2018 Directed by Christian Rivers
Many thousands of years in the future, Earth’s cities roam the globe on huge wheels, devouring each other in a struggle for ever diminishing resources. On one of these massive traction cities, the old London, Tom Natsworthy has an unexpected encounter with a mysterious young woman from the wastelands who will change the course of his life forever.
Hera Hilmar Robert Sheehan Hugo Weaving Jihae Ronan Raftery Leila George Patrick Malahide Stephen Lang Colin Salmon Mark Mitchinson Regé-Jean Page Menik Gooneratne Frankie Adams Leifur Sigurdarson Kahn West Andrew Lees Sophie Cox Kee Chan Sarah Peirse Mark Hadlow Caren Pistorius Poppy Macleod Joel Tobeck Terry Norris Calum Gittins Megan Edwards Peter Rowley Aaron Jackson Stephen Ure Show All…
Simon Bright Brendan Heffernan Philip Thomas Helen Strevens Simon Lowe Tane Griffin Matt Austin Vanessa Cole Greg Allison
Shane Vieau Zahra Archer Alister Baxter Colette Mullin Yvonne Yip Mark Stephen Rebecca Asquith Karijus Schlogl
Christopher Boyes Brent Burge Martin Kwok Michelle Child Matthew Lambourn Dave Whitehead Michael Hedges Justin Webster Hayden Collow Melanie Graham Matt Stutter Jason Canovas Alexis Feodoroff Emile de la Rey
Mortal Engines: Krieg der Städte, Máquinas Mortais, Mécanique fatale, Máquinas Mortales, 移动城市：致命引擎
Monsters, aliens, sci-fi and the apocalypse Epic heroes Epic history and literature future, sci-fi, technology, action or technological earth, sci-fi, space, spaceship or mankind swords, adventure, fantasy, battle or fighting monster, creature, dinosaurs, scientist or beast sci-fi, aliens, space, spaceship or earth Show All…
“Mortal Engines” might not be a particularly good movie, but it’s a BIG one, and sometimes that can be even more important. Adapted (on steroids) from Philip Reeves’ neo-Victorian steampunk fantasy of the same name, this $100 million holiday-season event starts off like a supersized remake of “Fury Road,” as two mobile cities shoot massive harpoons at each other in a death race through the post-apocalyptic wastelands of Europe as Junkie XL’s bombastic score yowls in the background. Yes, mobile cities. One of them is London, and the other is a quaint mining colony that doesn’t have a name worth remembering; they travel on giant turrets, stretch a mile into the sky, and mulch each other for fuel.
This —…
I was so bored during this movie I spent most of the last act trying to figure out the last movie that was this big that was also this bad. The answer I settled on was Battlefield Earth.
Full review at ScreenCrush.
I'm still a little fuzzy on why the apocalypse meant the cities had to be on wheels but also please don't bother explaining it to me if you know. Anyway with its goofass steampunk tech and airships and tragic robot men and dynastic tale of revenge and elaborate backstory and on and on, this reminded me more than anything else of classic Final Fantasy, except the painstaking and incremental progress of both the characters' journeys and the narrative itself is crammed into a hectic, convoluted two hours instead of playing out over hours a day for weeks. Personally I prefer something this unabashedly dorky to really swing for it, be little more virtuosic, so I'll be over here rewatching JUPITER ASCENDING.
Tatsächlich deutlich besser als die grausigen Trailer erwarten ließen. Sehr fantasievolles Produktionsdesign, schön gefilmte Action, tolle Panoramen und Setpieces machen eine wirklich spaßige erste Filmhälfte aus. Die unzähligen Klischees, blassen Figuren und das penetrant-aufdringliche Foreshadowing fallen da kaum ins Gewicht.
Leider schwächelt der hintere Part dann zunehmend. Der Ideenraub im übrigen Blockbuster-Oeuvre wird dann überdeutlich, die Handlung kommt zum erliegen, weil alles nur noch überlanger Showdown ist und am Ende will der Film dann einfach nicht enden.
Für eine Buchvorlage hat das hier alles relativ wenig Fleisch auf den Rippen - die Welt von „Mortal Engines“ scheint durchaus reichhaltig zu sein, viel zu sehen bekommt man aber nicht. Dafür bekommt die simple Rachestory einfach zu viel Raum. Aber immerhin - Potential für Fortsetzungen wäre da, wenn das hier an der Kinokasse funktioniert...wovon ich nicht ausgehe...
steampunk Star Wars, YA Mad Max, brexit Lord of the Rings. a bit too much going on here honestly; doesn't really have enough time to provide the insanely ambitious production design/vfx here with anything beyond typical, expository narrative and competent, anonymous action. still, pretty bonkers, frequently beautiful design work. pouring one out for my homie shrike. concept art coffee table book when?
So this one was a massive give and take for me, but my overall feelings are honestly more on the positive than the negative. It's a film that does certain things so damn well that you can tell that if the worse aspects of the film had been improved on then this could've been a genuine classic. For what it is though, it's honestly some flawed but ambitious fun.
The best thing and the true star of the film is the setting, which is consistently awesome even if some things don't make sense. The moving city of London feels like it's ripped straight from video games like Bioshock and DisHonored - which by the by is totally my shit -…
I can't believe Peter Jackson convinced Universal to spend 100 million dollars on a live action remake of ROBOTS
