The future is not what it once was – the cinema itself “general public” has changed (and not necessarily for the better)
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Tomorrowland in your team brings together a multitude of brilliant talents of the “new generation” of Hollywood entertainers to try to recover an idea: the “wonderful” that gone missing with progressive submission to the power of super-hero. At the controls of this journey to a parallel universe that seems to fulfill all the perfect post-World War II dreams we find Brad Bird, one of the animators of Pixar (author of The Incredibles and Ratatouille ) and Damon Lindelof, JJ Abrams regular accomplice from the Lost times. And in the story of a rebellious teenager respingona (excellent Britt Robertson) a pin “magic” drags a “wonderful” adventure in search of a utopian city, it’s all vintage Spielberg – say, the Close Encounters of Third Degree to the Jurassic Park – which openly calls. That alone would come to watch Tomorrowland that, moreover, draws on its futuristic utopia Tomorrows singing a will to fight passivity and negativity of our times, to raise the standard of imagination and energy. In this respect, incidentally, also we do not walk away from the Interstellar Christopher Nolan, who was also the long-term strategy the center of its history, even though far more serious way. The question, in short, is: how to save the world from itself
The answer I give Bird and Lindelof, however, is far from complete or even achieved. Assuming as a family film in Disney tradition, Tomorrowland is an ambitious and schizophrenic animal, which starts the match at all gas grill but do not have proof motor to endure the race. Starts as a juvenile adventure halfway between ET and its direct disciple Super 8 , with a series of retro-futuristic eye winks and steampunk made with obvious obsessive chrome passion. And sinks gradually in a sincere but laborious entertainment where the spectacular starts to look more “wool over the eyes” than an integral part of the fabric of the film – is incomprehensible coming from a filmmaker of animation, where the narrative is worked to exhaustion, leave so loose end and both hole in the argument. Tomorrowland starts at so many to look like a huge campaign of self-promotion to the attractions of Disney parks that are to come, more than a movie.
This does not invalidate it here feel an enormous sincerity in his invocation of the power of imagination and optimism in their desire to escape the banal scheme blockbuster special effects. It is this contradictory schizophrenia between corporate capitalist product and praise the human spirit, amplified by genuine visual ingenuity that Bird and his team regularly take the hat that makes Tomorrowland interesting, even if failed.
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