“What if there was a place…where nothing was impossible?”
After he fails to impress the judges of the World’s Fair with his homemade jetpack, young Frank Walker (Thomas Robinson) is befriended by a girl named Athena (Raffey Cassidy) who gives him a strange pin that leads him to a mysterious futuristic world with robots and other contraptions he could only dream of inventing.
Decades later, Casey (Britt Robertson), the daughter of a NASA engineer (Tim McGraw), struggles to find her place in a world that seems determined to brace for the apocalypse rather than trying to prevent it. After being arrested for trespassing on government property, Casey discovers a Tomorrowland pin of her own when she reclaims her belongings in the police station. Upon touching it, she receives visions of a fantastic world of imagination and sets out to find more information on the strange land. This eventually leads her to an old Frank Walker (George Clooney) who has been excommunicated from Tomorrowland and is every bit as cynical as Casey is optimistic.
If that seems like a really long buildup for a plot, you should try spending 45 minutes in a theater waiting for the pieces to connect.
“Tomorrowland” is the latest attempt by Disney to monetize every aspect of their existing properties. Much like “Pirates of the Caribbean” and “The Haunted Mansion,” this film is intended to expand the Disney empire while also (hopefully) putting together an interesting film.
Dialing down the cynicism for a moment, “Tomorrowland” has some very interesting things to say about the world we live in today. We are a culture engrossed in chaos and violence on the news and dystopian futures in our entertainment (“The Walking Dead” and “The Hunger Games” come to mind). Every day there is a new story to outrage over, a new product or company to blacklist, new laws or guidelines enacted that stomp out creativity or free speech and so on.
What the film continually asks of the audience is “What happened to our vision of the future as a beacon of hope, light, and imagination?”
As great as these ideas are, director Brad Bird and writer Damon Lindelof still have to mold them into a cohesive plot that is entertaining and makes for a good film. That’s where the trouble starts.
It is well known around the film community that Lindelof has a reputation as a writer that dreams up big ideas that he can’t necessarily deliver on. The two best examples of this are the TV show “Lost” and “Prometheus.” While not all of Tomorrowland’s faults can be placed on Lindelof (Bird also handled the script), it’s important to point out the pattern.
The biggest issue with the film, aside from the writing, is pacing/editing. As previously stated, it takes 45 minutes for the film to address what the story is about. Until that point, the story is mainly several scenes of Casey tripping over objects while “walking” through Tomorrowland or Athena telling Casey that she’s important in the most cryptic way possible.
After all the time the movie spends setting up the plot, the payoff is extremely underwhelming. Tomorrowland itself looks like a leftover “Divergent” set and the villain (Hugh Laurie) who has been set up to be a very bad guy (his robot army kills several people early on) ends up being a pretty reasonable character who has the best monologue in the film. Not to mention that the “chosen one” is barely of use in the climax.
“Tomorrowland” is what happens when a creative team comes up with about 60% of a full story, realizes it can’t finish it in the remaining time, and hopes the audience won’t notice the corners that were cut.
There are pieces of a great family adventure film scattered throughout “Tomorrowland,” but the final product looks more like a first draft than a film Disney would bank $190 million on. Not even the Tim Allen-esque performance of Clooney will help the film earn back its big budget.
All in all, “Tomorrowland” is a missed opportunity that may be best enjoyed on Redbox or when it inevitably pops up on ABC Family.