Skip to main content

REVIEW: The Tomorrow War


With the summer season comes the slate of action movies, what with their monsters and superheroes dueling it out. With this particular summer season also comes scorching heat suffocating a world fresh out of a global pandemic. It's into this landscape that Chris McKay's "The Tomorrow War," hits Amazon Prime, at once an escapism dream and a wake-up call.


Dan Forester is a retired soldier now teaching earth science to high schoolers. He is no more prepared than anyone else when armed soldiers emerge from a timehole to pronounce that thirty years from now, Earth will be overrun by an alien army. Mankind is losing this fight, and the only way the future stands a chance is if the present takes action now. Dan is among the drafted, and when he is launched into the future to fight this war, aliens won't be the worst monsters he has to face.

The impending devastation has obvious parallels to real-world threats (e.g. climate change, racism, political discord, etc.) No part of this connection is subtle, but neither is it tactless. The metaphor lands because the future sometimes looks like the wreckage of an alien infestation, and the film acts genuinely interested in what it feels like to fight that battle.

The movie explores this with a refreshingly wide emotional palette for an action film. Humor that might feel out of place in a film so focalized on the apocalypse emerges naturally in this film. There's something amusing about grocers and bankers suddenly being asked to gun down the enemy. But this only comes full circle when these civilians are thrown into the fire. It's not just toy action figures crashing into the aliens, but average joes who might remind you of someone you know. It's disturbing just how much the audience sees themselves among the slaughtered in this film. It's this dimension that makes the film's many action scenes feel not just heart-pounding but threatening, maybe even invasive.

You'd think anchoring such a film with Star Lord/Prince of the Raptors would disrupt this approach, but Chris Pratt (also an executive producer on this film) gives an unguarded, approachable performance. The superhero gives way to the doting husband and father compelled to take extraordinary action only to protect his family. It's like Dan doesn't know he's being played by Chris Pratt. This dismantling of the Snake Plissken brand of growling, bullet-hungry action heroes really stretches the emotional capacity of a movie of this make.

For all the movie's biting tension, there are valleys in between the story's high points. (I couldn't help but notice that the film's biggest lull occurred when Sam Richardson's "Charlie" disappeared from the action.) The movie has a stretch with Dan teaming up with the head of the futuristic military, Romeo Command, played by Yvonne Strahovski. It's during their scenes, at least the front end of them, that the movie exhales a little too long. Just so, many of the biggest plotpoints occur in this window, and Strahovski herself is responsible for selling the film's biggest emotional punch. You'll see.


Offscreen, we're still figuring out how to combat the alien monsters of the future, but maybe this film has the right idea. Maybe the key to saving tomorrow is to bring a little heart into the fight.

                        --The Professor




Comments

  1. I loved this line: "It's this dismantling of the Snake Plissken brand of growling, bullet-hungry action heroes that really stretches the emotional capacity of a movie of this make." The Snake Plissken reference took me down memory lane. I remember when that movie first came out, and I recalled liking it. Years later, I was mentioning it to one of my sons. So, we watched it together, and I was surprised at what a B-movie it was. Its funny how you can remember a movie in a totally different way, simply based on your age at the time in which you first saw it.

    ReplyDelete

Post a Comment

Popular posts from this blog

Silver Linings Playbook: What are Happy Endings For Anyway?

            Legendary film critic Roger Ebert gave the following words in July of 2005 at the dedication of his plaque outside the Chicago Theatre: Nights of Cabiria (1957) “For me, movies are like a machine that generates empathy. If it’s a great movie, it lets you understand a little bit more about what it’s like to be a different gender, a different race, a different age, a different economic class, a different nationality, a different profession, different hopes, aspirations, dreams and fears. It helps us to identify with the people who are sharing this journey with us. And that, to me, is the most noble thing that good movies can do and it’s a reason to encourage them and to support them and to go to them.” Ebert had been reviewing films for coming on forty years when he gave that assessment. I haven’t been doing it for a tenth as long. I don’t know if I’ve really earned the right to pontificate in this same manner. But film ...

An Earnest Defense of Passengers

          I've heard a lot of back and forth over what the purpose of film is and what we should ask from it. Film as a social amenity kind of has a dual purpose. It's supposed to give the population common ground and find things that people of varying backgrounds and beliefs can unify around. On the other hand, film also creates this detached simulated reality through which we can explore complex and even testing ideas about the contradictions in human existence.     In theory, a film can fulfill both functions, but movies exist in a turbulent landscape. It's very rare for a film to try to walk both lanes, and it's even rarer for a film to be embraced upon entry for attempting to do so.  Let me explain by describing the premise of one of my favorite movies, Morten Tyldum's 2016 film, Passengers .      A key piece of this film ’s plot revolves around the main character, Jim Preston, a passenger onboard a spaceship, who premat...

REVIEW: SCARLET

    There isn't a story on the books that can't somehow trace its genealogy to the works of William Shakespeare. Such is the nature of inspiration and archetype.       But the latest film from anime auteur, Mamoru Hosoda, is almost an adaptation of, rather than a homage to, Shakespeare's Hamlet , carrying over character names and even a few iconic lines.  Yet it's not what Scarlet borrows from Shakespeare that gives the story its weight, but what it adds--and I'm not just talking about the giant thunder dragon in the sky.      The Prince of Denmark in this story is reimagined as Princess Scarlet. This film sees her failing in her quest to avenge her father and being doomed to wander in some sort of desolate afterlife. Her only consolation is the idea that she might find her treacherous uncle somewhere in this wasteland and see her vengeance fulfilled in this world. But her quest sees her crossing paths with someone else, a medic from a ...

