#INDEPENDENCE DAY RESURGENCE FILM TIMES TORONTO ONTARIO MOVIE#
“Independence Day Resurgence” is the first movie that made me pine for the mellow quasi-pizzazz of Harry Connick Jr., never mind Harvey Fierstein, whose squawking would have stampeded right over this triumvirate of languid youths. Usher plays the son of Will Smith’s Steven Hiller as if his character inherited not one single ounce of his father’s considerable charisma. Liam Hemsworth, playing a pilot dating President Whitmore’s daughter, is less Maverick or Iceman than Walking Potted Plant. Maika Monroe as President Whitmore’s daughter is a nonentity. The new characters of this five person screenplay are so underwritten they don’t even rise to the level of stock, and made worse because the actors portraying these parts are unable to infuse them with even the slightest spirit. Their fate speaks to the movie’s foremost flaw - that is, its painful lack of personality. Pullman, meanwhile, never gets a handle on his mental patient ex-Commander & Chief, playing a broad caricature with too much solemnity. He gets a few good lines, but mostly seems to exist in that hell-fire of blue screen, where he’s never sure what he’s supposed to be looking, or where he’s standing or sitting in relation to it. She’s a far cry from Margaret Colin’s Constance Spano, whose absence is never explained, and whose romantic energy Goldlbum clearly misses playing off of. Charlotte Gainsbourg’s Catherine Marceaux, a colleague of David’s, isn’t really even established she’s just there, and then quickly shunted aside to do nothing but observe the obvious. Bereft of pace, missing the necessary scope for a supposed planetary context and conspicuously without Emmerich’s patented to ability to plant joyously obvious set-ups for joyously obvious call-backs, it is at once humdrum and herky jerky, noticeably devoid of any glee in its rendering and struggling to make clear where we are, what’s happening and who anyone is.Ĭharacters from the original, like David Levinson (Jeff Goldblum) and President Thomas Whitmore (Bill Pullman), have to wearily exposit what they’ve been up to and what’s happened in the intervening years while new characters just kind of enigmatically materialize as if they are holograms.
Whereas the original film had a buoyant set-up and sturdy structure of three concise acts, “Resurgence” is ungainly from the get-go. Gaps in logic are hallmarks of these kinds of movies, and “Resurgence” has its fair share, but those are of less consequence than the storytelling breakdown.
As it opens, the movie swings from the moon, where a military base has been built, back to various points on our blue planet, either disseminating necessary information with witless dialogue, or simply not disseminating at all. “Resurgence” is set twenty years after the original as the unfailingly angry aliens have returned to re-attack Earth.
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