Once I got into it, I was very happily surprised. It wasn’t nostalgia, it was obsession tempered by affection. It used its subject matter as a metaphor for a time when things were perhaps less overwrought, and a little more genuine. All this in the least genuine setting of all – virtual reality. Read More
I’m honestly not sure what science fiction as a genre has done to deserve the awful movies that are released like a biblical plague upon the loyal fans. With source material in the form of hundreds of novels from masters of the genre, and concepts such as ringworlds, Dyson’s spheres, generation ships, advanced AI, the Culture, etc to choose from, the relative paucity of anything remotely watchable is a great tragedy as far as I’m concerned.
Of course we have the original Star Wars, we have Pitch Black, Alien, Blade Runner, Terminator, the Matrix – these were good movies, in the speculative fiction genre. But they’re old, and they’re still pretty thin on the ground. You’d think that as we’re continuously approaching the future we might get better at representing it on screen in the context of a reasonably well-structured narrative.
But for each good movie we get, we seem to earn a terrible sequel (Ok – Terminator and Alien count as exceptions), and for each movie-plus-dreadful-sequel combo we get a bonus side order of a couple of truly abysmal stand-alone science fiction turds that somehow manage to obtain theatrical releases.
Jupiter Ascending is one such piece of utter drivel.
A basic technique that ensures a science fiction book works is that it be character and story driven first, and that the technology actually serve a useful purpose and create a universe with rules and limitations that bound the story in interesting ways. Here, the script is very weak on characterization, and the plot devices are wildly implausible. The characters fill out the blank spaces in the script with ever more improbable lines to read, in the service of a plot so weak it barely pretends to hang together.
Jupiter Ascending’s storyline begins to fray before the overdressed and dramatically over-eared aliens even show up. With ridiculous story artefacts, odd notions of planets “belonging” to alien cultures, an omnipresent and thinly-veiled capitalists-are-evil meme, and an advanced race so utterly backward in their personal interactions that they could all use a session with a shrink. You get the picture: The film quickly becomes annoying. In addition, the fight scenes are indecipherable, no matter how hard you stare – even if they are quite pretty.
Add to this two other elements: On the one hand some really pointless technology and concepts (flying boots, deployable wings, a really big, really heavy gun that doesn’t actually kill anyone, bees that identify royalty and fly around them in patterns…), and on the other, the use of storytelling laziness and short cuts such as, for example, the mass editing of people’s memories so they don’t remember there are little grey men flying around shooting holes in skyscrapers, or a totally random alignment of genetic code that means our protagonist is the reborn queen of a 91-thousand-year-old galactic empire, or the fact that the entire story is motivated by sibling rivalry, and you have the perfect ingredients for the mother of all cinematic turds.
Of course it’s when I watch bad science fiction that my television goes on the blink and for the entire last quarter of the movie I couldn’t fast-forward because of a software glitch, which means I had to sit through some of the most improbable fight scenes, useless dialogue and a wedding scene that was so overdone I almost threw the remote through the screen.
Not the Wachowski’s finest moment. I think they’re great directors, but they should really leave the screenwriting to someone else.