City of Ember - Flucht aus der Dunkelheit

Had some trouble deciding my rating on this one. There is much about it to like, for sure, but there are also some flaws that cant be overlooked. It has great setting and atmosphere, an intriguing plot and charm to boot. Such things scores a lot with me. The directing is at times questionable though, there is little sense of pacing and there are some parts that feel tacked on (the crazy flumride anybody)just because its supposed to be a summerfranchie. The cute little girl is completely superfluous, and Bill Murray and Treadaway's Doon doesn't make enough with their characters (or isn't allowed too). One thing is clear. Its strenghs of this film mostly resides within the source material(witch i haven't read though). Its really nice for a change to see a fantasy film without a lot of monsters, the enemies here are brain-stagnation, greed and selfishness. Some parts had me snickering. The parts where they are handed there jobs through lottery (a jab at communism?)and the old man with the pipes. THe story is actually pretty good, not original, but tightly woven and deceivingly fresh with a timely message. In short, the source-material had the brains, but the director lacked the guts (or maybe just the talent, or were assasinated by his studio) too go through with it.

Still, it beats the latest Narnia installment, and the latest Harry Potter too for that matter. Also, Ronan, the kid from Atonement, turns in a good performance.

If the only thing City of Ember does is show that Belfast can play host to high concept movies, then it was worthwhile, but no doubt, it was aiming for more than that. Perhaps to stand next to such fare as Harry Potter, or a Pixar flick.

Unfortunately, it falls short, but only just. This is without doubt, an exciting romp about two coming-of-age children who break out of the mold forced on them by the dying Ember, and in doing so, change everything. The acting is solid, the set design and music excellent. The concept, the builders of Ember leaving behind secret instructions to get back to the world, is genuinely engaging.

Unfortunately, they don't get to these instructions fast enough, and a lot of time is spent wandering around the, albeit, beautiful city. Often times there is a lack of a perceived threat. Despite being replete with a nefarious mayor and a mutated mole (like the massive moths, never explained), the story uses neither of these things enough, leaving some scenes to be propelled solely by the heroes following the by-the-numbers instructions left to them. Worst of all, the ending feels like a poor man's Goonies.

In the director's corner, he is guilty of some slow scenes, but what is almost unforgivable is the flat looks of the actors during intense CGI action. Somebody wasn't thinking ahead.

Nonetheless, a charming film that I hope made enough money to spawn treatment of the books sequels.

Overall, this was an "okay" film; not bad, but nothing that memorable. I enjoyed the sets of the subterranean city and the teen kids were likable, but it took a little long before anything happened and when it did it was a little too far-fetched with poor special-effects. Nonetheless, the visuals and acting were fine and supporting performances by the always-goofy Bill Murray and Tim Robbins were somewhat entertaining.

The most intriguing actor, to me, was Saoirse Ronan, as "Lina Mayfleet." At first she minded me a bit of Peggy Ann Garner in "A Tree Grows In Brooklyn," but maybe two years older. Ronan has a plain but expressive and intelligent face, a la a very young Cate Blanchett. She looks like she's on her way to a good career.

Her counterpart, the male teen "Doon Harrow," was played nicely by Harry Treadaway.

Although it's a nice, safe family film, I think a lot of kids will be bored by the time anything happens, and adults will be so-so on it. I stuck around for the visuals, mainly, but was disappointed in how amateurish the action scenes in the last 20 minutes looked.

I've read quite a few negative reviews but i think some of the people who have read the book need to realise this was a children's film that would no doubt have to be simplified and draw people in from the start. It hasn't had an easy launch either because it's been competing with High School Musical 3, when i went to see it the cinema was empty apart from me because everyone else had gone to see a certain other film.

It wasn't great and i am certain that if i had read the book i would have hated it because the characters were not brilliantly written and it was a messy mix of excellent fantasy sci-fi with the appropriate special effects and corny American generic children's movie. But it was good fun.

The girl in it displayed a superb acting performance the general set and costumes and well mise-en-scene in general was excellent and well worth watching just for that.

It was good to watch in the cinema and throughly enjoyable if a bit predictable. As i say, generally i liked it.

"City of Ember", director Gil Kenan's follow up to his horror-lite for preteens "Monster House", is a fun ride that's well worth the admission price if only for the superb production design and the likable leads.

Lina Mayfleet (Saoirse Ronan) and Doon Harrow (Harry Treadaway) are two of the inhabitants of the City of Ember - an underground city designed to house humans for two centuries as an unspecified disaster takes place on the surface. But as the 200 years have passed, the generator that powers the city gradually falters, causing more frequent blackouts and scarce provisions.

When no one would listen to them, especially the city mayor - Mayor Cole (the effective yet underused Bill Murray) - it then becomes up to Lina and Doon to find the exit that leads to the surface, which is infinitely easier in theory than in practice, considering the plethora of puzzles and riddles they would have to solve.

Without having read the film's source material - Jeanne Duprau's novel - there's no way I can say if the script holds up to the narrative of its literary counterpart, but here's where the film mainly falters. The film feels like a rushed end product crammed to fit within the confines of a typical family flick. Exposition is kept in the sidelines and character development seems more of a ploy to advance the plot than genuine attempts in sculpting something more than cardboard-cut supporting characters.

But despite the narrative faults, Kenan imbues such a magical quality to the dank environment. And for a film lacking impressive turns from its more mature and established actors (including Tim Robbins as Doon's father), upcoming stars Ronan and Treadaway's animated performances save the day, right from a sweeping introduction of the claustrophobic city to a touching finale that finally affirms the characters' quest for light amidst the darkness.