By Greg Vega 
In fact, saving the world is a tough business. Negotiations to control climate change are being dragged on endlessly at the local, national and global levels. Dramatic improvements are the exception, millimeter by millimeter improvement and sensitivity regression rule.
How comforting it is to make Hollywood movies in which the biggest physical strains to protect the planet can seem as easy as wandering around on a Sunday. But how complicated is it that so many of these films are now more boring than what happens with uncle and aunt and your stomach with a fry. This is especially true of tomorrow’s science fiction blockbuster.
In the so-called event film, the threat does not come from climate change, but from aliens who have gone back to the wild, who have faithfully stepped into Hollywood since the 1950s to mark the end of the world. Chris Brad plays a high school teacher who fights an alien Armada in the future. After blocking the release of Corona Theater, the film has now landed on Amazon Prime Video.
The film did not take the latest UFO revelations to see how unspeakably unimaginable the idea that aliens are coming to Earth. For nearly three-quarters of an hour, director Chris McKay, who has so far excelled in plastic toy films such as “The Lego Movie,” evokes the tension of how deadly aliens are – tents and intricate teeth you know from many films to present only with the usual lizard-like creatures. At the same time, he presents an insurmountable problem in justifying his work: small animals can certainly bite harder, and they smell better according to their condition. But for the most dangerous predatory humans on the planet they can hold a candle and then seem to laugh.
Mr. and Mrs. Except for the question of how the Reptiles have developed sophisticated technology and started moving towards Earth – this will be taken at least later, but much Lame Explained away.
In fact, leaving such overviews would be up to Hollywood model Sunny guy Chris Broad. But, alas, the man openly struggles with the role of teacher Dan Forrester, who is looking for his place in life, and has to deal with the fact that his little daughter will be taken away by the aliens as an adult woman. With a depiction of tragic depth, Brad sinks hopelessly.
Undesirable reactionary tendency
The director seems to be at a loss as to how to adjust the dramatic weight and story lightness in particular. The $ 200 million film looks like a BMW body with a bicycle driver: it’s expensive, but the comedy is nonsense, the tense drama is predictable, the action scenes are copied and the effects are technically correct, but never touching.
Nevertheless, even a failed film like “The Tomorrow War” naturally says something. Even the dull escape always leads to the viewer and the world in which he lives through the many back doors.
In this way, the film will almost touch on the attempt to fix images of long-broken men and fathers if its reactionary trend is not very unpleasant. These include sluggish diseases that condemn political organizations such as the United Nations as chat boxes and celebrate the active man who mustered the courage to save the world.
Keep in mind the active white man. “Tomorrow’s War” speaks of a time journey into the future, but in reality it is one of the past, in a world of diversity, content and equality debates. You don’t have to create every blockbuster and act according to the quota, but it’s interesting to see how carefully black men are pushed into harmless supporting roles. The best comedy of the film is when Dan’s wife finds out that she saved the world while cleaning the kitchen.
This primitive blast may have moved at least because of its size. Shrinking to screen size, its internal emptiness appears larger than any special effect.