George Clooney’s relationship with sci-fi fantasies has been spotty at best. A finely condensed Cliff’s Notes abbreviation: Solaris was Steven Soderbergh’s aesthetically bountiful endeavor to distill Tarkovsky for the masses. Theatre ushers loved the film, as low audience turnout left little to clean up between shows. Gravity was an Awards-season favorite, raking up 7 Oscar nominations including one for Sandra Bullock but Clooney’s jocular spaceman was shut out. I’m in the minority when it comes to enjoying Tomorowland, a tentpole picture that collapsed at the box office. According to The Hollywood Reporter, the film lost close to $150 million, making it hard to understand why Clooney would want anything to do with another film that finds him trekking through a CG universe playing opposite a young girl, who in this case is near-mute by intention. (Was it because Bullock took home an Oscar that this time Clooney chose to direct an intergalactic adventure that pits him
Little dialogue. Some action. Whole lot of landscapes.
Netflix released its original sci-fi/drama âThe Midnight Skyâ in December 2020. Over the course of two hours, viewers follow scientist Dr. Augustine Lofthouse (George Clooney) as he attempts to warn the space mission Aether, that it is not safe to return to Earth.
Years ago, Aether departed with a five-person crew to scout K-23, a Jupiter moon that Augustine hypothesized as habitable. The story shifts between scenes of Augustine on Earth and the astronauts in space, as they try to contact one another.
The first scene is quite literally shots of empty rooms with the background noises of Augustine fixing a meal. [Microwave whirring.] [Microwave beeps.] [Dishes clattering.] Nearly two whole minutes pass before a single word is said, but text on the screen provides the details that the setting is the Barbeau Observatory in the Arctic Circle in February 2049, three weeks after âthe event.â
George Clooney s latest is a boring mess by Graham Hillard Print this article
In days of yore, when “opening night” meant something other than a movie’s initial arrival in one’s Netflix queue, I would have gotten dressed and driven into town to see
The Midnight Sky, a new sci-fi thriller based on the novel
Good Morning, Midnight by Lily Brooks-Dalton. On Christmas Eve, I merely pressed a button. Though the latter feels dismayingly incommensurate to the exertion required to create large-scale feature films, it represents the exact amount of effort one should expend in pursuit of the streaming giant’s latest stinker.