“Feed the right wolf.” Disney’s Tomorrowland (2015 film)

[Image Source: Wikipedia]

“Find the ones who haven’t given up. They are the future.” So says George Clooney at the end of Brad Bird’s latest Disney offering Tomorrowland, inspired as much by Disney’s ubiquitous theme parks (from which it derives its inspiration) as it does Ray Bradbury’s Fahrenheit 451, Jules Verne’s 20,000 Leagues Under the Sea, and … Al Gore’s An Inconvenient Truth.

In fact, this may be the first children’s film that directly addresses – so darkly, so interestingly, so strangely – global warming among other mankind-created global calamities. I can’t recall the last kiddie flick that depicted so darn many mushroom clouds, or had such a nihilistic sentiment at its gooey center. Good for Brad Bird.

Clearly a passion project for the director, the film suffers, alas, from a narrative lumpiness. It is composed almost like a junior novella, with very abrupt chapter breaks, and an unclear sense of the overall purpose until the crackerjack final act.

Regardless, the journey is an entertaining and worthwhile one, at least philosophically. As I find myself personally at a crossroads in life – looking back at what erroneously seemed an idyllic small-town, all-American way-of-life and now dreaming of a much-needed present/future state when we all can embrace empathy, kindness, and love, regardless our geographically defined boundaries – the film hit a raw nerve for me.

Ostensibly, the film is about Britt Robertson’s Casey Newton, a young, overeager space-loving kid horrified that America has given up on all dreams of galactic exploration. Casey discovers a magic pin that gives her glimpses of a sparkling utopia where we all live hand-in-hand, driving electric cars, zipping to-and-fro in bullet shaped sky-trains, and all wearing flowing garb designed in collaboration between Vera Wang and Judy Jetson (?). (Oh, and everybody in the future is fit. No fast food, no gluten, and, yeah, I bet vegan. Go figure.)

In truth? The film is really about George Clooney’s Frank Walker, a bright-eyed young boy born of nuclear optimism now a middle-aged sot calcified by millennial atrophy. He sees a world that he hoped would be (pushed to be), its limitless potential now squandered by petty greed and intentional hate. The classic baby boomer dilemma.

Casey sparks a reluctant optimism in Frank, as they meet cute, amidst a gaggle of murderous robots blowing up Frank’s steampunk farmhouse. They travel to Tomorrowland in hopes of preventing global catastrophe. Tomorrowland, you see, is an alternate dimension designed as a free-thinking societal construct, intended to gather humanity’s best and brightest in order to effect great change, but now turned to seed. Hugh Laurie, all glowering smarm, is its chief magistrate.

Robertson, who unfortunately has the acting range of a peanut, mugs and screams shamelessly, but Clooney with his oily charm is the perfect antidote. It takes quite a bit of screen time for him to finally emerge, but when he does the film starts firing on all cylinders.

Tomorrowland (the place … in the film) is a marvel of design, taking many cues from but never limited by the aesthetic of Disney’s theme park Tomorrowland(s) as well as the original designs for EPCOT – all swooping spirals, glittering towers, and burnished concrete.

As I understand it, Walt Disney and Ray Bradbury were pals, and they and their creative legacies share a similar take on the “future,” a concept as nebulous as it is thrilling. For these mid-century marvels, the future is a pearly veneer with a toxic venom ever curdling underneath. Both men telegraphed a healthy agnosticism and distrust of humanity – see Bambi, for one – with a deep desire to see us collectively rise above our own insularity and self-absorption … once and for all. Fat chance.

Brad Bird does a fine job capturing and forwarding this idea in Tomorrowland. The film is not perfect, a bit tedious at times, but it is a worthwhile summer blockbuster exercise in challenging how stunted we have become. At one point Casey says something to this effect: “There are two wolves. One bright and hopeful and one dark and cynical. Which wolf wins? Whichever one you feed. Feed the right wolf.”

