It’s just dull and hollow-a massive waste of time and money. It’s not completely terrible, even though 20 th Century Fox’s decision not to screen it for critics before opening day would suggest as much. And yes, all massive summer disaster pictures are like that-especially when they come from director Roland Emmerich, returning from the original “Independence Day.” Shock and awe are his bread and butter.īut “Resurgence”-which, surprisingly, isn’t the title of a fourth “ Divergent” movie-feels even more shiny and empty than most of these kinds of films.
“Independence Day: Resurgence,” the sequel you probably didn’t want or need to the 1996 smash-hit blockbuster “ Independence Day,” is all about the spectacle. Monroe’s scenes don’t matter any more or less than anything else in the movie.The aliens are back, and they want … more of the same thing they wanted before, maybe? Maybe some of us would complain if that dynamic didn’t even surface in Independence Day: Resurgence-but it’s of no consequence anyway. Then there’s the usual device of the feisty woman warrior-in this case, Monroe’s Patricia Whitmore, the daughter of Pullman’s ex-prez Whitmore, who brought down the aliens the first time around-getting the chance to show she can shoot down space creatures as well as the guys can. Isaacs (John Storey), has cared for him, devotedly, the whole time, and though the nature of their union isn’t explored as deftly as it might have been, at least that relationship is there. Brakush Owen, has been in a coma for 7,300 days his co-worker, Dr. Independence Day: Resurgence works hard to seem progressive. The idea, probably, is to get multiple generations of moviegoers out to the cinemaplex, but there’s little these humans can do to breathe life into this brain-dead behemoth of a movie. Usher, Maika Monroe) dotting the margins. Much of the original cast ( Jeff Goldblum, Bill Pullman, Judd Hirsch, Brent Spiner) has returned, with young actors (Liam Hemsworth, Jessie T. Giger designed the mother of them all for Ridley Scott in 1979.Īnd what is Charlotte Gainsbourg, so gloriously soft-spoken and ultra-cool, doing in the middle of all this? The movie barely makes room for her. The skyscraper-size harvester queen, with her broad forehead, saliva-slicked jaws and spidery limbs, looks like just about every other alien we’ve seen since H.R. When the Big Kahuna alien ship descends upon the Atlantic Ocean, it does so in a big gray cloud lit through with orange flames, kind of like a giant charcoal briquette.
As you may have seen in the movie’s trailer, London’s Tower Bridge falls down, but it happens so fast that you barely get time to relish it (if, in fact, you relish that sort of thing). All you need to know about the plot is that the alien presence we supposedly vanquished 20 years ago has once again reared its ugly head.
Everything in Independence Day: Resurgence is so big that nothing has any meaning, or any weight. Now he’s just raking over its bones, looking for more explosive ways to grab our attention. In 1996, director Emmerich ushered in the era of the modern disaster spectacle. But you can’t forgive it for being boring. You can forgive Independence Day: Resurgence for being ridiculous-its predecessor was too. But really, alien technology has only made us dumber. In the movie’s universe, Earthlings have supposedly harnessed alien technology in the 20 years since these surly beasties first invaded. I promise,” and, my personal favorite, “Someone call a medical team”? How come we sometimes see an alien creature or two-they’re your generic moist, spindly, lizardlike things, led by a giant, all-powerful matriarch known as a harvester queen-and other times there are none in sight? Why does this movie have no sense of geography? One minute the movie’s fighter-pilot heroes are buzzing around the environs of the moon, the next they’re sort of doodling around the Atlantic Ocean or near Washington. Why have ostensibly intelligent actors agreed to deliver lines like “They’re going for our molten core,” “I’m coming back. But this follow-up to Emmerich’s 1996 box-office powerhouse Independence Day is so dumb that it actually forces you to think-there’s almost no other way to stay awake. The point of a disaster epic/alien-invasion hybrid like Roland Emmerich’s Independence Day: Resurgence is to give audiences permission to sit back, turn off their brains for a few hours and just feel the noize.
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