Director Brad Bird and screenwriter Damon Lindelof were given the task of creating a well-realized universe that would be visually unbelievable but, in every other way, conceivable in “Tomorrowland” — named after one of Disneyland’s many-themed sections.
Whether the pair have completed their task or not is unclear, because, while Tomorrowland itself is a spectacle to experience, the movie is more concerned with our protagonist’s destiny and journey to the place we came to see.
And considering the fact that this was one of my most anticipated movies of the summer, it disheartens me to say that “Tomorrowland,” despite its warmhearted intentions, doesn’t quite live up to the ambition it promises.
That doesn’t, however, mean it’s terrible, as Bird continues to prove that he’s a wonderful filmmaker with such firm direction. That plus the stellar performances from most of the cast are more than enough to carry “Tomorrowland” across the finish line.
Bird takes us on a ride that follows Casey Newton (Britt Robertson) as she — very slowly — makes her way to Tomorrowland. To get there, she needs the help of Athena (Raffey Cassidy) and Frank Walker (George Clooney), two veterans who have, for some duration of their lives, experienced Tomorrowland in its prime.
Why Tomorrowland?
Because, according to a pin given to Casey, it’s the final frontier for a brighter future. The citadel where the world’s most brightest and talented scientists, scholars, artists and prodigies are brought to make the world a better place — like the heart of Silicon Valley but without the nefarious negotiating and gender inequality.
Tomorrowland sounds like the perfect universe to host a compelling narrative, but, instead, the titular location becomes the McGuffin we don’t even get to see — save for a few flashbacks and brief teasers, they’re literally teasers, sprinkled throughout — until the final act.
A shortcoming very reminiscent, but not as beneficently proving, of Gareth Edwards’ teasing of the titular kaiju in last summer’s “Godzilla.”
Fortunately, the moments, albeit very few, where Tomorrowland is shown provide for the film’s best moments of shock and awe, as it really does capture the inventiveness and imagination of the amusement park that encouraged its upbringing.
Bird’s stunning visuals that help bring the unbelievable world to life, and Cassidy and Robertson’s performances are what really make “Tomorrowland” stay upright.
Cassidy is a star in the making with a supporting performance that’s surprisingly heavy in terms of depth and responsibility — she handles both with warranted confidence and savvy — and Robertson proves her ability as a leading actor.
Hugh Laurie also deserves some recognition — as the quasi-antagonist, Nix — after delivering a very well-acted spiel on his master plan, exposition aside, that turns a then-very-questionable strategy for a better tomorrow into an actually understandable resolution.
As for Clooney, his undoubtable talent is poorly underutilized here, as Lindelof’s script reduces him to a bitter recluse who’s shoed in as a plot element who’s seemingly too irritated and too tired to be there.
While that may be necessary to “Tomorrowland’s” storyline, it doesn’t do Clooney’s star power any justice.
“Tomorrowland” is completely original — after forgetting the fact it’s named after the section of a theme park — and ambitious, but that imagination goes to waste as the script doesn’t take the time or interest to actually explore the spectacle it has at hand.
While inspiring and fun for younger audiences, this intended beacon of hope and imagination ends up lacking the latter and becomes an example of a movie that was more interesting as concept art and storyboards — undoubtedly putting any plans Disney has for features inspired by Frontierland and Critter Country on hold.
Update: Wednesday at 11:14 a.m. – Headline updated.
