The best way to describe the exciting new sci-fi film from Canadian director Brad Peyton (“San Andreas,” “Rampage”) is to say that “Atlas” represents the best video game film ever made for a video game that does not exist specifically. .
Well, that’s not entirely true for this Netflix gem, released last Friday (May 24), as Peyton’s futuristic feature incorporates the déjà vu DNA of video games like “Titanfall,” “Mechwarrior ” and “Armored Core” — titles all locked and loaded with thundering robots engaged in heavy metal combat, or “Pacific Rim,” the 2013 film directed by Guillermo del Toro.
With a nostalgic ’90s cinematic vibe, “Atlas” reminds us of a bolder time in Tinseltown, when action and adventure films reigned supreme with strong plots and focused themes, crafted by intrepid filmmakers with a taste for this taste of pleasing the public. perfect product to kick off the summer movie season.
In today’s negative climate, where there is a hypercritical focus on the worst elements of any film, we’re here to tell you that “Atlas” is a rewarding blast from the past. It features impressive performances from its likeable cast, inspired action sequences and breathtaking visual effects, confidently directed by a fiery director who understands the foolproof mechanics of the traditional three-act structure.
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After a quick setup, we begin in 2071, after Earth has been decimated by an AI uprising orchestrated by android terrorist Harlan (Simu Liu), whose past is linked to a top-notch data analyst named Atlas Shepherd (Jennifer Lopez). Harlan flees Earth to the planet GR-39 in the Andromeda Galaxy, where he eventually finds himself 28 years later. A search and destroy mission is organized by the ICN commandos, with Lopez following her due to her former associations with this rogue artificial human created by her scientist mother (Lana Parilla) at Shepherd Robotics.
Setting out with a restless special forces team led by Colonel Elias Banks (Sterling K. Brown), Lopez must survive by forming a bond with his combat robot’s interface personality called Smith (Gregory James Cohan), to attempt to defeat her. aversion to AIs in order to apprehend and destroy Harlan before he can return for a second strike to wipe out humanity.
The detailed production design here is thoughtful enough to keep you digging in a bit, but without ever sacrificing story, pacing, and character. There is a strong narrative at work in “Atlas”, coupled with real emotional stakes if you give it a chance to exert its charm and magic.
“Jennifer read the initial version and she found it moving and very engaging,” Peyton told Space.com. “These kinds of films (are) what I love to do. I love world-building. I love action-adventure. Basically everything I do is like an adventure film, it’s just wrapped in a different subgenre. It has to do with growing up in the 90s, when Lucas, Spielberg, Cameron, Ridley Scott were all at their best.
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Besides the formidable quartet of fully invested stars in Jennifer Lopez, Sterling K. Brown, Mark Strong and a particularly sinister Simu Liu, another notable addition to the cast is British actor Abraham Popoola, who gives a commanding performance as Casca , Harlan’s brutal AI enforcer. Vix.
“Atlas” is a magnificent film, and one of the reasons is the scintillating cinematography of its Oscar-nominated cinematographer, John Schwartzman. To say this veteran has an impressive resume would be an understatement, as his cinematic wizardry has graced blockbusters like “The Rock,” “Armageddon,” “Pearl Harbor,” “Seabiscuit,” “The Amazing Spider-Man,” “Dracula Untold.” “, “Jurassic World”, “Star Wars: The Rise of Skywalker” and “Jurassic World: Dominion”.
“I really loved working with John and I think he and I will end up doing a lot of projects together,” Peyton said. “He’s the right personality for me in terms of creative and very knowledgeable filmmaking and how to make things dramatic and grounded. He was such a creative partner because he quickly bought into the idea that I wanted the film to be real and lived.” – and a little hard in places. I really challenged him, and he really wanted to kill me some days. He and Barry Chusid, the production designer, had to work hard. and that means a lot of practical lighting has been designed into the sets. »
Between the steel-on-steel scrapes, “Atlas” stumbles upon muddier, more clichéd moments trying to decide whether artificial intelligence is still something immensely beneficial, harmless enough or an evolving technological beast to be feared. However, to call the film formulaic is to set aside the undeniable truth that viewers can still enjoy “Atlas” as harmless escapism with a predictable glimpse into topical AI themes that don’t seem too heavy or heavy.
“I’m very aware that I’ve only scratched the surface of the character of Atlas and who this person is,” Peyton added when asked about a potential sequel. “I actually think Harlan is a little misunderstood and I’d like to explore his side of the story more. I started jotting down ideas in an outline as I was finishing the film. I love the whole world of these ARC suits, ICN and Rangers, wouldn’t it be so cool to see a “Top Gun” school for people trying to become Rangers? That would be reason enough for me to return to that world?
Unless you’re the kind of caustic movie buff who loves to tear down any honest cinematic effort, there’s nothing wrong with embarking on the carnival adventure of “Atlas,” which recalls classics like “Aliens,” “Terminator 2” and “The Matrix.”