Oblivion (Joseph Kosinski, USA, 2012)

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oblivion

This lingers interestingly on the mind for a while after one’s seen it. The design, cinematography, the whole look of the film is sublime if rather different to the gorgeous play of light we got to see in Tron: Legacy (Joseph Kosinski, USA, 2010). It was extraordinary to see Tom Cruise with flushed cheeks at his age, every pore on his face clearly made visible by Claudio Miranda’s crack camerawork and lighting. The film too is beautiful to look at, with a spare aesthetic that empties the frame of things and fills it with wonderful use of line and striking and original compositions. Andrea Riseborough, displaying nervy intelligence and emotional neediness, and Tom Cruise, iconic yet also emotionally transparent, are both wonderful. Olga Kurylenko obviously needs to prance as she did in To the Wonder (Terece Malick, USA, 2012) in order to be watchable at all because here no prancing, dud performance, and rather dull to look at in spite of her beauty.

     Oblivion suffers from a story that isn’t properly dramatised. I loved the whole of the minimalism of the first half and then when more people arrived on the scene it made the film seem less interesting. People have been saying it’s dull, and I do know what they mean; if one isn’t particularly attuned to the various delights cinema can offer on a purely visual plane, the film can seem slow as it doesn’t really compensate or underline story points or dramatise tension effectively with other dimensions of cinematic storytelling. However,  I think Joseph Kosinski is a most fascinating director and would happily see this again, preferably on a big screen.

José Arroyo

2 thoughts on “Oblivion (Joseph Kosinski, USA, 2012)

    Nadia Scott said:
    July 7, 2013 at 4:09 pm

    Reblogged this on THE HARPY'S GUILD:AZURA.

    Like

    […] been one of the few genres in which Hollywood cinema has allowed any kind of political critique (Oblivion is but the most recent example). It’s as if it’s ok to offer social critique on film so long as […]

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