Producers: Lisa Shaunessy, Jason Taylor, Kate Croser.

(Australia) An RLJE Films release of a Screen Australia, XYZ Films, KJFuturism Studios presentation, in association with South Australian Film Corp., Adelaide Film Festival, Create NSW, Elevate Production Finance, Grumpy Originals, Kojo Entertainment, Freedom Films, of an Arcadia production. ‘2067’ Review: Kodi Smit-McPhee Visits an All-Too-Familiar Dystopian Future Instead, we get a mashup of influences as diverse as “Stargate,” “The Time Machine” and “Silent Running” in which nothing feels very personal, let alone original. It’s suggestive of a much more mournful, poignant film - one “2067” may well have intended to be at some point. Though during the narrative itself, Kenneth Lampl and Kirsten Axelholm’s original score sometimes seems a bit much for the onscreen action, their final-credits accompaniment has an aching beauty. But it remains the tragedy of our cinematic era that it is apparently easy to conjure up impressive visual elements, yet conversely very hard to write a screenplay that doesn’t feel indifferently sewn together from several prior better ones - or in which people feel like rounded individuals rather than genre stick figures. There’s an attractive general polish from DP Earle Dresner, production designer Jacinta Leong, and other contributors. When it’s not stuck in that lab, the film offers up some neat CGI futurescapes and real-world scenery. (Admittedly, such was also the end of the cosmic rainbow for Jodie Foster in “Contact” - and a distinct letdown there, too.) But its ways of realizing them are too frequently pedestrian, from the banal dialogue to the notion that our savior might ultimately need reassuring that daddy really loved him. You can tell “2067” has some rather lofty aspirations.

Nor are the variable supporting players given much to work with. It’s your basic “The fate of the entire universe somehow rests on your nondescript shoulders, son” concept, and scrawny, boyish Smit-McPhee does not provide much heft or charisma to carry that burden. As elsewhere, everything inside seems to be all about Ethan and his dad, with holograms conveniently revealing past secrets (including a stolen bit of “Batman” origin story), and much unexciting discussion of whether the past can indeed be changed or we’re still screwed. There is a sealed structure to which Ethan eventually gains access (by which time Jude has joined him), and unfortunately we spend way too much of this distant future within the rusty old lab it contains. Inexplicably summoned to see Chronicorp’s CTO (Deborah Mailman), Ethan is surprised to learn he is Luke Skywalker - or rather, yet another ordinary fella who turns out to be “humanity’s only chance.” It seems the scientist father (Aaron Glenane) who disappeared when he was eight had developed a time machine, and now said machine is not joking when it relays a message from the future reading “Send Ethan Whyte.” (You, however, will probably laugh anyway.) Thus our hero is “thrown” 407 years hence hoping to find “a cure” for ailing Earth that can save his wife - and the rest of humanity.Ģ574 turns out to be jungle-y, which is good, but also full of Halloween-type skeletons, which is bad.

Kodi smit mcphee movies