Dr. Helen Benson is summoned to a military facility with several other scientists when an alien spacecraft of sorts arrives in New York City. Aboard is a human-like alien and a giant robot of immense size and power. The alien identifies himself as Klaatu and says he has come to save the Earth. The US military and political authorities see him as a threat however and decide to use so-called intensive interrogation techniques on him but Dr. Benson decides to facilitate his escape. When she learns exactly what he means when he says he is there to save the Earth, she tries to convince him to change his intentions. Written by
According to Keanu Reeves, in the original, Klaatu was an alien WITH a human body, while in this film, Klaatu is an alien IN a human body. See more »
As the spacecraft lands, its downward thrust causes a park bench to be uprooted and blown across the ground. That kind of pressure would have sent everyone in the area flying across the ground as well, yet only two people are blown over, the rest of them, even the woman who grabs her child as its pushchair is blown away, manage to stay on their feet. See more »
[Jacob, bleeding from his nose, collapses in the arms of Helen]
Whats happening to him? Jacob!
They are inside him... He is dying.
[whipes blood from her own nose, discovering that she is also dying]
Help him!... Please!
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A schizophrenic film. Scott Derrickson has done his best to make a run of the mill CGI-enhanced sci-fi thriller but has found himself thwarted by the remarkable screen presence of Keanu Reeves and the ghost of Bernard Herrmann.
Reeves was the draw for me; where some find him laughable, I find him sober and engaging. His alien-in-a-human is at once non-porous of emotion but registers the emotional to-ing and fro-ing that decide his actions. He's a classy screen idol, well-cast. The rest of the cast (the very capable Jennifer Connelly included) are at the mercy of a truly ridiculous story both in concept and in local narrative. The gravity of the situation in which humankind as represented by Americans finds itself is only captured in the single-gear performance of Reeves and the unobtrusive but peculiar 'Herrmann' score, resurrected for the film by Tyler Bates.
There's a lot of silliness - a lot of cartoonish world's end drama which, strangely, doesn't do what it purports to which is update the 1951 original. It still feels dated. We are also presented with John Cleese as a Nobel Prize winner. Well that's also ridiculous on the face of it - but I tell you something, if the end where nigh and you wanted someone leftfield to plead your seemingly intractable case, you'd do a lot worse than Cleese. As a final oddity the product placement in the film seems at odds with the frowning upon consumerism that's at it's heart. Or maybe they're companies leading the charge to save the world. It's all a bit confusing. 4/10
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