Alien Reality [War of the Worlds review]

I didn’t think it was possible to make movies like this any more. War of the Worlds is an almost perfectly realized movie of the classic aliens-attack type: satisfying, believable, and very, very scary. It comes so close to perfection that a long list of accolades are going to have to be cleared out of the way before we get around to that “almost.”

Ray Ferrier, a dockworker, has just gotten charge of his kids for the weekend, as his ex-wife and her new husband head off for a weekend at her mom’s. The teenaged son, Robbie (Justin Chatwin), is resentful and rude; the ten-year-old daughter, Rachel (Dakota Fanning), is a bit too world-weary for someone still carrying plastic ponies around. (After Ray blows up at Robbie she informs her dad, “You’re never going to get through to him that way.”)

We get a couple of hints from an overheard news broadcast that somewhere in “the Ukraine” (didn’t they drop the “the” years ago?) there have been solar flares and power outages. But then a curious thing starts to happen in the local neighborhood. Ray is exhilarated to watch a gusty whirl of gray in the sky, which pulls the wind toward it and sends all the backyard laundry flapping. “It’s like the Fourth of July!” he tells Rachel; she, quite sensibly scared, replies, “No, it isn’t.”

That’s the last time anything in this movie is remotely normal. As the extent of the alien attack becomes increasingly apparent, the situation shoots to the level of hopeless and stays there. Ray’s goal becomes simply to get his children safely back to their mother. Rather than unfolding a storyline, it is a series of harrowing experiences, one after another. Which is, truthfully, what living something like this would be like.

That’s most impressive thing about what director Steven Spielberg has done here: This crazy story about space aliens destroying the earth is so realistic. We never know anything more than what Ray knows, and he doesn’t know much. Decisions are as agonizing and unclear to us as they are to him. He trudges day after day, exhausted and filthy, and we too feel the interminable and hopeless nature of his quest. In its own way, War of the Worlds is like the harrowing first 20 minutes of “Saving Private Ryan” (of which Spielberg was producer). It takes you there, and makes you feel it.

When Ray walks past a wall adorned, as Manhattan was after September 11, with notices begging for help in locating lost relatives, we think, “Yes, that’s what it would be like.” When Rachel and her dad argue over her need to have privacy for a roadside potty break, and his need to have her never out of his sight, we know that’s just the kind of thing that would happen. When they encounter people along the way who are kind, or who are suddenly and alarmingly vicious, or who are something strangely in-between (a great performance by Tim Robbins), we know we would meet that range of characters too.

Steven Spielberg has wisely located the power of this story, not in the size of the aliens or their destructive powers, but in how such threats would make us feel. Other directors trust the effects to be big and noisy enough to elicit these emotions, but Spielberg has set his sights on the subjective, experiential feel of the story itself. It’s a terrible temptation that now, with computer images, there are no limits to special effects; you can make an explosion 30-feet high, or 300, or more, so why not go for the biggest bang you can get for the buck? But a super-size wowzer like that becomes a distraction, breaking the bounds of the story and taking on separate existence as a mere object of gawking. Spielberg tames the effects and makes them serve the story. By exercising restraint he manages to make even a movie about invading aliens, in some sense, realistic.

Only “almost” perfect? The ending is a little sweeter than it needed to be, and a little clunky for that, but it’s not a serious flaw. If anything, Spielberg’s pursuit of “you are there” realism is too relentless. He wisely forgoes scenes that would constitute “comic relief,” but also gives us little in the way of character development, and nothing truly develops in the plot. The misery and anxiety-saturated atmosphere is so endless that we never get a break — no moments of hope or beauty, that would give us a breather. Halfway through the movie I scribbled this note: “Along about here I got tired of being scared.” I was tired of being at this pitch of tension for so long, tired of worrying about these people, and not knowing what horrific thing would happen next. But real life wouldn’t give us a break, and Spielberg doesn’t either. Few movies about flying saucers and bug-eyed aliens tell us such true things about human nature. War of the Worlds sets a new standard for space-age classics; it’s in a universe of its own.

