Il risveglio del tuono

I have lived in the Los Angeles area for about a year now. When I can, I enjoy seeing free screenings of movies. As I understand it, these test screenings are done by marketing-research companies at the behest of the movie studios. You watch a movie for free and then you fill out a form explaining what you liked and didn't like about the movie. The company then selects a smaller group of viewers for a Q & A focus group.

So I saw a free screening of A SOUND OF THUNDER about six months ago. We were told that the special effects were just "mock-ups" and therefore to not judge those effects too harshly. And we were promised that for the actual release the special effects would look spectacular.

I just watched A SOUND OF THUNDER on its opening Friday and the special effects were EXACTLY the same. They used the mock-ups, the "pretend special effects," for the release.

Which leaves me to believe that the test screenings got such bad feedback that the studio decided to cut its losses. They didn't advertise this film very much and they didn't spend any REAL money on the special effects.

One thing they may have changed was some of the editing. The pace felt a little better than the original free screening. I mean the movie has a lot of problems but it seemed like some small things were cut or at least cut differently.

I'm hoping that the DVD will have a commentary track so we can hear the behind-the-scenes story of what really happened. But I doubt the studio will put any bells and whistles on the DVD release.

I agree with everyone else. This is a bad movie (with the exception of Ben Kingsley's interesting character work). But it was made worse by the studio's lack of commitment and backing.

I just saw this movie this evening as part of a promotional screening. This movie wants to be a strong moral tale about how humans should not mess with time travel for fear of disturbing our natural evolution. However good Ed Burns is as the lead, you are never convinced by the story as it is full of clichés and seemingly tacked-on action sequences. They get chased by monsters for so much of the movie you start to ask yourself it they got confused between the sci-fi and horror genres. The special effects are plentiful, however they are atrocious, fake and gratuitous in the sense that the camera lingers on CG monsters and landscapes for so long that it seems perhaps they wanted to show off how much money they spent. But it adds nothing to the otherwise weak plot, which - now that I think of it - has a simplistic comic-book quality to it. But if the latter were completely true it should be more surreal and not have so much awful superfluous dialogue that actually just sounds like it is set on repeat ('you don't know what you are messing with in time travel..' and the like). If you happen to have nothing else to see, rent Timecop. Yes, this movie is that bad. P.S. Ben Kingsley, why did you do this movie? After seeing you in so many wonderful movies, even as a great villain in Sexy Beast, this performance just looked like you were making a bad used-car salesman impression.

I am going to talk about the elephant in the room first. The CGI in this movie is terrible. There is one scene where two people are walking down the street, and it is in the future, so instead of making futuristic cars, they just computerized the entire scene, beside the actors. If is glaringly obvious that they are walking on a treadmill and everything else is filled in around them. There now that that is out of the way, if you can ignore this flaw, as I have, then watch this, it is a great story. This is based off a short story of the same name by Ray Bradbury, written in the fifties. A company has developed time travel and sends groups of people back to kill an Allosaurus as the ultimate trophy hunt. There are a lot of safeguards in place, because if you inadvertently kill something that was not meant to die in the past, it could have massive ramifications on the future or our character's present. In fact I do believe that it is from the written story that we got the phrase "butterfly effect". Well something goes terribly wrong on one of the safaris and this sends shock waves of change to the future and it is up to a small group of people to go back in time and try to prevent the event that lead to the drastic changes happening in their present. This is a great story, as I said previously and it is told quite well. It does do some justice to the story, though there are differences.

I live for movies like this.

Saw it in a theater with about 12 other people. 3 people left about 20 minutes in. I'm not sure if they left because the movie was so bad or because they couldn't hear the dialogue over the laughter of the rest of us.

Mediocre special effects don't excite me. Abysmally bad special effects are wonderful. I disagree with the previous commenter -- I don't think the actors were walking on a treadmill in front of the green screen, I think they were just standing in place and shifting their weight from one foot to the other.

Sir Ben Kingsley is clearly aware of the "quality" of this film and embraces the ridiculousness, having a great time reading his absurd lines.

The plot, the dialogue, the special effects, the creatures, the actor's accents -- each piece of this movie is worse than the last. There were at least three scenes that made me laugh so hard I cried.

I love dumpster-diving through bad movies in search of treasure. The recent crop of bad movies have been just plain boring. This one is the diamond that makes it all worthwhile.

