The future. That’s all this movie is about. How we see the future, anyway. Whether it’s right or wrong (usually wrong), we have some sort of an idea. In the 1960s our culture saw the future as nothing that we could ever imagine. Everything was right with the world and we had flying cars–always flying cars. Now, we see the future as much more grim. The polar icecaps melt and the air isn’t breathable. We are obsessed with dystopian images. I mean, look at our movies and literature nowadays. But what Tomorrowland wants us to know is that if we believe it, it will more or less happen.
This film is very smart–smarter than most of its audience will be able to tell. It seems pretty black and white, but it’s not.
In intertwines two people (George Clooney and Britt Robertson) from two opposing generation’s stories and juxtaposes them. Clooney plays adult Frank, but for most of the first quarter of the movie we see Frank as a boy at the 1964 World’s Fair in New York. Then we meet modern-day Casey (Robertson), who is a teenage girl obsessed with space and full of hope.
We get fantastic visuals of this mysterious place called “Tomorrowland”–which I won’t spoil for anyone. And we finally get a refreshing look at the future from The Jetsons or Back to the Future that we haven’t seen in film in awhile.
The first half of the movie plays out as more of a mystery–a really really fun one. We’re always feeling like we’re playing catch-up.
While many critics thought that the ending was a disappointment, I would have to disagree. Sure we’re left with more of a message than a wowing twist, but it’s a message that is worth a lot of weight.
There’s nothing really bad I can say about Tomorrowland. The narrative may be a bit uneven, but I think it’s necessary to convey that story at hand.
Maybe I was just so enamored by the breathtaking visuals, or maybe I was giddy about the refreshingly non-formulaic sci-fi adventure, but either way, those aren’t bad qualities for a movie to have.