MORTAL ENGINES

New Zealand, 2018, 128 minutes, Colour.
Hera Hilmer, Robert Sheehan, Hugo Weaving, Jihae, Ronan Raftery, Leila George, Patrick Malahide, Stephen Lang, Colin Salmon.
Directed by Christian Rivers.

It is surprising to learn that mortal Engines was not successful at the box of this, given the continued popularity of this kind of adaptation of graphic novels and speculations about futures on earth. The lack of success is also surprising with Peter Jackson as the producer and the screenplay written by his collaborators Fran Walsh and Philippa Boyers, and the director, Christian Rivers, as a crucial contributor to the special effects of Peter Jackson’s successful trilogies.

So, once again, we are in a post-apocalyptic world. There is an intriguing presupposition, the towns and cities are on the move, lumbering their way through the upper atmosphere. In fact, the film opens with the large city of London pursuing a small industrial town, menacing it, overcoming it, then slicing it to pieces. The inhabitants take refuge in London, London which seems a mixture of the future as well as the present, some modern aspects, fashionable streets and cars, and a great interest in the history of the city and its museum.

However, the city of London in the air is running out of fuel. The leader (and pilot of the roving city) is Valentine, played with a mixture of relentlessness and genial charm by Hugo Weaving. His aim is to complete a transforming vast weapon, built inside a cathedral, finding the means to put the finishing touch on the creation after so many years. However, he is also challenged by a young girl, Hester (Hera Hilmer) who is determined to avenge her dead mother, a previous collaborator with Valentine.

A young man with a historical bent, Tom (Robert Sheehan) pursues Hester and finds himself a target of Valentine. They decide to take refuge beyond the last wall, reminiscent of a huge dam barrier – and the population beyond the wall consists of a blend of racial characters.

Valentine becomes ever more relentless, despite the rather renting orders of the Mayor of London (Patrick Malahide in mayoral robes), having the assistance of a white-clad scientist. On the other hand, there is a resistance group beyond the wall which means that the climax of the film will be a confrontation, planes flying, guns shooting, Hester trying to stop the deadly machine, the rebels confronting Valentine…

In its way, what’s not to like?

1. A futuristic film, post-apocalyptic? Look back to history, the look to the future survival?

2. The target audience, action plans, adventure bands? Themes of conflict, themes survival?

3. The landscapes, the picture of the earth, the fields, mountains? The artificial wall? The city’s, floating, the visuals, interiors and exteriors, the ordinary, the modern, the emphasis on technology? The musical score?

4. The title, technology and engineering?

5. The introduction to Hester, her watching, her getting onto the small floating city, London in pursuit, the local pilot, evading tactics, the cliff, the city being taken?

6. London, superiority, looking down on smaller cities? Valentine and his being in charge? His leadership, the pursuit, exercise of power and decision-making, the mayor, in his ropes, moody, making demands? The capture of the city, the population coming to London, the lifestyle in London? London and its energy needs?

7. Hester, in London, her attack on Valentine, her scarred face, memories of her mother, Legend’s? Valentine Tom a genial, the discussion with Tom about history and objects? The museum? Valentine and his daughter, Katherine and her presence, belief in her father, Tom and is observing the situation?

8. Hester, the ninth attack, the fight with Valentine, the running away, Tom in pursuit, Valentine and his confronting Hester, Tom trying to hold on, her falling into the abyss? Valentine, pushing Tom, Tom shock?

9. Valentine in his plans, for 15 years, the power, the engineering needs? The relationship with Hester’s mother, her death? Valentine and his assistant, her white clothes and look? The building in the Cathedral? The developments, the mayor’s arrival, his objections, his being overthrown? The success of the plan, the nature of the attack, breaking down the wall, the populist cheering the attack?

10. Katherine, the friend, observing the situation, changing religions towards her father?

11. Tom and Hester, survival, on the tracks, deciding where to go, beyond the wall?

12. The visuals of the East, the racial blend, surviving, the dignified leader, the rebel group, and are and her leadership, the other members? Receiving Hester and Tom? The parents of the Shrike, the background, the attack, death, giving Hester the emblem from her mother? The key to the rebellion?

13. The visuals of the attack, the energy from the Cathedral, the Dome opening, the wall collapsing? Guns, planes, the special squad? Amber and her leadership, the other members of the squad, the flights, the attacks, crashes? Tom and his piloting one of the Plains?

14. Here Anna, the confrontation with Valentine, her death? Hester, the plane, inserting the key? The loss of power? The confrontation on the roof with Valentine? The escape with Tom?

15. Valentine, not admitting defeat, the confrontation with his daughter? His attempt to escape, the plane, the crash, his being crushed?

16. The picture of the refugees from London, being received in the East? Tom and Hester and the decision to see the world?

17. A satisfying blend of action with visions of the future?