Tomorrowland


George Clooney has a chat with Brett Robertson over her TV viewing habits.

George Clooney has a chat with Brett Robertson over her TV viewing habits.

(2015) Science Fiction (Disney) George Clooney, Hugh Laurie, Britt Robertson, Raffey Cassidy, Tim McGraw, Kathryn Hahn, Keegan-Michael Key, Chris Bauer, Thomas Robinson, Pierce Gagnon, Matthew MacCaull, Judy Greer, Matthew Kevin Anderson, Michael Giacchino, D. Harlan Cutshall, Shiloh Nelson, Xantha Radley, David Nykl, Priya Rajratham. Directed by Brad Bird

The future is a subject that fascinates most of us. How we view the future tends to be a reflection of how we view the present; in the optimistic days of the early and mid-60s, the epoch of the New York World’s Fair, there was optimism. Things would get better and our ingenuity would get us there. The future was full of sleek buildings, mass transit via monorail, wondrous scientific advances, cities on the moon, flying cars, jetpacks and cheerful, smiling people without a care in the world. In short, a theme park.

These days the way we view the future is dark and hopeless. Inevitably in our view of the future civilization has collapsed, resources have been depleted and humanity is on the verge of extinction. There are no gleaming cities, no jetpacks, no cheerful, smiling people; just dirty, destitute denizens of a hardscrabble world desperate to survive in a world where survival on any given day is no picnic. Welcome to the 21st century, no?

In Brad Bird’s Tomorrowland, yet another Disney film based on a theme park attraction – or, in this case, an entire themed zone within a theme park – there is a return to that bright shiny future but in this particular case, the future isn’t all that it used to be.

Meet Frank Walker (Robinson). He’s a brilliant kid living out in the sticks who dreams of jetpacks and shiny cities and heads over to the 1964 World’s Fair with stars in his eyes and a (nearly) working jetpack under his arm for a competition for inventors. His invention is rejected but a little girl named Athena (Cassidy) gives Walker a pin and tells him to follow her and her group. Walker follows them onto the It’s a Small World ride via which he is transported to an alternate dimension, one in which the future is now. He has arrived in Tomorrowland, a place where humanity’s most creative minds, most artistic souls and most brilliant scientists have gathered to create a Utopia. In short, not unlike the SyFy Channel’s Eureka.

Flash forward 50 years and over to Central Florida where Eddie Newton (McGraw), a NASA engineer, is given charge of dismantling the launch site for the Space Shuttle after which he’ll be out of a job. His spunky daughter Casey (Robertson), who has a brilliant intuitive mind and is able to figure out almost instantly “how things work,” has been repeatedly sabotaging his efforts. One of her attempts at sabotage gets her caught and lands her in jail. When she goes to collect her things, there’s a strange pin among them – one she didn’t have before. Whenever she touches it, she is transported to Tomorrowland, although it is more of an immersive hologram of Tomorrowland. And there’s a time limit on the pin’s battery, after which it  ceases working.

Casey is obsessed with finding Tomorrowland and her search takes her to the doorstep of Frank Walker (Clooney), now a grizzled old hermit whose house looks dilapidated yet is taking in more electrical current than Walt Disney World. It turns out that Frank was exiled from Tomorrowland, and that he harbors a terrifying secret; while in Tomorrowland he built a machine able to look into the future and to his horror, it showed that the end of the human race was approaching. And it appears that Casey may hold the key to stopping it, but they have to get to Tomorrowland to do it. And there are some killer robots who are dead set on making sure that doesn’t happen.

Bird has created a marvelous universe that is brilliant to watch. Sure, it’s a bit of a retro vision but he has managed to make it visually stunning, an extension of the future worlds we saw 50 years ago (that are supposed to be now) but modernizing them somewhat. Tomorrowland thus becomes believable, at least to 2015 eyes.

In a movie in which ideas and dreams are extolled, Bird has several of his own and they bear thinking about. For example, he posits that because we’re conditioned to think that the future is bleak and awful, that we are making it come to pass. It’s a concept not without merit. The news about our present is unrelentingly bleak, when you consider climate change, income inequality, peak oil, religious fanaticism, water and food shortages, overpopulation and all the other issues that are affecting our survival. Hollywood also tends to make big budget sci-fi movies about futures in which mankind is not prospering. Post-apocalyptic wastelands are easier and cheaper to create than futuristic utopias, after all.

