Sky Captain y el mundo del mañana

Computer generated special effects have been around for quite some time now, and often questionably so, but they come into their own with Kerry Conran's SKY CAPTAIN AND THE WORLD OF TOMORROW--an innovative film that failed in theatrical release but which now makes a big splash in the home market. And whether you love it or hate it, SKY CAPTAIN is likely to cast a very long shadow indeed.

As a concept, the film seems to be based on the popular serials of the 1930s and 1940s. This is not limited to the use of an improbable plot fueled by special effects and cliffhanger action sequences, but it extends to the dialogue and characters as well, all of which are typical of such celebrated serials as BUCK ROGERS, CAPTAIN MARVEL, SPY SMASHER, and THE CRIMSON GHOST. The film also draws specific plot elements from such diverse sources as KING KONG, LOST HORIZON, THE WIZARD OF OZ, and WHEN WORLDS COLLIDE, to name but a few.

The story is typical of serials. "Girl Reporter" Polly Perkins (Gwyneth Paltrow) is doing a story on missing scientists--and when giant metal robots attack New York she unexpectedly holds a clue to their origin. She and Sky Captain (Jude Law) form an uneasy alliance to get to the bottom of things. With an assist from Sky Captain's faithful sidekick Dex (Giovanni Ribisi) and the disconcertingly military Frankie (Angelina Jolie), the two search the world--and finally track the wicked Dr. Totenkopf (Laurence Olivier, resurrected via CGI) to his secret lair.

The look of the film follows suit. The live cast worked on a blue screen set, and with the exception of a single set, the costumes, and items the live actors had to handle, everything you see on the screen was created in the computer and added after the fact. A great many people have described the look of the film as "deco," an arts movement associated with the 1920s; this is misleading. It would be more accurate to describe it as a mixture of pre-WWII arts movements filtered through a 1950s sensibility, and the result is like nothing so much as a pulp science fiction magazine cover unexpectedly come to life.

Now, how much you like this will depend to a great extent on how clearly you recognize the film styles and specific films that have clearly influenced it. If you know nothing about serials, for example, you are likely to be appalled by the flatness of the script and Paltrow's one-note performance; on the other hand, if you are a serial fan, you'll immediately recognize that the script is reflective of such serials as SPY SMASHER and that Paltrow echoes Linda Sterling, famous for such serials as THE CRIMSON GHOST. It wouldn't be too much to say that in many respects SKY CAPTAIN AND THE WORLD OF TOMORROW is akin to an inside joke.

But most particularly, your liking for this film will depend on how you react to the visuals. I am not a great fan of CGI when it is used to bolster live action films such as GLADIATOR or TITANIC; I can usually spot the CGI and I find it distracting. But I have to come down in favor of SKY CAPTAIN: this isn't an effort to "make it look real;" this is an effort to make a totally artificial world, and whether it be giant robots, Shangri-La, or Radio City Music Hall the designs are stunning and remarkably well executed. Whatever other shortcomings it may have, SKY CAPTAIN has incredible visual "WOW!" The film is currently available in a DVD release that is visually handsome with superior sound, and the package contains a fair number of bonuses. Unfortunately, the two commentary tracks are less interesting than you might expect, but two short documentaries ("Brave New World" and "The Art of the World of Tomorrow") are quite good--and the original six minute short that inspired the film is fascinating. Not every one will get it, so I recommend you rent before you buy, but on the whole this is a show truly worth the money. Recommended.

Gary F. Taylor, aka GFT, Amazon Reviewer

In a 1940's of the future, scientists are mysteriously going missing and only plucky journalist Polly Perkins has a lead. Meeting with a scientist in a secret rendezvous, mere minutes before he disappears, she is horrified by the sudden appearance in New York of a horde of giant robots. Luckily Sky Captain Joe Sullivan comes to the rescue in his customised Spitfire and prevents the robots robbing the city's central generators. With further attacks around the globe, Sky Captain and his group team up with Polly to track down the source of the robot menace, uncover the plot involved and stop it before it is too late.

All the interviews around this film have talked up the visuals and the possibilities of making movies entirely on blue screen etc and, to be honest, the marketing behind the film reflects it really well because it is all about the visual style and effects with very little else. The film starts immediately with a really great visual feel that harks back to the old sci-fi serials of the 1930/40's where the future is based on the present with knobs on. The lighting and delivery is all fitting this period and it works pretty well on this level. The scale and nature of the effects are impressive, they are all retro and look great and only occasionally is it obvious that the actors are staring at things that aren't there. Of course after this we have problems, because looks enough aren't quite enough to make it all work. The period feel will make it a cult film with time but at the moment it is not enough to just sell me a computer generated yarn with no substance to it.

