DIRECTOR: Roland Emmerich
Twenty years have past since the alien invaders destroyed The White House and one of cinema’s most outstanding and timeless special effects was premiered to the world. Two decades have also passed since we, the cinema going public, were exposed to Roland Emmerich’s disaster movie meets alien invasion masterpiece. And for all the criticisms, ID4 was a masterpiece of the its genre. Iconic, visually stunning, bold and brash.
But it was also corny and its pacing was misjudged at times, not least by delivering its global destruction so early in the film, leaving the second half to focus on Will Smith saving what was left. But it is this first half which sets the film apart, ratcheting up the tension as the world we know is about to be destroyed.
And it is. The enemy is cold, relentless and seeming unstoppable; and here we have the sequel.
The film has to take the story on from a sci-fi stand point, meaning that the world was irrevocably changed following the events of the first film, yet here we are looking a cities rebuilt seeming verbatim and new landmarks, many of which would surly never have been built in this world, crashing down to Earth with the help of the aliens new gravity weapon.
All in all, this movie spends a lot of time harking back to the original, whilst glossing over so much illogical changes and events that it beggars belief. We are supposed to care about cities being destroyed that as far I was concerned were already gone, though I suppose London could be rebuilt in 20 years? The most imaginative nod to this was the fact that the reconstructed White House actually survives this onslaught.
And there there is the whole moon thing…
Here we have a moon base designed to repel another alien attack. Fair enough but this is pure science fiction, something which the first film surprising managed to keep grounded. Here it is like Doctor Who where anything goes.
But my biggest issue here was the pacing. It felt slow, meandering and whilst the first film had a real sense of urgency, Resurgence just seemed to go through the motions and before we knew it, we had already had our first major attack, it just did not feel like right.
David Arnold’s score was missed here too, bombastic and fun, replaced by Harald Kloser and Thomas Wanker (aka Wander) who deliver a much more sombre Hans Zimmeresk theme, seemingly raising the tone of a film which was more tongue in cheek than the first.
But the final insult to me was the fact that this was a flagrant franchise builder, a brazen attempt to set up a new generation for a new generation of films and fans.
Well, please don’t bother.
…And the less said about the talking sphere, the better!