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Probably just as old is the worry that special effects are corrupting the genre from within.
Alan Lightman's elegant new novel, spare, economical and charged with meaning, is a seasonal reminder that special effects can be luminously achieved without pyrotechnics.
It was nearing the end of Bafta's Ray Harryhausen 90th birthday tribute at the BFI Southbank last Saturday that special effects makeup maestro Rick Baker took to the stage to offer his praise.
"Illusion!" she shouted, physically demonstrating that special effects were used in the photograph.
The movie has grossed nearly $800 million worldwide, proving that special effects could endear as well as titillate and horrify.
He cautioned against the blockbuster proclivity to think big, insisting that special effects must represent a singular vision.
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Research how that special effect was accomplished, and create a "How it Works" poster that explains the process that enabled that scene to "come alive".
His estimable support team here includes, among others, the action wizards Tony and Ridley Scott, six producers, various assistant directors, more than a half-dozen special-effects outfits and numerous stunt performers, all of whose efforts pale next to that special effect known as Mr. T and George Peppard in a lizard suit.
The tractor beam, which was never seen on the TV show because the producers couldn't afford the cost of creating that special effect, could find an object in space and draw it into Starship Enterprise, the craft on which our gang explored the universe.
From that special-effects cloudburst, however, Hereafter immediately settles into a globe-spanning but low-key exploration of loss and heartache.
That special effects-laden fantasy, a musty hero's journey largely distinguished by the yawning divide between its poor quality and its $170 million price tag, was a flat line of a dud in almost every respect.
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Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com