The plot: As a means to combat overpopulation, a group of
Norwegian scientists have come up with a ground-breaking solution: Literally
shrinking the population down to a height of only five inches. Suburban couple Paul (Matt Damon) and Audrey (Kristen Wiig), unsatisfied with their current
living conditions, decide to take part in the procedure… only for Audrey to back
out at the last minute. Now shrunken and alone, Dave takes part in this brand
new miniature society, only to discover that even this scenario has its
drawbacks.
Damon has all of one
emotion for the entire film: Being amazed at things. His position as the entry
point character for the audience apparently translated into him just going
“wow!” at the strange sights and people he sees as a result of the downsizing;
it’s like Owen Wilson was the original choice for the role, but he backed out
too quickly for a rewrite to fit someone else. It’s rare that a lead actor
comes across this much like a tourist. Wiig’s role is thankfully minor, as she
is so bland that the idea of her being a main character for the whole thing
would be rather disconcerting. Christoph Waltz as Paul’s neighbour Dusan is rather
fun in how much he does not give a fuck, taking aloofness so far that he ends
up being the real entry point for the
audience; bonus points for a moment where he basically photobombs a scene where
he has no lines.
Hong Chau as a persecuted Vietnamese activist is the strongest
in terms of character, being the closest thing we get to someone actually having character in the first place, and
even through the broken English, she does the best at delivering some of the
film’s more pointed lines. Jason Sudeikis is pretty much wasted, Udo Kier as
Waltz’ hetero life-mate just makes me want a buddy comedy with them both as the
leads, and Neil Patrick Harris and Laura Dern pop in for a painfully awkward cameo.
This film has an incredibly strange sense of humour, and I
don’t mean that in any of the fun ways. A lot of it plays off of the main
premise of downsizing, resulting a good chunk of the film involving some kind
of giant prop to get laughs. Some of the jokes are front-and-centre, like Paul
having just one giant rose in a vase on his table, while others are background
humour, like a framed picture of a normal-sized one dollar bill. Regardless of
the visibility, though, this kind of prop comedy? It is incredibly old hat by
this point, and with how upfront the film can get about how it admits that
these jokes are kind of silly to begin with, it can’t even reach comedy via
irony with these moments.
The written jokes are quite inconsistent, ranging
from genuine laughs to just spasmodic cringe, and it even gets into
honest-to-God sitcom territory at one point. This is where Neil Patrick Harris
and Laura Dern come in as part of a presentation for one of the downsizing
communities, employing the sort of “Get it? Because women go shopping a lot?!”
hackery that makes me surprised that no-one from The Big Bang Theory was
involved in the writing process. Where this gets weird is that, because of how
cloying the humour can get, anytime someone on-screen says the word “small” or
“big” in regular conversation, it feels like a setup for another stupid moment…
only for it to just be a benign part of the dialogue. These jokes are so bad,
they induce humour-related PTSD in their audience.
Getting away from the dire attempts at comedy here, this
film actually does have quite a bit going for it as far as its premise. Writers
Alexander Payne and Jim Taylor go for a proper social sci-fi tone with how they
handle the high-concept idea at its core, and when it uses it to more critical
ends, it yields some interesting results. For a start, there’s some very
gratifying details included as to what the downsizing process involves,
including the preparation required like the removal of dental fillings and any
body hair. For another, the way that the script goes into the implications and
possible consequences for such a procedure gaining ground results in some solid
world-building, highlighting how the process ostensibly creates two separate
classes of people: Big and small.
And for a third, expanding on that last point, the film
doesn’t use this as a means for commentary on racism. Even beyond the main
cast, this is a very ethnically
diverse collection of actors, so it’s kept grounded in commentary on social class.
A good move, considering the targets pointed out are more universal than being
restricted to just a single subset of humanity. It portrays the downsizing
process as an easy excuse for the upper-middle class to start off fresh,
echoing the White Flight commentary of Damon’s earlier turn in Suburbicon, and
pointing out how this attitude of consuming and then abandoning it for whatever new
territory is found is a very unfortunately human process.
And then the film takes a fall. A big one. One where you can
literally pinpoint the second that it completely goes off the rails. Said
second is the moment right after Paul takes a pill at one of Dusan’s parties,
featuring a drug trip sequence that is so visually unlike everything else here
as to be quite jarring. This happens less than halfway through the film, and
from then on, the film completely loses steam. It stops continuing to
extrapolate on its main idea and its potential as social commentary, and starts
importing a whole host of other ideas like political prisoners and survivalist
cults and just mashing them together until the ultimate point of all this
becomes frustratingly obtuse.
I’m quickly growing tired of seeing this exact
same ‘quantity over quality’ approach to high-concept storytelling, but this
might be the most painful example yet because it actually starts out with
promise. Not just promise, but promise that the first act showed a shaky but
still learned ability to fulfil. However, once the film takes its first of
many hard right-turns, that all fades away and all that’s left is a bunch of
incredibly awkward moments that never feel like they’re here for any reason
other than making up for the writers running out of ideas with its initial
premise.
All in all, this is a promising start that ends up collapsing
into a complete train wreck. The acting is rather inconsistent, the comedy is
amazingly antiquated, and while the writing begins strong as far as fleshing
out its ideas, it starts to lose steam less than halfway through and ends up
running entirely on fumes by the end. I’ve been anticipating this film since I
discovered it would be Alexander Payne’s next feature after the excellent
Nebraska; calling this a disappointment would be to disregard just how plain
incompetent a lot of this is.
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