Review Summary: Odd science fiction occasionally intrigues, but largely falls flat.
Original filmmaking is a risky business nowadays in Hollywood. In an era largely defined by sequels and remakes, a film like Mortal Engines is likely to be passed over by the general moviegoing public. And pass over it was. The film was a box office disaster, with just $17 million earned in the U.S. alone. Yes, you can blame the competition, but it's clear here that distributor Universal knew this film would have a hard time finding a spot on the calendar to actually work.
That's because while the premise itself is original, the execution and feel are very bizarre. Engines tries so hard to be a character-driven story, and yet it gets lost in the midst of several moments of Hollywood schmaltz. The main characters here, former London worker Tom and rebel Hester Shaw (Scottish actress Hera Hilmar gives a believable take-no-prisoners attitude) are mildly engaging. And while Hester's character seems nicely-developed, there's too many others that lack the development they need.
There's also characters that are supposed to generate our sympathy. However, because their development lacks, that emotional pull never happens. That's a big mistake when it comes to action films. Yes, Jihae's Anna Fang had loads of potential as a female Han Solo of sorts. But no one ever comes to really care for her. As the villain, Hugo Weaving is menacing as always but aside from some clever deception, he's just not memorable. The only real plotline that seems to work emotionally is Hester's father-daughter like relationship with a robotic resurrected man. It's a bizarre twist that oddly gels.
The visual effects and production design work well, with some unique touches. The idea of the world power cities being reimagined as machines is a unique one. There's a somewhat gritty feel to some of the machines also. There's a few colorful flyers and aerial effects added into the mix as well.
The film's first hour also includes some interesting use of familiar elements. John is an archaeologist, and finds some artifacts (or things from our time, as this takes place many years in the future). Some of these "relics" are pretty amusing, such as America's "deities" (its' the Minions), and a "Winkie" that doesn't go bad after decades (they are Twinkies). These are entertaining moments.
Of course, the film has standard (yet not well-executed) Hollywood elements. Deceptive thinking. A supposed Savior. A parent's death. Underdogs rule. And sparks of romance fly between Hester and Tom, though it never quite materializes the right way. And, in a more recent Hollywood mainstay, the film also goes for a forced political reference in one obvious moment as well (this one to the very recent DACA).
Visual effects supervisor and storyboard artist Christian Rivers was given the reins to direct this film, which is actually based off a mildly popular young adult book. But you can tell that the novice director really didn't nail his first feature. It's too unfocused and too derivative of countless other fantasy films that came before. And while it certainly has some solid moments, it never remains consistently engaging or interesting.
Ultimately, Mortal Engines feels more like a missed opportunity. It had the chance to be as emotionally-engaging and original as producer Peter Jackson's Lord of the Rings movie did. And while it certainly has good moments and some great visual effects, what we get otherwise is an unmemorable, somewhat stale fantasy. It's not awful, its' just not something that comes close to being a must-see.
My Score: 5.1/10
Content Concerns for Family Viewing: Mortal Engines is rated PG-13 for "sequences of futuristic violence and action". This particular fantasy is a bit more visceral and scary than some recent PG-13 action flicks. Lots of mechanical violence where guns are shot, knives are stabbed (with a little bit of blood shown as a result of injury), and some machine-related destruction. Hand-to-hand combat occurs often too. One person is murdered. Another is attempted to be murdered. Hester is slashed lightly in the face as a child (the action occurs off-screen), and another person is slashed similarly at one point too. Someone is slashed in the leg (we see the wound a few times).
We also hear some language. A half-dozen uses of "h---" join one each of "d***it", "bloody" and "b---ard". "Oh my g**" is used a half-dozen times too. Hester seems revenge-bent a lot. And some characters lie and backstab. The villain willingly murders and takes out anyone who gets in his way.
