Review: 'Oblivion'

Universal Pictures

‘Ambitious’ seems like an appropriate term when describing what Oblivion is as a film. Oblivion explores two or three genres in its 124 minute running time. It is a film that is clearly a science fiction film. With this comes a sub-genre, as it can be labeled as an actioner. These genres only function as a canvas for what Oblivion is really trying to be: a story of romance.  So the question becomes, does this ambitious approach work in its favor. As a science fiction film, Oblivion does not do anything wrong, even excelling at times. It is when it wants to tell a romantic story in a poetic matter that it runs into real problems. 

Oblivion begins in 2077 on an earth where humans are no longer present do to a war with an alien race known as Scavengers that destroyed the moon sixty years prior. Humans now occupy a space station called the Tet and Saturn’s moon, Titan but in order to survive in these environments they must harvest earth of some of its last remaining resources. Technicians Jack Harper (Tom Cruise) and Victoria Olsen (Andrea Riseborough), under the surveillance of their commander Sally (Melissa Leo), must stay on earth to make sure that everything goes as planned when acquiring these resources before they can join the others. With just a couple of weeks left until the two can leave earth, trouble arises as Scavengers become more of a threat, the droids they are monitoring begin to fail and a space vessel containing humans crashes nearby.     

It is hard not to see Oblivion as a science fiction film as it uses all of the genre’s usual characteristics and plot points. There is the deserted earth, aliens, droids, space colonies and even more. It may seem like an overload but they are pieced together in way that works (nothing flat out amazing but works). On top of these plot devices comes the twist and turns that keep coming. They eventually start to pile on each other in such a way that it feels that they are the factor that is supposed to make the story interesting. Whether it is planned this way or not, this becomes exactly the case as the film moves along.

As a part of Oblivion’s science fiction base are futuristic visuals and action sequences. It was in my Warm Bodies review that I expressed how post-apocalyptic landscapes often look the same from one movie to the next but this is far from the case in Oblivion. Yes, the color blue seemed to occupy almost every scene but the way that it was used as a back drop in several different shades allows it to stay effective. I could stare at the blown up moon all day.

Complementing the gorgeous scenery are the crisp action sequences. Oblivion avoids messy moments of intense action and the film benefits from it. It is always clear what is going on in these scenes and are never over used. Although simple in their use and appearance, the futuristic, flying, round ball-like droids become an entertaining element to these sequences. Due to all this, credit is due to director Joseph Kosinski for choosing not to over load the film with action but rather focus on a more thoughtful story. It’s just a shame that this story cannot deliver.

Oblivion wants to be more than just a science fiction movie. Whether it be Jack Harpers dreams or the ongoing reference to a poem, it quickly becomes clear that is a film that wants to make a statement. Unfortunately, it’s attempt, although heavy in his application, comes of flat and at times, even shoots itself down. Popping up several times in the films first half is Jack continually having dreams about meeting a woman in pre-war New York City. This alone works as it adds an emotional aspect to Jack. It is when he becomes involved with a survivor of the space vesicle wreckage that the story of romance does not fully work. The relationship between Jack and Julia (Olga Kurylenko) never manages to convey the message that the film is aiming for through this couple: love is for humans and plays a major role in being human. The emotional investment that the two have in each other is never felt. This is due largely to a poor character in the form of Julia and lack of emotional moments allowed to play out.

The other part of Oblivion’s message about what it is to be human and who should create humans involves reference after reference to Thomas Babington Macaulay’s Horatius. It is an excellent exert but given what the story becomes, I am not sure that it is the best fit. Even when its reciting is at its best, it is ruin with the line “Fuck you, Sally”. Maybe it just me but if I were trying to make some poetic statement I would not end it by dropping the F-bomb. Not in this situation anyway.                              

It is fair to say that Oblivion is a film that swings for the fences but instead finds itself on second with a double. As a science fiction film, Oblivion works as it is ascetically pleasing film that appropriately pieces together the usual sci-fi plot devices. When Oblivion tries to be more than just twist and turns and actually say something about love and the human race is when it fails to connect.

Grade: C+