The constant Disney references in the movie are probably delightful to most Disneyphiles, from visions of Space Mountain on the edge of the frame during a visit to Tomorrowland, to the It’s a Small World ride in 1964 – which was actually filmed at the attraction in Anaheim, which is much longer than the original which was in the Pepsi Pavilion and not its own stand-alone facility. However, I’m betting those of you who have ridden the attraction are now cursing me because they know they won’t be able to get the song out of their heads for hours. In any case, there are references to Disney movies, Disney theme parks and Disney memorabilia throughout the movie and while most of it is subtle, some of it is blatant enough that it makes one feel like one is experience a 2 1/2 hour advertisement for Disney. But that isn’t the movie’s deadliest sin.

What I object to most about Tomorrowland is that the filmmakers have dumbed it down to appeal to a younger audience. Gigantic leaps in logic and common sense abound here as we get to watch a kid save the world. I don’t object intrinsically to having a kid be smart, but smarter than everyone else? Wisdom comes with experience; it isn’t something we are born with, something movies aimed at kids conveniently tend to overlook in order to stroke the fantasies of kids in that they’re smarter than the adults around them, and more able. While thankfully most of the adults in the film aren’t portrayed as buffoons as they often are in kid-oriented films, not one of them seems to have any sort of optimism within them whatsoever which defies the odds. I think making this too kid-oriented was a tremendous error. Look at the facts; on those Disney attraction-based films that have been completely kid-oriented (i.e. The Haunted Mansion, Country Bears) the box office has been anemic. On those that have aimed to be entertaining to all audiences (i.e. the Pirates of the Caribbean franchise) the box office was through the roof. Not all of it was Johnny Depp, mateys; a lot of it had to do with that most adults won’t watch Nickelodeon, the Cartoon Network or the Disney Channel for very long.

Clooney puts aside his suave sex symbol image and plays an unshaven, pessimistic sort who out-Get Off My Lawns Clint Eastwood in Gran Torino. He doesn’t flash his trademark grin very often in the movie, but remains engaging and charismatic nonetheless. I can’t say the same for Robertson however. I get that her character is supposed to be optimistic to the point of mania but she comes off as cloying instead. Worse, she seems to be overacting throughout, using broad gestures and expressions where subtlety would have been more appreciated. The 24-year-old Robertson is playing a young girl in her mid-teens and I get that girls that age are generally more dramatically inclined and that playing it over-the-top is more realistic than subtlety but it takes me out of the movie as I am continually reminded that someone is acting here.

This will probably rank as one of the summer’s greater disappointments. I had high hopes for it and was hoping that perhaps a new franchise might be brewing. The movie is doing pretty well at the box office but given its monster budget will have a hard time recouping all of it at the rate it is going.. I think if Bird had taken a page from Gore Verbinski’s book and appealed less to the youngest moviegoing audience and more to a more mature audience, this could have been a huge hit; it does have some admirable ideas to think about and is visually impressive but at the end of the day the things in the film that are annoying trump the things in the movie that are worthwhile. A world of tears, indeed.

REASONS TO GO: Nifty eye candy (not Clooney). Some fairly complex themes.
REASONS TO STAY: Dumbed down. Robertson overacts.
FAMILY VALUES: Some mildly bad language, sci-fi violence (robots beating each other up) and some adult themes.
TRIVIAL PURSUIT: When Casey confronts the holographic dog early on in the film, her footprints form a Hidden Mickey.
CRITICAL MASS: As of 6/3/15: Rotten Tomatoes: 49% positive reviews. Metacritic: 60/100.
COMPARISON SHOPPING: Mom and Dad Save the World
FINAL RATING: 5.5/10
NEXT: Top Spin

Repo Men


Repo Men

Jude Law is knocked for a loop.

