Oblivion

So apparently Tom Cruise’s people hail from Westmeath. But while Cruise may have roots in the midlands, his latest sci-fi flick has its origins in ‘70s science fiction, as well as in What Dreams May Come and, er, Rocketeer. Less an homage, more a mish-mash of recycled themes, Joseph Kosinski’s (Tron:Legacy) film sees Cruise play a drone repairman trying to protect a post-apocalyptic Earth from warring aliens. Utilising his much-celebrated stunt skills, ability to wear the hell out a of leather jacket and determination to always play a character with a strong, one-syllable first name, Cruise is on comfortable ground as a loner who slowly realises that all is not as it seems.

The supporting cast prove perfectly adequate, with Andrea Riseborough bringing an edgy intelligence to her role as Cruise’s partner – though in true Hollywood tradition, her Kate Winslet-inspired British accent of course denotes ulterior motives. Meanwhile, Morgan Freeman and To The Wonder beauty Olga Kurylenko rehash Morpheus and Trinity’s lines from The Matrix.
The star of the film is the visuals. Kosinski and cinematographer Claudio Miranda create a nice dystopian landscape, with the rubble of New York landmarks and rotting ships hinting at what came before. However, the futuristic touchscreen technology and white space vehicles read too much like an Apple ad and the epic sky-scapes often look painted, while the sweeping score, courtesy of M83, tries desperately hard to feel epic.
Shamelessly unoriginal, Oblivion is visually impressive: it neither offends nor exhilarates. But brownie points to Kosinski for not making it in 3D.