— Frederica Mathewes-Green writes regularly for NPR's Morning Edition, Beliefnet.com, Christianity Today, and other publications. She is the author of Gender: Men, Women, Sex and Feminism, among other books.

A better review (http://www.mercurynews.com/mld/mercurynews/entertainment/movies/12006990.htm):

It turns out, it's not the end of the world. You just wish it were by the end of the movie.

(I love this next line!)
"War of the Worlds" is a picture without a thought in its pretty head: the Tom Cruise movie to end all Tom Cruise movies.
(great, wasn't it?) :D

If we're lucky. The movie has nothing much to say about the shape the world is in, other than a few reflexive questions about whether the explosions that accompany the arrival of space invaders might actually be caused by "the terrorists."

Oh, them.

The last time somebody made this movie, its subtext was all about the Cold War. But the new version's closest brush with metaphor arrives as the movie dead-ends in Boston, when some pigeons land on one of the alien fighting ships near Faneuil Hall, apparently mistaking it for a statue of Paul Revere on horseback. Tom Cruise -- who never stops seeming exactly like Tom Cruise, even though his character has been given the unlikely name Ray -- gets very excited about this and tries to shout something to a soldier. But there's so much noise in the movie at all times that the soldier can't hear him, and neither can we. This gives you something to talk about as you exit the theater.

"War of the Worlds" is supposed to be about aliens who go stomping around the countryside on long-legged fighting platforms -- known instantly to everyone in the movie as Tripods -- that almost certainly are the least practical interplanetary attack vehicles ever devised. But the invaders are only there to provide a backdrop for the movie's seemingly endless tableaux of Tom Cruise -- Tom Cruise running for his life, Tom Cruise being bathed in the blood of others, Tom Cruise yelling at his movie kids like a guy who wishes he knew where to get his hands on some Ritalin.

The best science fiction movies are grounded in everyday life, as pictures such as "Invasion of the Body Snatchers" and "The Day the Earth Stood Still" ably demonstrate. But "War of the Worlds" operates at such a distant remove from reality that when the invasion turns hundreds of thousands of people into refugees, wandering across New Jersey, we don't see a single displaced dog among them. This is a movie so completely de-contextualized from real life that it makes you yearn nostalgically for the unreality TV of Cruise's recent rampage through the talk shows.

Director Steven Spielberg and writer David Koepp, who collaborated on "Jurassic Park," have updated the story and the special effects so completely that comparisons to the novel upon which the movie is based -- written by H.G. Wells in 1898 -- or the 1953 sci-fi picture by producer George Pal are pointless. Spielberg is more likely trying to create a visual analog to the historic radio broadcast by Orson Welles' Mercury Theatre on Oct. 30, 1938, but the astonishments that Welles conjured for the mind's eye have now been given the face of a cultural banality.

As you would expect, the movie is larded with visual effects that keep Ray and his children, Robbie and Rachel -- the Raylettes -- in constant peril. Spielberg makes the threat to the rest of the world seem real enough, but the story is told through the eyes of Cruise's character, and we know that he will remain in a protective bubble for the duration of the picture. With that realization, boom goes the dynamite of our illusions. And our fears.

The only really scary moments come when bad things threaten the life of 10-year-old Rachel, played by the 47-year-old child impersonator Dakota Fanning. In fact, the creepiest scene in "War of the Worlds" is also one of the quietest, and it comes when Spielberg allows his camera to linger on Fanning's face as she takes in a horrible sight.

There are other splendid images in the film, as when a train suddenly races by Ray and the army of darkness he has joined, making them all look up from their zombie-like trance in wonder at the train's bright lights.

There also is a long scene involving an alien probe with a face that makes him look like the misbehaving younger brother of E.T., the extraterrestrial. The probe is sent into a basement to search for humans, which is odd, because until then the invaders have simply been blasting buildings to bits, indiscriminately vaporizing everybody in them. When they come to the house where Ray is hiding with a loonyburgher played by Tim Robbins, suddenly they start going door to door like Amway salesmen.

Come to think of it, maybe it is the end of the world after all.

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