(Universal) Jude Law, Forrest Whitaker, Liev Schreiber, Alice Braga, Carice van Houten, Chandler Canterbury, RZA, Joe Pingue, Liza Lapira, Tiffany Espensen, Yvette Nicole Brown, Wayne Ward, Tanya Clarke, Max Turnbull. Directed by Miguel Sapochnik

In the modern capitalist society, if you fail to pay for a purchase it gets repossessed, whether it is a car, a computer or a home. In the future, that also might extend to artificial organs that are keeping you alive.

Remy (Law) is a repo man working for The Union, the worlds largest broker of artificial organs. Prohibitively expensive, generous credit plans are available so that people can purchase a chance at an extended life – at an exorbitant interest rate of course. When people start missing their payments, people like Remy and his best friend Jake (Whitaker) will find you, stun you into unconsciousness with a tazer and remove the artificial organ (which are called “artiforgs”) quickly and efficiently via home surgery. The patient usually doesn’t survive the procedure.

Business is pretty good and Remy is the best there is, a fact that hasn’t gone unnoticed by his boss Frank (Schreiber). However, it is taking a toll on his marriage to Carol (van Houten) who wants him to get a job that involves regular hours so that he might spend more time with their son Peter (Canterbury). A sales job pays much less than repo and as Jake points out, Remy is far more suited to the repo life than to sales which they both regard as weak.

However, after Jake executes a repo in their front yard during a barbecue, she gives Remy an ultimatum; make a change or get out. Remy decides to do one last job, to take the artificial heart from T-Bone (RZA), a producer of soul music that Remy admires. Remy allows him to complete mixing one last song, but when he goes to stop the artificial heart with a faulty defibrillator, the resulting shock about kills him.

He wakes up with a top-of-the-line artificial heart inside of him and is absolutely terrified. There is no way he can continue making payments on the expensive piece of equipment, especially now that the experience of being a client himself has led him to lose his nerve as a repo man, now seeing the clients as human beings with names…and wives. While his own wife has left him, furious that he went on that last job, Remy prepares to go on the run with Beth (Braga), a lounge singer he’s taken under his wing and a girl with more artificial parts than a Chevy. However, in a society where it is impossible to hide from barcode scanners and bioscan devices, how can they possibly beat a system that is so stacked against them?

This is director Sapochnik’s first feature, and as first efforts go, it’s not too bad. The action sequences are nicely directed with a nod towards the Matrix school of stunts and the overall look of the film is gritty and believable. Whitaker and Law have good chemistry in the leads and while Braga is a bit colorless as the romantic interest, she fulfills her function pretty nicely.

There is a lot of blood here. A whole lot of it. You’re gonna feel like you need a shower after jumping elbow deep into this mutha. Those who get squeamish at surgical films are going to be making a bee-line to the bathroom watching this, so my advice to those with weak stomachs is to go in forewarned.

One of the big problems of the movie is the transformation of Remy from repo man to rebel. He goes from being derisive of clients, sneering throughout “a job’s a job” in a thick cockney accent to being heroic. I understand he went through a life-changing trauma (and to be fair, it seems to me that the period in which the change takes place is probably a period of several months to a year, although it seems very quick onscreen) but there’s no transition. One moment he’s vicious and uncaring and the next he’s a saint. That lack of evolution is the biggest drawback to the movie. I think that they could have used an additional ten minutes or so of illustrating the character’s changeover. If you don’t believe his change of heart, you can’t believe the movie.

In all honesty, this is another movie in which the concept is better than the execution. There’s an interesting parable to be had here about public health care I think, and that may have been what the filmmakers were going for all along. Unfortunately, because they made the decision to accentuate the action over the character development, I think the movie ultimately misses the mark. It’s worth seeing, but just barely so.

REASONS TO GO: Decent action, decently photographed, decently acted. An interesting parable for the health care debate.

REASONS TO STAY: Law’s changeover from violent and amoral to caring and concerned is a bit abrupt and unbelievable.

FAMILY VALUES: A good deal of violence and plenty of gore, lots of foul language and a little bit of sexuality – put it all together and it adds up to not for kids!!!

TRIVIAL PURSUIT: Jake teases Remy about the title of the book that he writes as being weak, but it’s the actual title of the novel the movie is based on.

HOME OR THEATER: A very mild nod towards the big screen for some of the effects shots, but you could go either way with this one.

FINAL RATING: 6/10

TOMORROW: Stranger Than Fiction