'Oblivion' a trip into the overly familiar
Science fiction is one film genre that seems to wear its ancestors, the films that inspired it or, less charitably, that it “borrowed” from, with pride.
Thus, “Oblivion” has “Scavengers” who dress like Sand People from “Star Wars”; round, red-eyed killer drones from “2001” and “Robocop”; a finale from “Independence Day” and a director from “TRON Legacy.”
And Joseph Kosinski brought his blatting synthetic tubas score, used in the original “TRON” and in “Inception,” with him.
That doesn't make “Oblivion” a bad movie, just a familiar one. Generic.
Decades from now, we see a depopulated post-apocalyptic Earth, where the moon is but a debris field in the night sky. The humans have fought and won a war against the invading Scavengers but lost the planet in the process. The A-bombs, earthquakes and tsunamis rendered it almost unlivable. And surviving Scavengers fight on, interfering with the efforts of those on the gigantic space station, Tet, to drain the seas for fusion energy for the human colony on Jupiter's moon, Titan.
Jack Harper (Tom Cruise) is one of “the mop-up crew” who keeps the drones that protect the ocean reactors running on this drying planet, drones the Scavengers keep shooting down. He's got a partner, Victoria (Andrea Riseborough), who monitors his work from the control tower they live in, and a smiling, drawling, no-nonsense “Mission Control” boss (a disembodied Melissa Leo) up on Tet. But Jack has little memory of what Earth used to be like.
He has dreams of a woman he can't quite place, is prone to insubordination and reveries when he stumbles across the ruins of the stadium where the last Super Bowl was played. Tumbling into the buried remains of a great library, he picks up a book, Lord Macaulay's heroic poems about Rome — “How can man die better than facing fearful odds?” Perhaps Jack is remembering his “Top Gun” past. He sneaks off to his cabin in a forested corner of the planet, listening to Led Zeppelin records and fantasizing a life there. If only Victoria would go rogue and visit the surface with him.
And that's when a space ship crashes and the woman he rescues (Olga Kurylenko) turns out to be the woman from his dreams. Whatever made sense about his world, his past and his mission goes right out the window.
The action beats involve shootouts with Scavengers and epic chases involving drones, which are depicted as heartless killing machines that take humanity out of the equation of war. It's not giving too much away to say that Morgan Freeman pops up and presents further moral quandaries.
Cruise is more effective than empathetic in the lead role, Kurylenko is still a pretty (and pretty bland) screen presence, and the humorless Kosinski is still a filmmaker who could use a vigorous edit in the script stage.
That makes “Oblivion” exactly the sort of sci-fi film one would expect in April — epic and often exciting, but too familiar and too bland to cut it as a summer release.
Roger Moore reviews movies for McClatchy-Tribune News Service.
Show commenting policy
TribLive commenting policy
You are solely responsible for your comments and by using TribLive.com you agree to our Terms of Service.
We moderate comments. Our goal is to provide substantive commentary for a general readership. By screening submissions, we provide a space where readers can share intelligent and informed commentary that enhances the quality of our news and information.
While most comments will be posted if they are on-topic and not abusive, moderating decisions are subjective. We will make them as carefully and consistently as we can. Because of the volume of reader comments, we cannot review individual moderation decisions with readers.
We value thoughtful comments representing a range of views that make their point quickly and politely. We make an effort to protect discussions from repeated comments either by the same reader or different readers.
We follow the same standards for taste as the daily newspaper. A few things we won't tolerate: personal attacks, obscenity, vulgarity, profanity (including expletives and letters followed by dashes), commercial promotion, impersonations, incoherence, proselytizing and SHOUTING. Don't include URLs to Web sites.
We do not edit comments. They are either approved or deleted. We reserve the right to edit a comment that is quoted or excerpted in an article. In this case, we may fix spelling and punctuation.
We welcome strong opinions and criticism of our work, but we don't want comments to become bogged down with discussions of our policies and we will moderate accordingly.
We appreciate it when readers and people quoted in articles or blog posts point out errors of fact or emphasis and will investigate all assertions. But these suggestions should be sent via e-mail. To avoid distracting other readers, we won't publish comments that suggest a correction. Instead, corrections will be made in a blog post or in an article.
- 5-year-old boy needed for ‘Let It Snow’ role
- ‘Black or White’ leaves Kevin Costner spent — emotionally and financially
- Review: Stylish whodunit ‘The Loft’ doesn’t reach narrative heights
- Romero’s son plans ‘Living Dead’ origins story
- DVD reviews: ‘The Judge,’ ‘Fury’ and ‘The Book of Life’
- Review: ‘Black or White’ finds dramatic promise in the grey areas of American race relations
- Review: Cotillard shines in Dardennes’ moving social drama
- Review: A tired gimmick weakens thriller ‘Project Almanac’
- ‘Let It Snow’ filming in Millvale
- ‘Yinzer horror’ film doesn’t take legend of Bigfoot too seriously
- Review: ‘A Most Violent Year’ speaks softly, carries much menace