![]() ![]() Smith (Parker Posey), and Robinson parents Maureen (Molly Parker) and John (Toby Stephens) mostly just react to the situations happening around them. Penny (Minda Sundwall) is given precious little to do outside of acting as a foil for the villainous Dr. ![]() The standouts are Will (Max Jenkins), whose search for his Robot friend gets a resolution and Judy (Taylor Russell), who gradually becomes more of a leader, but they’re the exceptions to the rule. Each of the Robinsons had their own arc in Season 1, but the latest season doesn’t do much to expand on those characters. It’s just a shame that there isn’t much to say about the Robinsons themselves. The goals are simple enough: Get to Alpha Centauri and find Will’s Robot friend, but the stronger focus on the Robinsons working with and against the Resolute’s crew and passengers, is more engaging than the ludicrous scenarios the family often put themselves into in the prior season. Netflix’s reimagining of the 1965 sci-fi series is still all about problem solving, and the frequently outrageous scenarios the Robinson family finds themselves in are more varied and engaging this go-around. Martin Scorsese's Favorite Movies: 57 Films the Director Wants You to See New Movies: Release Calendar for February 24, Plus Where to Watch the Latest Films She can do a lot in the survival drama genre, but she also needs something to work with and this film proves that “based on a true story” doesn’t automatically mean that there is enough.How to Watch the 2023 Screen Actors Guild Awards But that also reminds us that she can be way better if given more to do, for example in The Impossible and she even was mostly stuck in a bed for most of that film. ![]() She is fully committed to the role and tries her best with what she was given. It is worth mentioning that Naomi Watts does deliver a fairly solid performance. Steady and at times a bit distant, the camera work never fully wants to work as all relies on the audiences investment and the film just does so little to earn it. Other than that the camera feel very cold, just like the whole nature of the film. The camera normally stays close to our characters, to keep the audience emotionally invested, but that trick doesn’t fully work as this only points at the lack of characterization in the screenplay. Looking at the film’s visual language, there is no denying that the shots of the snowy mountians on a grey morning look pretty gorgeous, but that is about all there is to it. RELATED: EVERYTHING EVERYWHERE ALL AT ONCE IS A BONA FIDE MASTERPIECE The film doesn’t do anything with that and while I can’t confirm, if that is part of the true event side of the film, if it is, there definitely should have been ways to incorporate it in a more emotionally meaningful way. Naomi Watt’s get the standard “backstory”, but just for the sake of having it. The screenplay rely on the basis, that the audiences care for the two leading characters, but on the same not doesn’t give them anything in that department. There is no sense of dread or “real” excitement, as it’s easy to say where the story will go, even if you haven’t heard anything about the true event. The true event doesn’t make for a captivating screenplay as the story just flows very linear. Malgorzata Szumowska’s latest film just doesn’t has anything interesting to offer. Survival dramas are one of those, as they show situations most people (luckily) will never have to experience, but these films show how actual people reacted in those situations, which often leads to compelling stories and great films. Most of the times, based on a true story films make for some compelling stories as it shows audiences incredible scenarios, which they can’t believe actually happened. ![]()
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