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Tomorrow, When the War Began: Unrealistic War Drama
This is ultimately a war film, but the story doesn’t subscribe to the same traditional elements of the genre. Rather than focusing on the battle and the politics of war on a grander scale, it looks at it from a civilian’s point of view. While the characters are numerous, the attempt to cover a broad cross section of personalities often ends up in a portrayal of clichéd stereotypes.
A film that relies so heavily on a character-driven plot, naturally also relies on the performance of its actors. Unfortunately, the young cast fails to deliver, and the film as a whole lacks the drama and action that you’d expect from a subject matter like this one.
The brief and infrequent action scenes stand out as impressive and entertaining, but at times border on the ridiculous. In one scene for example, heavily armed military vehicles are pursuing two girls in a truck, and are powerless to apprehend it.
Tomorrow, When the War Began is an overall weak production that lacks realism, intensity, and features a distinctively average cast. The green light has been given to produce the sequel, which is based on the second novel in the Tomorrow series, with the third part also being considered. Picking up where this film finishes, the sequel will hopefully develop the series into a better watch.
At first glance, Oliver Blackburn’s Kristy seems to be just another home-invasion thriller that does very little to elevate the standard tropes of the genre. However, thanks to masterfully-built, slow-burning tension, Kristy still delivers a few delightful frights.
Penned by Anthony Jaswinski, Kristy is set in Portland, Oregon and opens with a news report about a group of missing twenty-something year-old girls whose murdered bodies have been turning up across the country, with their deaths looking to be a result of a satanic ritual.
The story soon shifts its focus on Justine (Bennett); a young college student who gets stuck alone on campus during the Thanksgiving break. Unable to travel home for the holidays – mainly due to lack of finances – she decides to stay behind to hang out with roommate, Nicole (Ash), and use the peace and quiet to catch up on her studies.
After saying goodbye to boyfriend, Scott (Ransone) – who is reluctant of leaving her behind – she learns that Nicole too will leave to spend time with her family in Aspen, leaving Justine completely alone with a couple of security guards and a groundskeeper for company. After stepping off campus to get herself a well-deserved midnight snack, Justine runs into a mysterious hooded girl called Violet (Greene).
It’s not long before Justine learns that she has been followed back to the campus by Violet and her mask-wearing buddies who will do anything in their power to get their hands on another innocent victim.
Light on the gore, but easy on the eye, Oliver Blackburn’s Kristy is enriched with stunning visuals and clever camerawork that allows the audience to feel – and almost taste - the isolation and anxiety that surrounds the film’s heroine. The opening scenes – used to observe Justine’s newly-found solitude – create a fittingly claustrophobic atmosphere.
Forceful and compelling, Bennett proves to be a pretty decent choice for the lead and her transition from a young college girl into a survivor is built well. Greene, on the other hand, doesn’t fare quite as well; bland and expressionless, her contribution was pretty ineffective and, just like the rest of her gang, lacking the edge to make an impact as the villain of the story. The broody demeanour just doen't connect.
Kristy is filled with a sense of implausibility, but if you’re able to suspend your disbelief just a little more and overlook its flaws – the overpowering music cues and some rather predictable and cheesy horror traps, for example – you will find that Kristy is a decent entry to the increasingly saturated horror genre.
Following in the footsteps of the 2014 teen- tear-jerker, The Fault in Our Stars, R.J Cutler’s onscreen adaptation of yet another best-selling young-adult novel explores the perils of young love in the terribly formulaic and melodramatic, If I Stay.
The story is centred on Mia (Moretz); a shy high-school junior who dreams of one day becoming a great concert cellist. Her super-cool, rock-loving parents, Kat (Enos) and Denny (Leonard), are very supportive of her dreams; however, Mia – who constantly doubts her own talent – is not so sure that she will be able to make the cut when she auditions for the Julliard School of Music in New York.
As Mia awaits the news that will determine her future, her relationship with Adam (Blackley), the lead singer of a local rock band, is not doing so well, as his career and schedule begins to take him away from the relationship. Uncertain what her future holds, Mia’s world is soon turned upside down when she and her family are involved in a horrifying car accident that leaves both her parents dead, her younger brother Teddy (Davies) fighting for his life and Mia in a coma.
Stuck in between the two worlds, Mia begins to undergo a lengthy out-of-body experience and soon finds herself examining and questioning her entire life – through a series of flashbacks – and quickly comes to the realisation that it is up to her whether to let go and walk towards the light – literally – or wake up and deal with the fact that her life, as she knew it, will be forever changed.
Scripted by Shauna Cross, If I Stay does very little to break away from the usual patterns of young-adult novel adaptations and once again lends its entire focus on the workings of a romance between two young teens under the burdens of life and big decisions. Weighty subjects are thrown around, but never fully explored and the gaps in the logic – mostly to do with the supernatural part of the tale – are vast and, frankly, a little baffling.
Nevertheless, Moretz proves to be a reliable and capable lead, though the chemistry shared between her and Blackley doesn’t really resonate. As her extra-hip parents, Enos and Leonard, came off as a little forced – and a little hard to take seriously – while Keach, playing Mia’s loving grandfather, is the only one who brings a bit of sincerity to his role.
Told mostly through flashbacks, If I Stay is paced well and there is certain lightness to its step. However, it’s all a little bit too cutesy to take seriously.