Mortal Engines is like Star Wars on Middle-earth but lacks memorable charactersby Russell Baillie
In a world where cities are humungous all-terrain vehicles, Peter Jackson and Christian Rivers' Mortal Engines gets bogged down.
That war bombed the planet back to the industrial age. Thus, it’s a world where cities are now humungous all-terrain vehicles but no one is on Facebook.
That’s the setting of the first of Philip Reeve’s young-adult books, which is directed by long-time Peter Jackson lieutenant Christian Rivers from a script by Jackson, Frances Walsh and Philippa Boyens in the first film for the trio since fleeing Middle-earth.
It feels like a bit of a punt, a hopeful attempt to launch a fantasy franchise from a little-known book series, one with a quirky steampunk aesthetic that might risk condemning it to screen cult-dom, and one arriving after YA screen adaptations have stopped being a thing.
In the movie, though, the retro-tech isn’t pronounced and its hero couple Hester Shaw and Tom Natsworthy have gone from book teenagers to big-screen twentysomethings.
Those Pacman cities might suggest a story about consumerism and saving dwindling planetary resources. But on-screen, Mortal Engines works more like a well-known space saga. After all, its central plot is about a tall guy (London’s chief boffin Thaddeus Valentine, played by Hugo Weaving), whose ambitions of empire get a devastating superweapon, but who faces opposition from spirited youngsters who join an alliance to defeat him.
It also, perhaps inevitably, resembles Middle-earth. One pivotal scene involves rays from a giant glowing orb and a wall across a valley between two realms.
Visually, it’s faithful to the Weta house style and it largely takes place against the sort of digital backdrop that made The Hobbit feel a less convincing world than the Lord of the Rings trilogy.
As London steams on its way and we’re down in the city’s bowels, Mortal Engines can resemble those early mind-bending fantasies of Terry Gilliam. But although it offers an initially intriguing world, its residents are less so. As Hester and Tom, strangers thrown into the wilderness after she tries to kill Valentine, Hera Hilmar and Robert Sheehan struggle to give their characters much presence and their supposed love story comes with less chemistry than generated by Sam and Frodo.
Slightly confusingly, early on we’re introduced to another mismatched couple, Katherine Valentine and Bevis Pod, but they are barely seen again.
Elsewhere, Weaving isn’t much fun as the mad scientist and – other than Shrike, a kind of Franken-Orc with Hester in his sights, and cool rebel leader Anna Fang – Mortal Engines lacks memorable characters. It’s all a bit serious, especially for a movie about giant cities playing dodgems.
IN CINEMAS NOW
This article was first published in the December 15, 2018 issue of the New Zealand Listener.
Calls are growing for us to take a more honest look at our past, particularly the wars over land and power that shaped the country.Read more
As Australia’s tourism tsar 13 years ago, Scott Morrison oversaw the rollicking “So where the bloody hell are you?’’ ad campaign.Read more
Miranda Tapsell tells Russell Baillie how she came up with Top End Wedding and why its Northern Territory setting means so much.Read more
New research into the brain has found that cardiovascular ill health is linked to cognitive decline and dementia.Read more
John Summers wonders if his abiding interest in New Zealand’s abandoned freezing works is actually a long farewell to his grandfather.Read more
“We bow down to this idea of Elon Musk or Jeff Bezos going to Mars, when here in our own country, we had the equivalent."Read more