In this cynical and jaded
world in which we live in idealism and optimism are often mistakenly equated
with naiveté or stupidity. This may explain why Tomorrowland (2015) tanked so spectacularly at the box office and
was roasted over the coals by critics. Based on the Walt Disney theme land of
the same name, the film champions dreamers and creativity. Hoping for a repeat
of the successful adaptation of the Pirates of the Caribbean ride into a wildly
popular movie franchise, the studio brought in director Brad Bird, fresh from
the box office hit Mission: Impossible:
Ghost Protocol (2011), screenwriter Damon Lindelof (Prometheus), and cast George Clooney to anchor the film in a
supporting role opposite Britt Robertson (The
Longest Ride) as the young lead. The studio certainly had all the right
elements in place but dropped the ball when it came to marketing Tomorrowland, which is staggering when
one realizes how many millions of dollars were spent promoting it in a cryptic
way that was completely unnecessary. After all the dust has settled and the
post-mortems have been made, the question remains, is the film any good?
Obviously, the answer is very subjective. I, for one, loved it.
The film starts in the past
– the 1964 New York World’s Fair to be exact as young John Francis Walker
(Thomas Robinson) gets off a bus lugging a track bag containing a jetpack he
invented. Frank shows it to a man named David Nix (Hugh Laurie) with the hopes
of winning $50 in a contest. Alas, Frank admits that his invention doesn’t
exactly work. Nix asks him what its purpose is and how would it make the world
a better place to which the young boy responds, “Can’t it just be fun? …
Anything’s possible.” Nix doesn’t understand what that means and Frank tells
him, “If I was walking down the street and I saw some kid with a jetpack flying
over me I’d believe anything’s possible, I’d be inspired. Doesn’t that make the
world a better place?”
Therein lies the film’s
central theme and overriding message: anything is possible if you have the
imagination to think of something and the perseverance to make it happen
regardless of those that tell you no. Armed with this determination and a small
pin with the Tomorrowland logo on it, given to him a by little girl named
Athena (Raffey Cassidy), Frank sneaks aboard the “It’s A Small World” ride and
finds himself transported to a futuristic cityscape known as Tomorrowland. It’s
a wondrous utopia that Bird takes us briefly through when Frank, with the help
of a robot and a moment of well-timed clumsiness, gets his jetpack to work and
flies around so that we (and he) can admire this shiny chrome and glass
paradise.
After this brief teasing
taste of this world, we are taken back to the present and meet Casey Newton
(Robertson), a young woman that uses gadgets she assembled to delay the
demolition of a NASA Launchpad thereby prolonging the inevitable loss of
employment that will befall her father (Tim McGraw), an engineer. Casey is a
dreamer that believes “the tiniest of actions could change the future,” as she
tells her little brother Nate (Pierce Gagnon). She explains to him that it is
hard to have ideas and it is easy to give up.
During the day, Casey
endures classes taught by doom and gloom teachers and is surrounded by
apathetic classmates. At night, she continues her one-person crusade to save
her dad’s job until she’s finally caught in the act and arrested. Her father
bails her out and among her possessions she finds a Tomorrowland pin. Touching
it instantly transports her to the futuristic place; however, it only lasts for
a few minutes and then no longer works. Naturally, she wants to experience more
of this world and finds a store in Houston, Texas that claims to have a pin for
sale. The store turns out to be a trap and Casey is rescued by Athena who looks
like she hasn’t aged a day since 1964. She promises to take Casey back to
Tomorrowland and save it, adding cryptically, “They built something they
shouldn’t have.” In order to do so, they have to travel to Pittsfield, New York
where Frank (Clooney), now all grown-up, lives like some crazed recluse, and
has the ability to transport them to Tomorrowland. It won’t be that easy
because Frank is no longer the optimist he once was; he’s now a bitter man
existing on the fringes of society.
Britt Robertson plays the
film’s protagonist and has the difficult challenge of portraying an
irrepressible optimist surrounded by cynics without coming off as a caricature.
She does this by instilling Casey with a passion for adventure fueled by
curiosity and imagination. There is a sincerity to her performance that feels
genuine while also having a knack for physical comedy, like when she figures
out what the pin does through trial and error, and verbal comedy, like when
Casey first meets Frank and they trade insults.
Not usually cast in summer
blockbusters, George Clooney is excellent as a man who has given up hope and
lost his idealism. His world-weary crabbiness acts in sharp contrast to Casey’s
youthful optimism and their initial scenes together have an amusing tension as
she isn’t sure if he can be trusted and vice versa. As the film progresses and
they spend more time together, Casey begins to chip away at Frank’s cynicism.
Hugh Laurie plays the film’s
antagonist, but wisely doesn’t portray him as such. Nix believes in what he’s
doing is right and that’s what makes him dangerous. Laurie brings just the
right amount of condescension to the role so that you want to see Casey and
Frank defeat him. Raffey Cassidy plays quite the scene-stealer as Athena, with
her posh British accent and direct way of talking. Her diminutive stature also
makes her an unlikely action hero and yet she gets to jump around, beating up
evil robots. Athena, Frank and Casey make for odd traveling companions as they
go from Florida to New York to France.
Thanks to Claudio Miranda’s
atmospheric cinematography and the best visual effects money can buy, Tomorrowland is a visually stunning
film. Naturally, the Tomorrowland scenes, populated by people flying around in
jetpacks, hovering trains and rockets, is the most impressive-looking, but a
close second is Paris where Miranda bathes the Eiffel Tower in warm light as it
is transformed into a massive Steampunk vehicle fueled by Nikola Tesla’s
technology. When post-mortems were conducted on why Tomorrowland failed commercially and critically, one reason cited
was that not enough time was spent in the titular place. This seems rather odd
when we are given substantial teases early on and then the last 40 minutes
takes place entirely in the futuristic city. There is something to be said for
the less is more approach and the screen-time devoted to Tomorrowland is just
right.
While most films are largely
immune from film criticism these days, especially with the passing of Roger
Ebert, writers just don’t have the influence they had many years ago, some
reviewers foolishly attempted to argue that Brad Bird’s film, along with his
others, espoused the beliefs of notorious conservative thinker and writer Ayn
Rand. Other critics rose to the film’s defense and rightly pointed out that
Bird wasn’t inspired by Rand but actually Walt Disney, which make much more
sense.
If anything, Tomorrowland’s high profile commercial
demise only confirms in the minds of Hollywood studio executives’ minds that to
bankroll original films is folly and that they should go on cranking out
reboots, remakes and sequels. One can already see this in Bird’s next gig – a
return to the safe confines of Pixar to make a sequel to his beloved animated
film The Incredibles (2004). It is
also disheartening to see a film featuring a smart, resourceful female
protagonist fail, especially in the current climate where Hollywood insiders
scrutinize the success of every aspect of a film (or lack thereof) and analyze
what it means.
That being said, Bird and
his collaborators should be commended for getting this passion project made. Tomorrowland exists and will have the
chance to outlive its detractors, where its box office failure will eventually
mean little, and go on to inspired like-minded dreamers that find themselves
identifying with Casey as opposed to the Nixs of the world. Bird’s film is a
rare wakeup call against the negativity that permeates our culture, from the
doom and gloom headlines that dominate any given news cycle to fashionable pessimism
that permeates our culture.
