“The Tomorrow War,” the new Chris Pratt sci fi action film now streaming on Amazon Prime, is a unicorn. It’s a big-budget blockbuster not inspired by a comic book or video game. The story resonates with echoes of “The Terminator,” “Alien” and any number of father-daughter dramas, but while it may feel familiar, it’s a rarity, an original movie that doesn’t set itself up for a sequel.
Set in December 2022, Chris Pratt is Dan, biology teacher, Iraq War vet, husband to Emmy (Betty Gilpin) and father to young daughter Muri (Ryan Kiera Armstrong). One night, they’re gathered around the television watching a game when the match is interrupted by visitors from the 2052 with a “cry for help across time.”
“We are from thirty years from the future,” says the spokesperson. “We are at war and our enemy is not human. We are losing. In eleven months, all will be lost unless you help us. You are our last hope.”
The planet goes into a panic. A worldwide draft is instituted and soon Dan is enlisted to jump thirty years forward to fight an alien species, named White Spikes, he knows nothing about. The tour of duty is only seven days, but few survive. “You are not fighting for your country,” he’s told. “You’re fighting for the world.”
Dropped into the future in the middle of an alien hotspot, Dan’s military training kicks in. With the help of Col. Forester (Yvonne Strahovski), he survives but when they put their heads together, they realize the key to beating the aliens isn’t warfare, it’s science! The real solution is a poison serum that neuters the beasts. But, the question with time twisted logic is, can they make enough of it in time to stop the war before it even happens? “We are food,” Forester says, “and they are hungry.”
I have written around a MAJOR spoiler. Time travel stories have the benefit of playing around with their character’s timelines but you’ll hear nothing about that here. Suffice to say, Dan makes a life-changing discovery while stationed in the future and it affects everything he does from that moment onward, and I suppose, in the time that has already happened. (Time travel movies can get complicated.)
Moving on to the broad strokes.
There is a lot going on in “The Tomorrow War.” It has Marvel-style large action scenes mixed with horror—the White Spikes, and their weird gooey puke yellow blood, are plentiful and relentless—family drama—”I’m no hero,” Dan says, “I just want to save my daughter.”— and even a child genius who provides a key piece of information in the war against the aliens. Director Chris McKay and screenwriter Zach Dean jam pack every scene with something, whether it’s Pratt’s zippy one-liners or a city crumbling during an airstrike or doing battle in a cave with an angry White Spike.
It feels like all peaks with very few valleys.
To lure us in and make us care about the characters, there have to be moments where things aren’t blowing up. McKay provides some of those but Dean doesn’t give us much in the way of character arcs in those quieter moments. Things happen to the characters, constantly, but rarely is anything of consequence revealed about them. “Glow’s” Betty Gilpin, for instance, is present, and has a name, Emmy, but is given very little to do except be Dan’s wife. More character work may have given us a reason to care when bad things happen.
Having said that, there are some fun moments of over-the-top alien action. A showdown between Dan, his father (J.K. Simmons) and a seemingly indestructible White Spike is a wild ride but generic characters and the predictability of the story blunts much of the film’s excitement.
Last summer, just before the original release date for “The Hunt,” a political satire starring “GLOW’s” Betty Gilpin, President Trump Tweeted, sight unseen, that it was “made in order … to inflame and cause chaos.” Being labelled “very, very bad for our Country!” by the most powerful man in the world the film got the political satire pulled from distribution. The President and the rest of us will finally get a chance to see what all the fuss was about when the movie hits screens this weekend.
Breathing the same bloody air as dystopian movies like “The Purge,” “The Hunt” is a violent b-movie that examines America’s current political divide in very broad strokes. Gilpin plays Crystal, one of a group of strangers—i.e. “deplorables”—kidnapped by Athena (Hilary Swank), the ringleader of a group of “liberal ‘cucks’ who run the deep state.”
“Every year these liberal elites kidnap a bunch of normal folks like us,” reveals Gary (Ethan Suplee), “and hunt us for sport.” The game becomes less lopsided when Crystal fights back, eliminating the “competition” one by one.