Feed the right wolf.


Reel Roy Reviews 2

Reel Roy Reviews 2

Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital) In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by Bookbound, Common Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan. My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.

“The future is for those who know where they belong” – Divergent

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[Image Source: Wikipedia]

Anyone who has followed this blog for a while knows that I am not exactly a fan of young adult fiction or the various movies it has spawned over the past 10 years. Twilight makes me snoozy; The Hunger Games leaves me peckish (and cranky), and gooey dreck like The Mortal Instruments just gives me a sugar headache.

Imagine my surprise, then, at how much I enjoyed Divergent. I’ve been dragging my heels to see it, waiting until the last possible moment, as it has been in theaters over a month. In fact, my showing tonight only had one person in it: me.

It is yet another dystopian fantasy in which society has (more or less) survived some unidentified cataclysm. A new order has been put in place to keep all of us well-behaved, monochromatic, and … a little dull. In Divergent‘s case, humanity has been organized into factions according to some key defining personality trait; for example the Dauntless are courageous or the Abnegation are selfless or the Erudite are, well, really smart.

Akin to Harry Potter’s famous sorting hat, teens in this society are forced to choose which faction will serve as their tribe/home for the rest of their days. Said coming-of-age ceremony seems to involve hallucinogenic drugs, plasma screen televisions, and some very unfortunate outfits that appear to have been designed by Eileen Fisher on a very bad day.

Shailene Woodley, portrays “Beatrice,” the heroine of our tale. She is a member of Abnegation, the selfless folks, and her parents are played by Ashley Judd and Tony Goldwyn (who are always so good at being stately and worried). Beatrice’s father serves some role in local government, though I wasn’t ever entirely clear what. All I could figure is that society is now led by a rather boring yet politely dysfunctional city council from hell.

Unsurprisingly, the parents in Divergent-world are hopeful that their children end up staying in the faction of their birth, but that is not always the case. Hence, the title “divergent” pertains to young people who defy tidy categorization. This diversity of thought and attitude seems to be the bane of existence for Kate Winslet’s “Jeanine” who heads up the power-hungry Erudite clan – as indicated by her smart Hillary Clinton haircut and Donna Karan-esque navy blue suits.

The bulk of the film is spent setting up the rules of this future society and, when Woodley is in fact revealed to be “divergent,” tracking how she will survive a society that doesn’t much want her in it. She is mentored by the hunkily haunted “Four,” portrayed by newcomer Theo James, channeling an Anthony Perkins-ish, glowering charm.

I found the proceedings much smarter than what is typically on display in these kinds of films. I suppose the casting of Winslet is a sign that director Neil Burger (The IllusionistLimitless) had something greater in mind for this one. It reminded me at times of Ray Bradbury’s Fahrenheit 451 and Kurt Vonnegut’s Harrison Bergeron, both of which depict near-future societies whose well-meaning, peace-keeping totalitarianism results in widespread mediocrity and a crushing fear of the unique. Orwell’s allegorical legacy continues … praise be!

At one point, Winslet’s character ominously declares, “The future is for those who know where they belong.” Perhaps its just my paranoid middle age speaking but our society today seems to fear the unknown more than ever. The cinematic parable of Divergent (and its two planned sequels) strikes me as so powerful at this precarious cultural crossroads where we find ourselves. So, for once in my movie-going life, I’m actually looking forward to the second installment in one of these teen oriented sci-fi fantasias. Heaven help me.


Reel Roy Reviews is now a book! Please check out this coverage from BroadwayWorld of upcoming book launch events. In addition to online ordering at Amazon or from the publisher Open Books, the book currently is being carried by Bookbound, Common Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan; by Green Brain Comics in Dearborn, Michigan; and by Memory Lane Gift Shop in Columbia City, Indiana. Bookbound, Common Language, and Memory Lane also have copies of Susie Duncan Sexton’s Secrets of an Old Typewriter series.