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It is another story of world disaster after "The Day After Tomorrow" (Dir: Roland Emmerich, 2004). This time the enemy of the earth is not the nature but creatures from outer space. Unlike the "Independence Day" (Dir: Roland Emmerich, 1996) in which the portrayal is focused on how human beings strive to strike back, the protagonists in the film thrive for escape and survival. Fear and panic reign the story and they are the impetus that empowers Ray Ferrier (Tom Cruise) in protecting his daughter, Rachel (Dakota Fanning) in their escape.

Spielberg adopts a linear narrative and no other manipulation of temporal dimension such as montage and flash back is used. Different from "The Day After Tomorrow", film's theme is very implicit (tyranny of mighty dictator/destroyer) and the visuals do not contain many semiotic signifiers on the vulnerability of the US's supremacy in front of the enemy as it is in "Tomorrow". Though the story is written in the 19th century, it is no less invigorating theme-wise if the temporal dimension is located in the present time of terrorism. From the dialogues of the characters in the first half of the film, it seems to suggest that the seeds of terrorism are laid underground for a long time (it is not clear whether Spielberg intends to convey such a message to the audience).

Imitating the symmetrical narrative structure of "Men in Black" (Dir: Barry Sonnenfeld, 1997), Spielberg zooms out from the living organisms in a drop of water at the beginning (followed by a cut of a red world to a red aspect of a traffic light under graphic match) and zooms in back to the living organisms at the end, with both visual movements under a voice over from an off-screen narrator. This symmetrical arrangement (denoting that the story is completed) and voice over serve to alienate the audience from the reality and emphasize that story is a story.

The antagonists (the outer space creatures) are made with an alien-like outlook. Spielberg uses darkness, silence and screaming as catalysts to strengthen suspense and surprise in the second half of the film. Visuals of calamities are finely made under CG. Surprisingly, the weapon to paralyse the high-tech tripod is a primitive one (check it out in the flick).

It is disappointing that Cruise does not have much room in exhibiting his showmanship other than his panic and worried eyes throughout the screen time. Audience fed up with demolished buildings and devastated cities may prefer some more amiable outer space creatures. Long live ET!

註：本評論純屬影評作者個人意見，並不代表本網立場。
Note: This views presented in this review is solely the views of the critic who wrote it and do not represent the stance of our website.

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