The Island, the latest from crash bang maestro Michael Bay, is proof that the Hollywood blockbuster strategy, something for everyone designed to appeal to a mass global audience, can backfire. In this case the broad appeal strategy results in a strangely timid and diluted film, which just isn't quite strong enough in any area to appeal enthusiastically to anyone - a point made clear by it's surprisingly low box office performance: a domestic gross of $36m compared to it's $122m budget.
Although the film offers some interesting ideas with regards to cloning, corporate business and free will presented with at least a hint of intelligence, none of the moral implications or ethical arguments are explored to the degree of depth needed to involve the viewer on an intellectual level. None of the ideas are hugely original, being familiar from a multitude of sci-fi films over the years. Even visually, the film still can't beat the dystopia's of the sci-fi films of the 70s such as THX 1138 or Logan's Run. Ideas pass by, raise just about enough interest and meaning needed for the plot and are then forgotten in favour of Mr Bay's usual fetishistic worship of explosions, shiny inanimate objects and all things crash-bang-whizz.
However, even here we've seen it all before in recent years, so even aficionados of no-brainer action aren't likely to be satisfied. A freeway chase also featured in Bay's own Bad Boys II and was far more exhilarating in the otherwise dire Matrix Reloaded. Shoot-outs, fight scenes, heck even sex, is all diluted down to a flat, inoffensive censor friendly aesthetic by slick, evasive editing.
Performance wise, at first it seems refreshing to have such lesser stars as McGregor and Johansson take the leads until you realise they're not actually that great. McGregor's awful American accent seems to suck his usual strong character from him, and his "real-life" double thankfully retains his natural Scottish accent. Johansson is a surprising casting choice, obviously designed to target the Elisha Cuthbert-alike worshipping teen market, as much as the "Lost in Translation" crowd. The script really gives her little to do, but she's feisty enough and gorgeous, of course, although that airbrush effect on her skin is hideously fake, though I guess that fits with the plot. Unfortunately it is partly the script lets them down, but McGregor just doesn't quite have the charisma of Will Smith, Bruce Willis or even Tom Cruise in this kind of leading role. Buscemi pops up for his obligatory sleazy but helpful role, and gosh that tech job must pay well for him to afford THAT wife and her mail order outfits! Sean Bean yet again pulls out his stock baddie template as does Djimonn Hounsou.
So just that little short of satisfying on both ideas and action front, a largely humourless script and unconventional casting. The film lumbers along powered by Steve Jablonsky's relentless, bombastic score, glossy visuals and nauseatingly quick editing.
However....
Something about the film just about keeps it on the right side of entertaining. Love or loathe Michael Bay, he has a flair for this kind of thing. Unlike some consistently awful directors, his only major flop "Pearl Harbor" was down to a major misjudgement in subject matter and an awful script. Given a half-decent narrative, and good cast his crash-bang aesthetic can power a film along. While The Island doesn't quite power along on all cylinders, give me this over "Pearl Harbour" or the combined works of Steven Sommers, Paul W S Anderson or McG.
Although the film offers some interesting ideas with regards to cloning, corporate business and free will presented with at least a hint of intelligence, none of the moral implications or ethical arguments are explored to the degree of depth needed to involve the viewer on an intellectual level. None of the ideas are hugely original, being familiar from a multitude of sci-fi films over the years. Even visually, the film still can't beat the dystopia's of the sci-fi films of the 70s such as THX 1138 or Logan's Run. Ideas pass by, raise just about enough interest and meaning needed for the plot and are then forgotten in favour of Mr Bay's usual fetishistic worship of explosions, shiny inanimate objects and all things crash-bang-whizz.
However, even here we've seen it all before in recent years, so even aficionados of no-brainer action aren't likely to be satisfied. A freeway chase also featured in Bay's own Bad Boys II and was far more exhilarating in the otherwise dire Matrix Reloaded. Shoot-outs, fight scenes, heck even sex, is all diluted down to a flat, inoffensive censor friendly aesthetic by slick, evasive editing.
Performance wise, at first it seems refreshing to have such lesser stars as McGregor and Johansson take the leads until you realise they're not actually that great. McGregor's awful American accent seems to suck his usual strong character from him, and his "real-life" double thankfully retains his natural Scottish accent. Johansson is a surprising casting choice, obviously designed to target the Elisha Cuthbert-alike worshipping teen market, as much as the "Lost in Translation" crowd. The script really gives her little to do, but she's feisty enough and gorgeous, of course, although that airbrush effect on her skin is hideously fake, though I guess that fits with the plot. Unfortunately it is partly the script lets them down, but McGregor just doesn't quite have the charisma of Will Smith, Bruce Willis or even Tom Cruise in this kind of leading role. Buscemi pops up for his obligatory sleazy but helpful role, and gosh that tech job must pay well for him to afford THAT wife and her mail order outfits! Sean Bean yet again pulls out his stock baddie template as does Djimonn Hounsou.
So just that little short of satisfying on both ideas and action front, a largely humourless script and unconventional casting. The film lumbers along powered by Steve Jablonsky's relentless, bombastic score, glossy visuals and nauseatingly quick editing.
However....
Something about the film just about keeps it on the right side of entertaining. Love or loathe Michael Bay, he has a flair for this kind of thing. Unlike some consistently awful directors, his only major flop "Pearl Harbor" was down to a major misjudgement in subject matter and an awful script. Given a half-decent narrative, and good cast his crash-bang aesthetic can power a film along. While The Island doesn't quite power along on all cylinders, give me this over "Pearl Harbour" or the combined works of Steven Sommers, Paul W S Anderson or McG.