Horror films have long used guts and gore as allegories for modern societal woes. “Frankenstein” is a God complex story. “Night of the Living Dead” is a metaphor for the past coming back to wreak havoc on the future. Those, and others like social-politically themes “The Host” and “Videodrome,” or “Invasion of the Body Snatchers’s” look at conformity, among others, provide important and entertaining ways of looking at ourselves through a different lens. “The Hunt,” while entertaining in a b-movie kind of way, doesn’t really rise to the designation of important. Like so many things these days, the outrage that preceded its release was blown out of proportion.
There’s no allegory here. “The Hunt” is a literal representation of political polarization in a “Hunger Games”-style of haves and have-nots. It’s the 1% vs the 99% until a plot twist suggests that this may be an even emptier exercise in us vs them than originally thought. Most of what passes for social commentary—and it hits most every social situation from racism, class division, crisis acting, immigration, fake news, corruption, gender identification and cultural appropriation—is punctuated with a gun shot or a joke. One “deplorable” calls another a “snowflake” when he refuses to shoot her after she’s been injured. The punchline? A gunshot.
“The Hunt” is a gutsy (sometimes literally) grindhouse movie that only goes as deep as to poke fun at people who use “their” instead of “there.” But while it may not have the power, as the Pres sez, to inflame and cause chaos, it is an effectively gritty little thriller more interested in the fist-in-your-face action (delivered with the subtlety of an Alex Jones monologue) than getting in your face with its message.
I recently had a conversation with someone who hires people to work at a large financial institution. Qualifications? Math and people skills are high on the list, as are attention to detail and honesty. His killer question, the one that separates the candidates who will move forward to a second or third interview from those who won’t is deceptively simple. “What’s your Uber rating?” That’s right, in a word that increasingly places a star value on random performance, a ride-sharing service driver you may have only met once can determine your employment future. “Stuber,” a new comedy starring Kumail Nanjiani and Dave Bautista, begins with a star rating and ends in an odd couple comedy.
Bautista is Vic, an LAPD detective on a mission to capture Teijo (Iko Uwais), the heroin dealer responsible for the death of his partner Sara Morris (Karen Gillan). When Teijo resurfaces during a Los Angeles heat wave Vic prepares to take him down. Trouble is, he’s just had Lasik surgery and can’t see. Fortunately, his daughter Nicole (Natalie Morales) installed the Uber app on his phone.
Enter Stu (Nanjiani), a sardonic retail clerk, with a crush on his best friend Becca (Betty Gilpin), a part time job driving for Uber and a license plate that reads FIVESTARS. Ironically, he also has a comically low star rating, the result of a string of one-star reviews left by drunks and racists. “I can’t drop below four stars or I’ll lose my job,” he says.
He picks up Vic, takes him to the scene of a murder and, desperate for a five-star review hangs around, getting deeper and deeper into trouble. “If you want five stars,” says Vic, “keep the motor running.”
“Stuber” is more than just product placement for ride-sharing. Equal parts action and gags, it feels like a throwback to the odd couple buddy movies of yore.
Let’s play Retro Fantasy Casting. Imagine it’s 1985. You have an action-comedy about a hulking cop and a motor-mouthed cab driver. It’s violent, rough and raunchy. Sounds perfect for Arnold Schwarzenegger and Eddie Murphy. You get the idea.
The premise is as dated as Koosh Balls but like those colorful rubber balls, it’s still fun. Arnold and Eddie likely would have dialed back the pop psychology somewhat—“You give people your Glock,” says Stu, “not your love. That’s your problem.”—and upped the grit, but the other buddy movie puzzle pieces are very much in place.
These movies are all about chemistry and Bautista and Nanjiani bring it. Physically they’re Laurel and (a pumped up) Hardy and their size differential leads to some laughs. Bautista’s Mr. Magoo routine offers up some good opportunities for pratfalls but it is Nanjiani who really provides the comedy in this action-comedy. His is a steady comedic approach, with a drily hilarious delivery that wrings laughs out of lines that aren’t funny on the page. “I’ve done things tonight you wouldn’t believe,” is a standard line in movies like this but out of Nanjiani’s mouth it becomes a laugh line.
“Stuber” doesn’t reinvent buddy cop wheel but it does take it out for a spin and it’s a fun ride.
