This film has a great premise, good effects, strong performances and exciting set pieces. Its story presents, on the one hand, a credible account of two people’s experiences (and emerging relationship) in an ethically provocative variation on desert-island scenarios. On the other hand, it creates a large scale (but neither mythical nor apocalyptic) problem that must be solved by two ordinary human beings. The final shots, which leap forward ninety years and offer a backward glance at the traces of their two lives—lives lived in solitude and out of sight but lives lived also, by all appearances, happily—are powerful, moving, and they’ve stuck with me.
Yet the reviews leading up to the film’s release were terrible—so much so that I waited to see it as a rental—and it seems to have done badly at the box office. And yet, this was not a bad movie at all. (Lesson relearned: don’t trust reviews!)
Popular judgments this bad aren’t a canary in the coal mine. They’re you watching with stinging eyes and burning nose as the miner a hundred feet down the shaft keels over.
Because if science fiction storytelling like this isn’t exciting enough to be worth seeing, then Marvel’s colonization of our mind-screens is near complete.