Thirty years ago, when Star Wars was just being released to theatres and Superman was in production, this film might have been impressive. Twenty years ago, a little before Tim Burton slapped a lot of expectations upside the head and redefined the way comic book adaptations are filmed forever, ROTSS as I will call it henceforth might have been mildly impressive. But the thing about storytelling is that once your audience has seen or heard a good story told in an impressive fashion, the bar is instantly raised. Ten years ago, in the wake of the stink that was Batman Forever, this half-baked offal might have seemed passable. But after the incredible statements on how far we have not come since 1945 that the real X-Men films turned out to be, ROTSS is woefully inadequate. As I stated in my comments about the previous Fantastic Four film, ROTSS is more a case of X-Men Dumbed Down For Infants, and the fact that director Tim Story was not fired after his appalling effort on the first film demonstrates that not everyone at Fox has their act together.
One of the most commonly-cited complaints about the original Fantastic Four film was that the characters seem largely indifferent to their newfound powers and their situations. This was because, with the sole exception of Michael Chiklis, the actors are never given any time to explore their characters, their characters' emotions, or their characters' situations. We ended up knowing less about the Four than we do most characters in a soap opera, and as a result, they seem less real. Even in Dark Angel, arguably a top ten contender for the worst-written dialogue ever heard on television, we had more reason to care about the support characters there than we do the titular heroes in ROTSS. And that is the one big problem which ROTSS just cannot recover from. Because these so-called heroes live like celebrities and are treated like rock stars, we end up with no reason to care what happens to them. In one memorable (for all the wrong reasons) scene, as Reed is using his flexibility to impress women in a nightclub, we cannot help being reminded of Rogue's abject fear of even touching someone.
In the original Fantastic Four, this effect was bad enough on its own. Its poor time economy and seeming inability to properly develop the characters left this sequel with little or no foundation to balance itself upon. Where X-Men 2 had the inevitable attack of the Normalness Patrol upon its heroes and its anticipation, the biggest event in ROTSS when going in is the wedding of two characters. Since the two characters have about as much character as the leads in an episode of Neighbours, we are not just indifferent to this event. We literally just flat out do not give a crap. And considering that ROTSS has to make do with a mere ninety-two minutes of running time, you cannot count on any story development to give you an investment in what happens to the characters, either. When Victor Von Doom steals the silver surfboard for his own purposes, one ends up being too aware of how little time remains in the film's running length to really get worked up about the possibility of anything exciting.
Not helping anything is the mostly-droll acting. Jessica Alba looks more comfortable here whining about the inevitable challenges of her nuptials than she does convincing us that she regards the safety of our world as her responsibility. Ioan Gruffudd and Chris Evans are just there, and just basically adequate. Even Michael Chiklis is ultimately reduced in this sequel due to his character being given all of the perks of fame without a single drawback being given the slightest exploration. Julian McMahon could not play Victor Von Doom on the most maudlin day of his life, and in this film his credibility as a genuine threat is almost as sorely missed as that of the Silver Surfer. Speaking of the Silver Surfer, the film attempts at one point to flip gears and make him into an unwilling servant of a much greater menace, but one ends up caring a lot more about those millions of civilians who were presumably killed when he dug one of his little holes in the Earth's crust. This is not helped by the fact that when the Silver Surfer attempts to explain why he does what he does, it amounts to a lot of tell and no show.
Not helping matters any is the parameters of the softcore PG rating. Exactly what convinced the MPAA this film was even nearly as adult in tone as either of the real X-Men films is going to be one of the great unsolved mysteries years from now. The action is about as intense as the effort with which I blow my nose, and only a delusional crackhead could find any suggestive content here. You could probably shave another five minutes off this film and get it a G rating in Australia. And when you consider that this film is dealing with the possibility that every life on Earth might be extinguished, such beating around the bush is simply not on. I am not saying that the film needs to be another RoboCop, but when you present the audience with a situation in which people will inevitably be killed, reminding the audiences that there are consequences to detaching a chunk of a building from its foundations is actually a good thing. And no, the impalement at the end does not count, because like one of those ghastly Narnia films, the director cannot resist the temptation to invoke the magic reset button.
