Visually, A Wrinkle in Time can be pretty exciting – just like how Disney managed to inject a kaleidoscope of colours and eye candy for Alice in Wonderland… but does it work here? I’m not sure it does; the colourful overtones don’t match L’Engle’s weirdly dark book.
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The problem with a lot of modern horror-thriller sci-fi films is that it’s quite obvious which characters will survive and which ones won’t. I think, over the decades, plot twists that seemed original are much more commonplace now, but Annihilation avoids most of that by telling the audience the result of the expedition in its very first scenes. Self-destruction is briefly mentioned in a line of dialogue but it’s a pervasive theme throughout the entire film, and one of its strengths is showing how each character deals with death and pain and how they ultimately choose to end their fight.
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Sadly, despite the potential, what Jones delivers with Mute is a classic example of a passion project that should have stayed on the page. The film is admirably small-scale, when a lot of futuristic science fiction aims to make big statements about humanity. But taking a narrow, Black Mirror approach to the story can’t save it from an emotionally distant main character or a repetitive, fractured plot. At times, you can almost feel Jones waffling over what to include in his story: more of Alexander Skarsgård gazing listlessly at reused sets from Blade Runner 2049, or more of Paul Rudd’s obnoxious mustache.
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Such is the fate of The Cloverfield Paradox, a stunningly well-cast sci-fi based on a Black List script, which seems to have undergone so much re-tooling, at every stage of production, that it barely resembles a completed film. There are plenty of ideas on display here (literally: the film crams in quantum entanglement, meeting your doppelganger, outer-space espionage, an energy crisis, mind-controlling worms, and more). But most of the concepts are hurriedly introduced and then abandoned, leaving behind an experience that feels like a generic mashup of every sci-fi release from the past thirty years.
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Sadly, the feature-length experience of the film offers none of that joy. Unlike its genre brethren (The Core, The Day After Tomorrow or 2012), Geostorm is a deadening facsimile of earlier apocalypses. The main characters are only once physically threatened by the storms they’re racing to stop. The filmmakers woefully underuse their core concept - a malfunctioning weather-controlling satellite network - wasting opportunities to see wild remixes of typical weather. The cardboard characters interact as if they’ve all wandered into the proceedings from other movies. And perhaps most disappointing, they spent so much godforsaken money on Geostorm that it can’t even aspire to the kind of grubby, homemade production value that might bring a smile to your face, in the vein of Birdemic or Troll 2.
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With Denis Villeneuve at the helm, Ryan Gosling in the lead role and Roger Deakins potentially setting a new bar for cinematography, on paper it looked like Blade Runner 2049 could work. Sequels have a spotty record, however, and it may be a far less painful experience to remain skeptical. But, within the first few minutes of 2049, you just knew everything was in good hands.
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When Nikolaj Arcel’s film is at its best, it does harness this mixture of genres, suggesting that there’s a fascinating world for audiences to explore. The realm of Mid-World contains derelict versions of technology from our world, but with a society that seems more like a 19th-century American frontier settlement, only equipped with electricity and futuristic capabilities like teleportation. Frustratingly, just as viewers are getting interested, the film has its characters travel to Manhattan, where a series of rote story beats plays out: the hero is injured and fortuitously healed before the final fight; the hero has a falling-out with his companion, only to bond over a shared experience; the hero stops a world-destroying space laser with a few well-placed, slow-mo bullets.
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Make no mistake: on the surface, Matt Reeves’ film features cutting-edge motion-capture tech and the investment of an estimated $150 million (before marketing costs). But the key to the film is a focused, moving screenplay - one that finally puts all of its attention on the main character of the series, Caesar the ape (Andy Serkis), as opposed to viewing him alongside a human lead. We track Caesar through his greatest struggle, to find a lasting home for his people, an endeavour that references Old Testament stories, classic cinema, and modern politics. Big tentpole films with truckloads of CGI don’t have to be made this way, and all too often aren’t. So why not celebrate when Hollywood gets it right?
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For its part, Doctor Who gets the special distinction of throwing a splashy ending every few years, whenever the lead actor playing the Doctor decides on a career change. Fans and critics alike focus in: what will the show leave us with to remember a particular actor’s interpretation of the character? How will the handoff to the next Doctor work? More pointedly, what kind of show was Doctor Who with Peter Capaldi in the lead, and what will keep us watching as we continue into the sixth decade of Who?
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There’s something to be said for a movie that wears its heart (or its themes) on its sleeve. It may not be subtle, or even very original, but if a film has a confident sense of self, watching it can be just as engrossing as a hard-hitting awards contender.
Not a lot of movies have this kind of swagger. Audiences are sometimes assumed to be passive enough to distract with empty CGI, awkward exposition or monologuing villains. Thankfully, this isn’t true of the Guardians of the Galaxy films, which operate under the infectious belief that they’re pretty hot stuff, even without the bells and whistles. They welcome you into a corner (or corners) of the universe where there’s danger and opportunity in equal measure, and people don’t feel the need to hide who they are. They’re just as colourful and expressive as they want to be, and unsurprisingly, it’s one of the nicest places in the Marvel universe to visit.
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