The possibilities of time travel make for complex science fiction. As one of Sci-Fi's great writers, Ray Bradbury saw the potential for making a point and used it to a frightening end. As a lame-duck director, Peter Hyams saw the opportunity to make one more project and maybe give his career some much-needed resuscitation. The misaligned dichotomy simply results in a mess.

In the mid-21st Century, Travis Ryer (Ed Burns) leads prehistoric hunting safaris, from which the Time Safari (groan) company earns its bread and butter. Having seized the time machine built by Sonia Rand (Catherine McCormack), Charles Hatton (Ben Kingsley) built up his company to overcharge the indulgent rich who seek to have a new experience. On a trek with a pair of thrill seeking buddies, a couple of things go wrong, and although everyone survives, the mistake causes changes in time and evolution. It is at this point where the noticeable deviation from Bradbury's story occurs. In the original tale, there was no going back to fix the problem, and the time travelers were left to face the horror of a world which had been subtly altered to permit ignorance, bigotry and fascism to be the dominant qualities of mankind. In the hands of these screenwriters, the mistake simply becomes a vehicle to generate a variety of creepy-crawly monsters that stalk the people of the story as they try to literally race against time and fix the mistake.

The script drags all the clichés out and leaves the actors to cover them. There is the greedy CEO, the disillusioned scientist, the noble hero, loyal sidekick and even a corrupt official. The scientist expresses her outrage at the corporate abuse of her invention to the hero who is a better man than she expected. All the actors do everything they can to rail against the pitfalls they are presented with. Ed Burns conveys an easy hero's swagger and knows that he'll get more mileage out of underplaying than by shouting. Catherine McCormack does a highly competent job of spouting endless reams of technobabble while managing to sound like she actually knows what she is talking about, but she and Burns simply have no romantic chemistry. How Academy Award Winner Ben Kingsley ended up as part of the production is anyone's guess, but the quirks that he piles into the carnival-mouthed "Charles Hatton" are the single best bit of entertainment.

Hyams fumbles the details to the point of insulting the audience. People make all sorts of irrational decisions just to forward the plot or introduce a set piece. When someone makes a mistake, they usually recheck their work. Here the tech drops a piece of equipment and visibly damages it. He re-stacks it and ignores it. Even the hero, at one point, declares that the party must go down into the dark, abandoned, unstable and partly flooded subway tunnels because "it's the only way". Presumably, it's better to have the odds stacked against you where you might run into bloodthirsty creatures instead of staying on stable ground where you might run into bloodthirsty creatures. Although there isn't any sort of racial subtext, the movie goes so far as to sacrifice the only major African-American character as a distraction to hungry monsters so the white people can run for their lives. It doesn't seem to be making any sort of real-world point, and the editor does struggle against this obviously outdated plot moment. However, it ultimately plays out badly and without dignity.

There is also no reason (other than it looks cool) to believe that changes in time would occur in visible waves of force that knock people and cars around, but not buildings or animals. One can imagine that this might have been at least fun in the hands of a militantly perfectionist filmmaker like Jim Cameron who beats even clichéd celluloid moments until they resound with the exact shape and feel he demands. In spite of making several films throughout the 90's and recent years, Hyams peaked with "2010: The Year We Make Contact" in 1984 - while standing on Stanley Kubrick's cinematic shoulders. Even taking the troubled production history of "A Sound of Thunder" into account, Hyams butchers the possibilities here.

The audience is denied the simple delight of watching special effects during a sci-fi adventure because of the shoddy craftsmanship and a lack of money. Several virtual sets were created to make a more complete city of the future, but they often look unrendered and more like a very good artist's drawing. However this is not a substitute for a good set, and it is painfully clear when actors are standing in front of a green screen. This was originally slated for a 2003 release, which would have put it ahead of the virtual productions of "Sky Captain" and "Sin City". Had things not been derailed by the original production company's bankruptcy (see the "Thunder" trivia section on IMDb.com), then maybe this would have been noteworthy in its attempt to push special effects boundaries. Unfortunately for the filmmakers, there were many times when the audience at this screening burst into laughter at some of the sights. The one thing that Hyams' FX team does get right is the gang of computer-generated creatures that should have been the design for the villain in his 1997 movie, "The Relic". As cool as the things look, it is 8 years and 3 movies past due.

Failures in effects and leaps of logic can be forgiven, but only up to a point. This is not a misfire form an otherwise successful director. This is a poor turn by a weak hand who refuses to respect his characters or the audience who has come to be entertained. Only the actors make the weak production bearable. "A Sound of Thunder" got a second chance to pull things together, but look into your own future and avoid watching this mistake.

2 out of 10