TOMORROWLAND

[text_block_nav title=”The Plot”]”Tomorrowland” is a place where geniuses of all backgrounds come together to forge a world to solve the problems of the mundane one. Clooney plays disgraced boy genius Frank Walker, as he tries to live a life forgetting the magic that once brought up him to Tomorrowland. Unfortunately, the paradise hidden from the average intellects is starting to be threatened. Teaming up with a young girl genius, it’s time for Frank to rediscover why he was better than the average Clooney. For those of you already moaning about Brad Bird’s Objectivist leanings, I suggest eating a butt.

[/text_block_nav][text_block_nav title=”What Troy Thought”]”Tomorrowland” is an insanely optimistic movie that revels in the natural talents of a select group of individuals. That enthusiasm seems to have soured some of my comrades, but I never cared for them that much. Britt Robertson has a breakout role as the young Casey, who uses her plucky teen girl powers to make Clooney care again. Throw in Key and the horny Step Brothers lady as the supporting villains and you’ve got the first 90 minutes of the film.

Then, we hit the sour patch of having a Lindelof script. Hugh Laurie is a great actor that knows the notes to hit as a villain. Unfortunately, his villain is never fleshed out and the only thing we have is the immediacy of his doomsday threat. So much time was wasted on Athena the Robot and Clooney’s creepy obsession with her that the thrust of the movie was thrown off the rails in the third act. Clooney’s childhood flashbacks show us a kid inventor that never gives up, but that ends up translating to an older man that seemingly wants to bang a teen girl robot.

The film lives in throwing every possible problem at the audience and then demanding their positive attention throughout the trials. For jaded audiences that wants grimdark balanced with nostalgic glee, this will create an effect that might leave one dizzied. I enjoyed the effort, but wish that Brad Bird could’ve worked with a screenwriting collaborator that understood the overall vision.[/text_block_nav][text_block_nav title=”Conclusion”]”Tomorrowland” ultimately lives in the era which it keeps returning: the 1964 World’s Fair. This is a film that Disney could’ve made in their Glory Days if the budget existed. In the modern era, it is subject to derision and scorn from those that can’t understand or embrace a narrative that wants to hold your hand and take you somewhere better. That place of betterment is never defined, but the narrative hopes that you find it together. In the absence of hope, you have nothing but an endless mass of viewers picking it apart in favor of car chases and James Spader voiced robots.[/text_block_nav]

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