into one's own hands The motion of the image, the movement of the camera will become a visual cue, but the subtext relates to overarching theme. Focus is pulled because the shot relates narrative property as well. That is Jackman's care for his children. A foundation in traditionalism (which can be associated with his beliefs) and the effect of his actions on his children.