Bound by a shared destiny, a bright, optimistic teen bursting with scientific curiosity and a former boy-genius inventor jaded by disillusionment embark on a danger-filled mission to unearth the se...
Tomorrowland constructs itself for a brighter future, but crumbles with its cumbersome admonition. Optimism. The glass half full. The irreverent shrouding of hope for future success. In a modern world plagued by apathy and self-destruction, even the most minuscule amount of positivity can change an entire brigade of pessimistic attitudes. Yet Tomorrowland's ironic perspective on succeeding has fallen into the realms of failure, in what is director Bird's one and only misfire. No fault of his own ambition, but the unfortunate storytelling mishaps of Lindelof's screenplay that transformed a world of wonder into a stern lecture. A teenage scientist discovers an alternate dimension built by the world's greatest scientists and must team up with a disillusioned inventor to prevent the world from destroying itself.
To dream of a better future. To strive for excellence. To become a better person. Retaining optimism, in a reality driven by cynicism, is irrefutably challenging. The mark of a genius consistently dreaming and thinking of a brighter future. Bird's exploration into futurism and all its ideals, is an ambitious passion project that holds its mechanical heart with the warmest of embraces. Tinkering along to the sound of outstanding visual aesthetics, accompanied by innovative futuristic architecture, and overwhelming positivity. Encapsulating the inventiveness of its characters with indestructible mechanisms that provide the plot with a greater meaning.
The sole problem with the entire inception of Tomorrowland though, is just how incredibly basic the dimensional story is. The mystery revolving around the titular realm is less of a jigsaw puzzle and more reminiscent of a "dot-to-dot" activity sheet. The entirety of its premise is instantly laid out from the initial flashback sequence of a young Frank. The pestilence of optimism, right from that introductory erratic false smile of hope. Luring you into an advanced Disney-like cityscape, unequivocally not a "small world" (Damn, I loathe that song), that allows Lindelof to stretch his heavy-handed storytelling muscles. "Please welcome to the auditorium to give his lecture on positivity, Professor Lindelof!". Aside from the first half that executes its imaginative mystery well, to a certain degree, Lindelof clearly struggled to adapt to a family-friendly story (considering darker titles 'Prometheus' and 'Star Trek: Into Darkness'). With that, he clearly believed that the younger generation had limited intelligence, by issuing a conclusive half that reprimanded as opposed to inspired.
See, instead of providing an insight into the positive outlook on life, he opted for a sizeable twenty minute berate regarding humanity's self-destruction. The ever-changing harsh environment as a result of humanity's carelessness. Overpopulation. Disease. Pollution. The list is endless. It almost reminded me of Michael Jackson's music video for 'Earth Song'. Disappointment arises from not the actual substance, as it is an eternally important message, but the method to which it's imparted. It overwhelming dissolves the optimistic perspective that preceded this overbearing talk. Yet that isn't the only issue. Clooney, not completely adversed to family-friendly flicks, had the emotional range of a burnt crumpet. Cassidy's accent was all over the place. And Robertson was surprisingly monotonous. Only Laurie provided the chops, and was merely pushed aside for Lindelof's discourse.
A crushing disappointment, not because the film is bad, but due to the vast amount of missed opportunities. Bird's buoyant direction keeps this adventure afloat, but Lindelof anchors down a premise that should've been towering over Tomorrowland. The message is there. The morality exists. But it seems apathy took the glory this time.