I suppose in a way the writing and delivery is all in keeping with the genre that it is homaging but this is a thin excuse for material that is slightly dull and lacks the twinkle and wit it really needed. Wooden acting and clunky dialogue can be fun if served up with the tongue in the cheek but that never really happens here to the degree it should. Thinks looked good at the start with Godzilla making an appearance on a Japanese newspaper but aside from this and a handful of other comic touches the film is played pretty straight – meaning we feel we should treat it so, something I found too hard to do. The dialogue is fun at times but is mostly as stiff as much of the delivery. The cast are not to blame because they are remote from the action, secondary to the visuals and trying to match the acting of the genre, which is traditionally wooden. I'm not totally sure that bringing back Olivier was a good idea but it was such a small part of the film that it didn't really matter and left me wondering why they bothered in the first place.

Law is boyishly handsome and works pretty well with the material, looking very British in his beautiful Spitfire. He has fun with his character and he at least seems to be in on the joke. Paltrow has some comic moments but mainly she plays it pretty straight and is a little dull. Ribisi is all at sea, he plays it straight and looks bad as a result. Jolie is a nice addition but has little time to make an impression – she never has a character and is really nothing more than a set of lips! Support from Gambon and Ling Bai is wasted and neither makes an impression – especially disappointing from Ling who is really the main baddie for the majority of the film. None of them are good enough to make the plot engaging or bring out characters in their genre clichés but they try their best and at least fit into the period quite well.

Overall this is eye candy but it is candy that will develop a cult following based on how well it captures those old serials and the scale of the visual designs and effects. Many viewers will lament that Conran didn't move away from his computer for longer and put more heart and wit into the script because this has little or no substance to it and, when backdrops are not stunning and robots are not stomping it can get dull (and does). Worth seeing for the effects and the visuals, this is a very expensive sci-fi serial that is fun but sadly lacks any substances, characters or real humour.

This movie is a smörgåsbord of fantastic beautifully done imagery for fans of 1930/1940s sci-fi. It's everything you could hope for...armies of giant flying robots that shake the earth when they walk. A huge rocket ship, a P-40 that can fly underwater as well as in the air, ray-guns, and flying aircraft carriers are all just a few of the many imaginative treats in store.

Oh and it even has a well thought out plot and humor to boot. If I had to say one negative thing, it would be that I wish the film had been longer who knows when we will see the likes of it again.

If you love classic sci-fi and films from the 40s you can't go wrong with this visual masterpiece it's a modern day film treasure.

I had not read about the movie before watching it and was fascinated within the first several minutes and continued to enjoy it through to the end. This movie's unique look and feel is its primary vehicle.

If you are looking for a sophisticated plot, this movie was not made for you. The plot and acting were adequate enough to avoid ruining the visual picture. The makers applied a comic book feel to the movie that allowed for softer edges and sepia tones, both with the animated sets and the human characters. If a set does not look completely realistic, the viewer is not troubled because the set is consistent with everything you see in the movie.

Anyone who has ever edited video or worked with animation would have to appreciate the visual art and quality of this movie. Otherwise, it contains a decent story that would be worth watching at least once.

I'll be the first to admit it. I went into 'Sky Captain and the World of Tomorrow' with a lot of trepidation and even loathing. I didn't like the direction that cinema was taking with this film, featuring a backdrop that was mostly digital, because being a film purist, I used to relish the feel of actual celluloid in my hands, so this 'fake' creation was disturbing. I am still wary of this possible trend, but after seeing 'Sky Captain', I found that art can be realized in this medium.

'Sky Captain and the World of Tomorrow' not only boasts one of the longest film titles in recent months, but a great cast: Jude Law as Joe 'Sky Captain' Sullivan, our hero, Gwyneth Paltrow as Polly Perkins, our intrepid reporter and Sullivan's former flame and Angelina Jolie as Capt. Franky Cook, a friend and ally of Joe's. There is an evil element threatening the Earth, and it is up to Joe and Polly to find out who is behind the threat, before Earth is destroyed.

One line is all it really takes to sum up the story, which is generally all it took to summarize the films 'Sky Captain' pays homage to. The story is good, and it certainly boasts one of the most entertaining endings that I can remember in recent years, but it is the presentation that is the biggest draw with 'Sky Captain'. The overall style is 1930's Art Deco mixed with bits of Neo-Futurism. The robots in the first half hour of the film look like something out of comic book, the clothes and character styles are most certainly inspired by the 1930's, and the backdrops and locations are very Deco. It's obvious that one of the advantages in producing a film in this manner is that the filmmaker can be as elaborate in design as possible, because the 'set design' was very rich and exciting.

As a lover of classic film, I found the numerous nods to the films of the 30's very refreshing. Several scenes or lines could have been construed as corny, but I found them to be presented with a giant wink at the audience. Because all of these aforementioned elements were done so well, this film was a huge success in my opinion. And despite my concerns (which are still prevalent in my mind) I can sincerely rave about and recommend 'Sky Captain and the World of Tomorrow' to just about anyone who appreciates both art and good entertainment.

--Shel