We don’t get movies like this anymore. Yes, it’s a
large-scale piece of sci-fi action adventure cinema, a familiar form of popcorn
fodder, but I’m talking more about the aesthetic. This kind of globe-spanning
steampunk is a genuine rarity nowadays. And in the hands of Peter Jackson,
giving his frequent collaborator Christian Rivers a thunderous directorial
debut, his finesse in the realm of computer effects gives this film an
absolutely fantastic visage.
Showing a world where cities have become gargantuan
machines, roaming the scorched earth in hopes of materials to maintain their
own existence (referred to in-universe as 'Municipal Darwinism'), the level of
scale and detail here is staggering. Watching the colossal city of London chug
along what was once the world we know is a disquieting experience… and not just
because of the destruction in its wake.
Learning from history is a major theme in this film, and it
can vary wildly from the profound to the outright goofy. While it maintains a
certain Fallout-esque approach to sci-fi society assessing older technology,
the quip about how 'the age of screens' reduced humanity to being unable to
write anything down, in particular the Sixty-Minute War that scorched the earth
in the first place, is a tad patronising. Then again, when they also include a
revival of the ‘Twinkies survive the apocalypse’ gag, it can be difficult to
discern if it’s just good-natured ribbing or being genuinely cautionary.
Because if nothing else, and unlike a fair amount of Jackson’s
more recent material, The Hobbit included, this is a film that demands to be
taken seriously. Or, to be more accurate, it demands that the audience pays attention to what is happening. In addition to its detailing of
historical exchange through technology and ties to modern world politique, it
also takes time out to look at the people who allow these engines to keep
running. The people who stand on the balcony and cheer as London eviscerates
its foes, seeing their nation’s aggression as nothing more than triumph. As
necessity. As simple self-preservation by any means necessary. It’s a predatory
attitude to have on a global scale, and when the people become comfortable with
that being the way things work, they allow the atrocious to take place.
While personal character arcs involving vengeance, naiveté, revolution
and zombie bounty hunters fill out the blanks in the film’s run time, the story’s
ambitions prove far greater than just the sum of its parts. It’s the kind of
speculative fiction that embodies the first word in that phrase, speculating on
where this insistence on exclusionary tactics and food chain politics could
lead the world, pointing its finger squarely at the most likely suspect for the
future.
Honestly, taking Jackson’s entire filmography into account,
this level of social critique is a remarkable addition to his legacy, and a
testament to why he wanted to adapt this story to begin with. Knowing how
British history has affected his own, as shown earlier in the year with They Shall Not Grow Old, it makes sense that he would go after the source material in this
incendiary a fashion. And between the breathtaking visuals, the solid acting
talent on display, and the writing that gives a sprawling view of where the
world is heading, it feels like something that needs to be learnt from. We don’t
want to realise that our own engines are indeed mortal when it’s already too
late.
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