Independence Day: Resurgence Twenty years after Roland Emmerich was amazing to the world with the extraterrestrial invasion of Independence Day: Resurgence, we are thrown to the face by this pompous consequence for which he convinced some actors of the original share-out that were joining her.
This German director arrived to Hollywood to remain after having realized four movies of scarce consistency in its native country, two of them of science fiction: the spatial crouton The Noah’s Ark Principle (1984), its opera occupies first place, and Moon 44 (1990), completely lacking in interest. Already in the United States, it is a genre to that he has kept on attending: it is no any more that there see excessive Universal Soldier (1992), interesting Stargate (1994), the first part of the movie that (1996) and Godzilla (1998) occupies to us.
The last two mentioned movies join the pair of main inclinations that it has demonstrated in this of doing movies: in addition to the science fiction, the catastrophes, thematic subgenre to which also he has contributed with foreseeable but worth The Day After Tomorrow (2004), with 2012 (2009) gone on enough from thread, and this year, with Independence Day: Resurgence, an authentic festival of both genres for those who prefer them superficial and massive. Because another thing not, but sense of the enormity, of exaggeratedly big, and of the overwhelming destruction it has this film maker to give and to give, and is very inclined to leave even with headache of so many desorbitar the eyes to us. White House Down (2013) can distinguish himself the same way like another example what this guy enjoys destroying cities in the fiction.
By addition, since it turns out to be clear, its new movie is much adapted for those who sit at least certain nostalgia for movies that bring to them to the memory epochs that they suppose happily or even improve, autoengañándose with the syndrome of the Golden Age; if the fact is that I could produce something like that to him with the nineties of last century. Another seven movies account for that Emmerich has tried to diversify a pelín and walk its cameras for other matters, but it has always returned to its payments, which are by what, in fact, he is identified and he reminds him to himself. So it is not logical to think that it would have resisted too much before the proposition of carrying out this most famous consequence of its work.
The first thing what one notices when it goes a little bit contemplating Independence Day: Resurgence is its narrative acceleration, that already much advanced the length goes so far as to disconcert even the film fans with accredited experience. The whole quantity of facts that happen on screen, the most serious for the humanity in its set, they happen at an unusual and fearsome speed, and what in the first movie was an honorable tense calmness before the beginning of the foreign hostilidades, with the suspense gnawing the minds of personages and spectators, and to contemplate the worrying spaceships and the painful result of the devastation, here transforms into one not to lose the time in details and we go to
Even the destruction sequences seem that they are treated by Emmerich as a pure step, without taking delight in them, with what he solazaba mounting them in the past, as if in this occasion he was in the hurry to reach the foreseeable goal. The tontorrona solemnity that so much we believed in the previous movie gets lost for the way with such speeds, and the credibility of the personages that we knew, and who are still claimed emphatic or witty, hangs of a thread. And the astonishment that was beginning to show to the face of the spectators in 1996, because Emmerich knew that what was showing impressive age, turns into a crooked gesture of someone who would like saying: “Eh, relax, for the car, which with this rhythm you are going to lose up to the hubcaps”.
The actors do what they can meanwhile excesses: Bill Pulman as the ex-President Whitmore, Jeff Goldblum as the doctor David Levinson and Judd Hirsch like Julius, its talkative father that now not parlanchinea so much, Vivianca Fox as Jasmine Hiller, who might have remained at home for the deplorable treatment that they give him. And all, because of whom we met them twenty years ago, inspire an authentic pity to us; except, perhaps, Brent Spiner as the doctor Brakish Okun, to whom he is granted by more opportunities to be shown. And vigorous Maika Monroe as Patricia Whitmore, a girl in 1996, does not serve any more than like dramatic walk-on.
But of what certainly it is not doubt someone is that the new incorporations destined to fulfill its absence, Liam Hemsworth as Jake Morrison and Jessie Usher like Dylan Hiller, are demonstrated useless to prevent from throwing tantísimo of less entertaining Steven Hiller de Will Smith.
The script of the movie, responsibility of an Oil pan slightly inspired Blanchard, tries to reproduce the structure of precedent, and repeats, not alone emotional elements of that it would not be logical to disregard, but also the narrative development of the struggle, with its disappointments, sacrifices and victories, although it lengthens it a little more for it is not said that the conflict is not more difficult to resolve after two decades of career armamentística. The seams are evident him, and it is in the extreme, most critical moments, in which a personage demonstrates of what is capable, when more we are conscious of it. A pity of wasted opportunity.