Walt Disney Studios Motion Pictures | Release Date: May 22, 2015 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
28
Mixed:
19
Negative:
1
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Critic Reviews
An amalgamation of Disney's heritage, current status and future enterprises that starts in the evocatively rendered 1964 World's Fair, Tomorrowland is a refreshing and well-intentioned standalone piece that revels in a creatively manufactured appropriation of the conglomerate's existence.
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At times Tomorrowland plays like such a throwback to those sweetly naive, low-rent, live-action Disney matinees of the '60s and '70s, George Clooney is like a Fred MacMurray with gravitas, gruff and grizzle, predictably warming up to a young dreamer (a terrific Britt Robertson) of cheer and vision.
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RogerEbert.comMay 19, 2015
It’s so smart, so winsome, so utterly rejuvenating that you’ll have to wait until your eyes have dried and your buzz has worn off before you can begin to argue with it. And you should argue with it — even if you had a blast, as I did, and want to see it again with the kids, as I do — because it’s a major pop-culture statement with all sorts of implications, both vital and nutty.
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The whole film is an argument about nothing less than the future — can we fix our troubled world or not? But for all of its vaulting ambition, its sumptuous eye-feasts and its leapings back and forth in space and time, Tomorrowland never comes together as coherent drama in the here and now.
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The PlaylistMay 19, 2015
Steeped in a nostalgia that often feels borrowed and canned—the space-age era impulses of progress and possibility from the 1950s and ‘60s—Tomorrowland asks that you never give up or lose hope, literally and figuratively, over and over again, to the point that the movie has little else to say.
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Brad Bird’s Tomorrowland is a great-looking, old-fashioned, at times soaring adventure ultimately brought down by a needlessly convoluted plot, some surprisingly casual violence and heavy-handed lectures about how we’re our own worst enemy and we’re going to destroy the planet if we don’t get it together.
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Multiplex audiences can choose over the next few weeks between two starkly different views of the future. The remnants of humanity struggle for survival in the brutal world of "Mad Max: Fury Road," while Tomorrowland offers an optimistic retro-future paradise full of jetpacks and robots. Me, I'll take post-apocalyptic desert wasteland over soulless corporate utopia any day of the week.
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Its idea of the future is abstract, theoretical and empty, and it can only fill in the blank space with exhortations to believe and to hope. But belief without content, without a critical picture of the world as it is, is really just propaganda. Tomorrowland, searching for incitements to dream, finds slogans and mistakes them for poetry.
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The problem is, the closer our heroes come to their goal, the weaker the story becomes. What we're left with is a film that gets off to a ripping good start, but which -- given how little time is actually spent in the fanciful world after which the whose shebang is named -- ends up feeling like a cinematic bait-and-switch.
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