Fantastic Four: Rise Of The Silver Surfer is the epitome of what I call a two out of ten film. Even twenty-five years ago, I would have told the nearest adult to turn this kiddie trash off.
One of the most commonly-cited complaints about the original Fantastic Four film was that the characters seem largely indifferent to their newfound powers and their situations. This was because, with the sole exception of Michael Chiklis, the actors are never given any time to explore their characters, their characters' emotions, or their characters' situations. We ended up knowing less about the Four than we do most characters in a soap opera, and as a result, they seem less real. Even in Dark Angel, arguably a top ten contender for the worst-written dialogue ever heard on television, we had more reason to care about the support characters there than we do the titular heroes in ROTSS. And that is the one big problem which ROTSS just cannot recover from. Because these so-called heroes live like celebrities and are treated like rock stars, we end up with no reason to care what happens to them. In one memorable (for all the wrong reasons) scene, as Reed is using his flexibility to impress women in a nightclub, we cannot help being reminded of Rogue's abject fear of even touching someone.
In the original Fantastic Four, this effect was bad enough on its own. Its poor time economy and seeming inability to properly develop the characters left this sequel with little or no foundation to balance itself upon. Where X-Men 2 had the inevitable attack of the Normalness Patrol upon its heroes and its anticipation, the biggest event in ROTSS when going in is the wedding of two characters. Since the two characters have about as much character as the leads in an episode of Neighbours, we are not just indifferent to this event. We literally just flat out do not give a crap. And considering that ROTSS has to make do with a mere ninety-two minutes of running time, you cannot count on any story development to give you an investment in what happens to the characters, either. When Victor Von Doom steals the silver surfboard for his own purposes, one ends up being too aware of how little time remains in the film's running length to really get worked up about the possibility of anything exciting.
Not helping anything is the mostly-droll acting. Jessica Alba looks more comfortable here whining about the inevitable challenges of her nuptials than she does convincing us that she regards the safety of our world as her responsibility. Ioan Gruffudd and Chris Evans are just there, and just basically adequate. Even Michael Chiklis is ultimately reduced in this sequel due to his character being given all of the perks of fame without a single drawback being given the slightest exploration. Julian McMahon could not play Victor Von Doom on the most maudlin day of his life, and in this film his credibility as a genuine threat is almost as sorely missed as that of the Silver Surfer. Speaking of the Silver Surfer, the film attempts at one point to flip gears and make him into an unwilling servant of a much greater menace, but one ends up caring a lot more about those millions of civilians who were presumably killed when he dug one of his little holes in the Earth's crust. This is not helped by the fact that when the Silver Surfer attempts to explain why he does what he does, it amounts to a lot of tell and no show.
Not helping matters any is the parameters of the softcore PG rating. Exactly what convinced the MPAA this film was even nearly as adult in tone as either of the real X-Men films is going to be one of the great unsolved mysteries years from now. The action is about as intense as the effort with which I blow my nose, and only a delusional crackhead could find any suggestive content here. You could probably shave another five minutes off this film and get it a G rating in Australia. And when you consider that this film is dealing with the possibility that every life on Earth might be extinguished, such beating around the bush is simply not on. I am not saying that the film needs to be another RoboCop, but when you present the audience with a situation in which people will inevitably be killed, reminding the audiences that there are consequences to detaching a chunk of a building from its foundations is actually a good thing. And no, the impalement at the end does not count, because like one of those ghastly Narnia films, the director cannot resist the temptation to invoke the magic reset button.
Fantastic Four: Rise Of The Silver Surfer is the epitome of what I call a two out of ten film. Even twenty-five years ago, I would have told the nearest adult to turn this kiddie trash off.