After the CGI douche-theatrics of Furious 7, the pop spectacle of Avengers: Age of Ultron, and the riveting post-apocalyptic reality-based pyrokinetics of Mad Max: Fury Road, the arrival of Tomorrowland seems at its best, quaint. But at its worst, underwhelming and obvious.
Perhaps the lack of surprise and/or the intensity of its sense of adventure is because, bottom line, Disney has made a film for kids. (Vaccinated) kids who will pester their parents to take them to see the real Tomorrowland. The marketing genius even shows in what is likely to be the most easily attainable movie tie-in toy—a lapel pin that gives our heroine a glimpse of Tomorrowland, emblazoned with the letter “T”, approximately $10 on Amazon and perfect for sticking on the outside of a school backpack.
In the film itself, we get flying jetpacks, cute but effectively deadly robots, a gloriously tech-booby-trapped house, and a new use for the Eiffel Tower, but it’s all so blah since there’s no infinity stones involved. Nothing in the conflict quite feels truly at stake. Tomorrowland itself, white and shiny, kinda looks like an Apple store without the employees in t-shirts. This magical realm is actually a parallel universe/dimension/thing where all humanity’s best and brightest gather to nurture great ideas and create and imagine unimaginable feats of technology. A lot of marijuana smoking probably goes on behind closed doors.
Hugh Laurie is on hand as the villain who wants to destroy the “real” Earth since it’s basically destroying itself anyway. That kind of megalomania seems a bit excessive since he’s in charge of the most perfect place in existence anyway but whatever. A plot to revive Walt Disney’s cryogenically frozen body would have been cooler.
Sadly, this may be Brad Bird’s most uninspired movie yet. After his live-action debut with Mission: Impossible – Ghost Protocol and especially his animated efforts, The Iron Giant and The Incredibles, somehow, we just expect more from him. The action scenes aren’t particularly exciting or witty; nothing seems to stay in the memory and the biggest let-down, we catch a glimpse of Space Mountain in the skyline but we don’t get to experience it. (Instead we get It’s a Small World. Don’t ask.) Wouldn’t it have been great if our heroes were trapped in a vehicle chase inside Space Mountain and then everything shuts down and the lights go on and you’re just looking at steel girders? Sorry. I’m still bitter how a certain incident during a childhood vacation ruined the illusion.
And we expect more from George Clooney too, and here, as a genius who was exiled from Tomorrowland a long time ago, he just seems to be going through the rumply, crankily charming motions. Feminists and Black Widow-Gate/Supergirl-Gate conspirators should be thrilled “the chosen one” for the planet’s future is a plucky teen girl, played by Britt Robertson, who is probably fielding offers for a young adult film adaptation at this very moment. The real casting find though is Raffey Cassidy as a young Tomorrowland android that protects the heroic humans and has a genuinely poignant backstory with Clooney’s character. She’s like the Terminator, but little.
At Tomorrowland’s gleaming, wanna-be vintage heart, there is an old-fashioned (too) strong message about going green, saving the environment and how the children are our future. Teach them well and let them lead the way. With $10 pins. Barf.
Tomorrowland is now playing in theaters everywhere.