REVIEW: Jurassic World - Rebirth

     I had a mixed reaction to  Jurassic World: Rebirth,  but it did make for one of the most enjoyable theater experiences I've had in recent memory.      I have to imagine that a part of this is because my most common theater appointments are matinee screenings, but I had the opportunity to see this one at a fairly well-attended midnight screening. And there's nary a film more tailored for surround-sound roaring and screens wide enough to contain these de-extinct creatures. ("Objects on the screen feel closer than they appear.") It was natural for me to cap the experience by applauding as the credits stared to roll, even if, as usual, I was the only one in the auditorium to do so.     Yes, I am that kind of moviegoer; yes, I enjoyed the experience that much, and I imagine I will revisit it across time.      That's not to imagine the movie is beyond reproach, but I suppose it bears mentioning that, generally , this i...

The Banshees of Inisherin: The Death Knell of Male Friendship

           I’m going to go out on a limb today and put out the idea that our society is kind of obsessed with romance. In popular storytelling, t he topic has two whole genres to itself (romantic-comedy, romantic-drama), which gives it a huge slice of the media pie. Yet even in narratives where romance is not the focus, it still has this standing invitation to weave itself onto basically any kind of story. It’s almost more worth remarking upon when a story doesn’t feature some subplot with the main character getting the guy or the girl. Annie Hall (1977)      And it’s also not just the romantic happy ending that we’re obsessed with. Some of the most cathartic stories of romance see the main couple breaking up or falling apart, and there’s something to be gained from seeing that playing out on screen as well. But what’s interesting is that it is assumed that a person has a singular “one and only” romantic partner. By contras...

The Official Story: When Oppression Hits Home

  This last month, Wim Wenders, the director behind movies such as Wings of Desire (1987) and Perfect Days (2023), made a statement at the 76th Berlin Film Festival that’s been scratching at me. In his words, “Yes, movies can change the world. Not in a political way. No movie has really changed any politician’s idea, but … we can change the idea that people have of how they should live.” Wenders was speaking specifically on the subject of film festivals taking active stances on things such as the Israel-Palestine conflict, further describing, “Cinema has an incredible power of being compassionate and empathetic. The news is not empathetic. Politics is not empathetic, but movies are. And that’s our duty.”   I think the dressing of this verdict was supposed to be optimistic, but the sentiment reminded me of something that actress Jennifer Lawrence said also very recently on why she’s pulled back from using her official platforms to speak out against the Trump Administrati...

Investigating Nostalgia - Featuring "Who Framed Roger Rabbit" and "Pokemon: Detective Pikachu"

The 1700’s and the age of exploration saw a massive swell of people leaving their homelands for an extended period or even for life. From this explosion of displacement emerged a new medical phenomenon. Travelers were diagnosed with excessive irritability, loss of productivity, and even hallucinations. The common denominator among those afflicted was an overwhelming homesickness. Swiss physician Johannes Hofer gave a name to this condition. The name combines the Latin words algos , meaning “pain” or “distress,” and nostos , meaning “homecoming,” to create the word nostalgia .  Appleton's Journal, 23 May 1874, describes the affliction: Sunset Boulevard (1950) “The nostalgic loses his gayety, his energy, and seeks isolation in order to give himself up to the one idea that pursues him, that of his country. He embellishes the memories attached to places where he was brought up, and creates an ideal world where his imagination revels with an obstinate persistence.” Contempora...

REVIEW: ONWARD

     The Walt Disney Company as a whole seems to be in constant danger of being overtaken by its own cannibalistic tendency--cashing in on the successes of their past hits at the expense of creating the kinds of stories that merited these reimaginings to begin with.       Pixar, coming fresh off a decade marked by a deluge of sequels, is certainly susceptible to this pattern as well. Though movies like Inside Out and Coco have helped breathe necessary life into the studio, audiences invested in the creative lifeblood of the studio should take note when an opportunity comes for either Disney or Pixar animation to flex their creative muscles.       This year we'll have three such opportunities between the two studios. [EDIT: Okay, maybe not. Thanks, Corona.] The first of these, ONWARD directed by Dan Scanlon, opens this weekend and paints a hopeful picture of a future where Pixar allows empathetic and novel storytelling to gui...

REVIEW: SCREAM 7

      I've been trying hard to find to see if I can't find a way to talk around the Scream 7 situation with all its associated turmoil. On the one hand, congrats to Neve Campbell for holding her ground until Paramount recognized her contributions to the franchise. On the other hand, it's a shame they had to drown Melissa Barrera in order to welcome her back into the fold.      But these kinds of contradictions, they follow both the slasher genre as a whole as well as this franchise specifically. I definitely have mixed feelings about the delight that comes with watching this movie in the theater as the audience all winces in unison while Ghostface delivers a particular nasty cut to a young girl who certainly did not deserve to be vivisected this way. The franchise itself has mixed feelings about the fandom it engenders, punishing the mania that springs up in the wake of humans being hacked to death--while also very much depending on it.  So it's perhap...

The Belle Complex

As Disney fandom increasingly moves toward the mainstream, the discussions and questions that travel around the community become increasingly nuanced and diverse. Is the true color of Aurora's dress blue or pink? Is it more fun to sit in the back or the front on Big Thunder Mountain? Is the company's continued emphasis on producing content for Disney+ negatively impacting not only their output but the landscape for theatrical release as a whole?  However, on two things, the fandom is eternally united. First, Gargoyles  was a masterpiece in television storytelling and should have experienced a much longer run than it did. Second, Belle's prom dress in the 2017 remake was just insulting.      While overwhelmingly successful at the box office, the 2017 adaptation is also a bruise for many in the Disney community. Even right out the gate, the film came under fire for a myriad of factors: the auto-tuned soundtrack, Ewan McGregor's flimsy accent, the distracting plot ...