The story of MUTE is not a science-fiction-, it is a Vietnam-story, informed by the M*A*S*H-franchise. If it were set in the early 1970s and in Thailand, many annoying details that are just wrong would fall right into place. This is where it belongs. The gratuitous SF-masquerade is only an inane gimmick, it turns the plot itself into a fish out of water. "Cactus Bill" and "Duck" (Paul Rudd & Justin Theroux), two US army surgeons who deserted from their military unit during a war in an Asian country, are even still dressed for the 1970s.
The CGI-look of Berlin in 2052, praised by an astounding amount of shills, is a complete rehash of ideas from the 1970s and 1980s, predominantly mimicking the vision of 2019 Los Angeles in "Blade Runner". Back then it was of course unique and amazing, but it was also far from being prophetic. The L.A. of today doesn't look like the one imagined in 1982 at all. On top of this MUTE's production designers still think that nothing says "future" better that neon signs ("Neon lights, shimmering neon lights", Kraftwerk, 1978) and nothing says "Berlin" better than graffiti scribblings. This is just lazy and tacky. While "Blade Runner" is still great, MUTE was born as and will always be kitsch. Some people will hate it, others will like it - "Kitsch is a beautiful word" (Barry Ryan, 1970). Whatever. The main reason for the praising of MUTE is a bunch of stale stereotypes, really.
40-year-old Leo (Alexander Skarsgard), who is mute since an accident in his childhood, hasn't learned yet to really cope with his handicap. Most of the time he looks awkward, gawky, insecure. In MUTE's 2052 it would only take minutes to give him back his voice. Author and director Duncan Jones' cop-out: Leo is a devout Amish - even though he is not living in an Amish community and is working as a bartender at a strip club. That's not how Amishness works, Mr. Jones.
Leo drives a Mercedes-Benz built in 1972. It still can't fly.
Leo's weapon of choice is a bedpost. At this point it should be clear to everyone that Mr. Jones is just joshing with his audience.
MUTE will make it in every top ten list about stupid decisions villains make when they are going to kill the hero.
The mise-en-scène is sluggish, the characters are as unappealing as the anachronistic story lines. This movie is a complete train wreck. Duncan Jones has dedicated it to his father, David Bowie. That's a sacrilege.
What is wrong with this picture? Everything.
The CGI-look of Berlin in 2052, praised by an astounding amount of shills, is a complete rehash of ideas from the 1970s and 1980s, predominantly mimicking the vision of 2019 Los Angeles in "Blade Runner". Back then it was of course unique and amazing, but it was also far from being prophetic. The L.A. of today doesn't look like the one imagined in 1982 at all. On top of this MUTE's production designers still think that nothing says "future" better that neon signs ("Neon lights, shimmering neon lights", Kraftwerk, 1978) and nothing says "Berlin" better than graffiti scribblings. This is just lazy and tacky. While "Blade Runner" is still great, MUTE was born as and will always be kitsch. Some people will hate it, others will like it - "Kitsch is a beautiful word" (Barry Ryan, 1970). Whatever. The main reason for the praising of MUTE is a bunch of stale stereotypes, really.
40-year-old Leo (Alexander Skarsgard), who is mute since an accident in his childhood, hasn't learned yet to really cope with his handicap. Most of the time he looks awkward, gawky, insecure. In MUTE's 2052 it would only take minutes to give him back his voice. Author and director Duncan Jones' cop-out: Leo is a devout Amish - even though he is not living in an Amish community and is working as a bartender at a strip club. That's not how Amishness works, Mr. Jones.
Leo drives a Mercedes-Benz built in 1972. It still can't fly.
Leo's weapon of choice is a bedpost. At this point it should be clear to everyone that Mr. Jones is just joshing with his audience.
MUTE will make it in every top ten list about stupid decisions villains make when they are going to kill the hero.
The mise-en-scène is sluggish, the characters are as unappealing as the anachronistic story lines. This movie is a complete train wreck. Duncan Jones has dedicated it to his father, David Bowie. That's a sacrilege.
What is wrong with this picture? Everything.