A future illuminated by hope amid chaos

Britt Robertson in a scene from "Tomorrowland." © Disney Enterprises, Inc.

One of my favorite movies of all time is “Fitzcarraldo,” Werner Herzog’s 1982 film about a man who dreams to bring opera to the Amazon. It’s a brilliant film with an insane backstory (captured in the documentary “Burden of Dreams”), but what I love about it is how Klaus Kinski’s Brian Sweeney Fitzgerald never abandons his passion. Fitzgerald’s fervor was deep enough that even a misanthrope like Herzog couldn’t deny the man a happy ending.

I was hoping for the same result for the filmmakers behind “Tomorrowland,” which has all the heart and hope in the world but is burdened by an overwhelming number of flaws. The question I had to pose was whether the film’s issues are too egregious to overlook, or if, like in Fitzgerald’s case, the passion is too vibrant to keep down. In the end, I was won over “Tomorrowland's” gumption and boundless optimism for humanity's potential, although I just wish I didn't have to make the choice in the first place.

“Tomorrowland” is not based on the Disney theme park attraction (although the Small World ride is given a justification for its existence), but it is a futuristic utopia where brilliant minds conjured ways of making the future more prosperous. It’s essentially the view of Epcot Walt Disney outlined in a short video from the 1960s, but with even more future added to it.

And definitely way more than this.

Most people have no idea of Tomorrowland’s existence, but a preview of the place via a small pin tantalize precocious teenager Casey Newton (played by 20-something Britt Robertson), who seeks out a way to gain full entry into the place. It’s a dangerous journey, one that includes, a cantankerous George Clooney, a mysterious girl played by Raffey Cassidy, a lucky red baseball cap, and numerous androids who possess blaster guns and are very comfortable using them. Also along for the ride are Hugh Laurie, Tim McGraw, Keegan-Michael Key and Kathryn Hahn, who all help prop up the on-screen shenanigans in methods heroic, villainous, and comedic.

Most of that recap is available by watching the film’s previews, which definitely avoid going too much into the plot machinations. There's also a clear reason why the advertising team that put together “Tomorrowland's” trailer and accompanying material didn't provide a detailed outline of what to expect, and it's not about creating a mysterious ambiance. To put it simply, the film doesn’t have a cohesive narrative; rather, it exchanges a direct narrative for a scattered, loose storyline written as if it were a Wassily Kandinsky painting. 

Your medium-brow reference for today.

A tricky plot filled with twist and turns can work great when employed correctly, but “Tomorrowland’s” machinations are clever by half, and the story focuses so much on the introduction that the conclusion of the two-plus hour film is rushed. And all of the storytelling gadgets are undercut by a really, really, really heavy-handed message (capped off by a final shot fattened with treacle) and lazy writing highlighted by the use of the proverbial “special.” It feels as if the script is at war with itself, with Damon Lindelof's patented perplexity battling co-writer and director Brad Bird's eagerness and hope. Bird seems to win a few times (highlighted by the funniest scene in the film clearly inspired by one of his early employers) but Lindelof wins the contest, much to the film's detriment.

“Tomorrowland's” problems extend beyond the script and incorporate a disappointingly bland directorial effort by Bird, but the more critical I am about this film the more I feel like I'm missing the point. Viewing it solely on its cinematic merits ignores the vital philosophical discussion it presents to a rather young target audience, as“Tomorrowland,” serves as a pretty solid introduction to the debate between fatalism and free will. Essentially, are humans controlled by forces and efforts beyond their control or do they have the ability to change their station?

Bird and Lindelof favor the second option and use that assertion to assuage fears about a future that contains few bright spots for the two youngest generations and whatever progeny they may have. The world may be collapsing upon itself due to our own sins and stupidity, but there's always room for hope as long as humanity still exists. Really, the only thing that's worth fearing is the end of innovation, invention and ingenuity; one of the saddest moments of the film comes when Robertson mourns the destruction of a NASA launchpad by saying, “there's nothing to launch.” Few things are more frightening than realizing there are no more worlds to explore.

I really do appreciate “Tomorrowland” for possessing such hope and faith in humanity, and I admire it for its spirit and willingness to dream big like Fitzgerald. I just wish it was a better movie.

Review: Three out of Five Stars

Click here to see the trailer.

Rating: PG

Run time: 130 minutes

Genre: Adventure

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Target audience: Fantasy/adventure junkies and families in need of a little positivity in their lives.

Take the whole family?: A surprisingly large number of human deaths make “Tomorrowland” too tough for kids younger than 6. It won't be a problem for anyone older than that though.

Theater or Netflix?: Netflix is OK, but save the money and go matinee if you do hit up the theater. Definitely avoid shelling out more bucks for a possible 3D option as well.

An issue with the advertising? Most of the film's posters depict George Clooney and the actor who plays Clooney as a child. There are thematic purposes for doing so, but it does remove two female characters who are at least equally important to the plot, if not more so. I’m not sure why the decision was made to kybosh the women in favor of Clooney and Clooney prime.

Watch this as well?: This would work as a nifty double feature with another live-action Disney flick with a gee-whiz attitude and an idealistic view of humanity's future, “The Rocketeer.” Also worth a peek is Brad Bird's feature directorial debut, “The Iron Giant.”

                       I'm also adding this trailer for "Fitzcarraldo" to hopefully pique your interest.