SPOILER ALERT!
"There's one great moment in Tomorrowland where all the world-building clicks and anything seems possible. Frank Walker (the ever-affable George Clooney), his protégé Casey Newton (Britt Robertson), and their android helper Athena (Raffey Cassidy) are atop the Eiffel Tower; Frank is explaining the secret history of the monument, which is actually the brainchild of Gustave Eiffel, Nikola Tesla, Jules Verne, and Thomas Edison.
Then—no spoilers—something incredible happens.
It's the kind of thing that the Imagineer in all of us dreams of: a glimpse of an unknown magical world, hiding just below the surface of our pedestrian one. It's a look at a place where scientists are saviors, and we solve problems with creativity instead of brute force. All of Tomorrowland is like that. It's told with the enthusiasm of a 12-year-old: "And then this happened, and then this happened, and then there was a rocketship!"
That kind of enthusiasm is infectious, but there's a reason 12-year-olds don't make movies—they're great with premises, but not conclusions. Sadly, that's the problem with Tomorrowland, out today. It's a fun movie, clearly built with enthusiasm and love, but it's an intellectual litterbug. It presents you with a scintillating idea—Nikola Tesla hiding scientific wonders in the Eiffel Tower, say, or a secret place in another dimension where people are trying to save humanity from its own self-destruction—only to discard it like some half-melted Dippin' Dots in a theme-park trashcan. (It's the ice cream of the future!)
The point of Tomorrowland, much like its namesake attraction, is about better living through imagination, about optimism's triumph over cynicism. And ultimately it celebrates the kind of exceptionalism we all hope to have. It's a really nice idea, one nearly impossible to dislike, but it's a concept that we already feel at a cellular level—just watch some footage of the Moon landing and see what the hairs on your arm do…"
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Amicalement
Armand