But it had big shoes to fill.
Gerry Anderson plainly wanted to make something supplying more bang for his buck for the big screen, but in the process seems to have forgotten that 'Thunderbirds' is about International Rescue. Remarkably less time is actually devoted to the much-loved craft every kid in the sixties wanted to own than in any random episode of the TV series. (We don't even see Thunderbird Four.)
Also sorely lacking from the series is Barry Gray's terrific music; which unchanged could have really ramped up the tension. But we instead get a rather light-hearted original score from Gray which often falls unsuitably silent at the most dramatic moments.
Since so little time is devoted to International Rescue themselves, the crazy dream sequence seems even more overextended than it already is; and just seems to be there because Anderson wanted something different to the TV series. (Which I was perfectly happy with as it was!)
The Mars mission is an interesting idea, but the hiccups that require the intervention of the Tracy boys are disposed of surprisingly perfunctorily, and receive insufficient screen time to wrack up the tension the TV series would deliver every week in under an hour.
The sequence actually set on Mars - after a journey taking just six weeks! - seems to belong in a different film. (It also looks more like the Moon than Mars, as the pictures sent back by Viking 1 ten years later confirmed.) Nobody - including the Tracys - seems bothered that our first blundering act on encountering Martians seems tantamount to an unintentional declaration of war on Mars and its inhabitants.
Gerry Anderson plainly wanted to make something supplying more bang for his buck for the big screen, but in the process seems to have forgotten that 'Thunderbirds' is about International Rescue. Remarkably less time is actually devoted to the much-loved craft every kid in the sixties wanted to own than in any random episode of the TV series. (We don't even see Thunderbird Four.)
Also sorely lacking from the series is Barry Gray's terrific music; which unchanged could have really ramped up the tension. But we instead get a rather light-hearted original score from Gray which often falls unsuitably silent at the most dramatic moments.
Since so little time is devoted to International Rescue themselves, the crazy dream sequence seems even more overextended than it already is; and just seems to be there because Anderson wanted something different to the TV series. (Which I was perfectly happy with as it was!)
The Mars mission is an interesting idea, but the hiccups that require the intervention of the Tracy boys are disposed of surprisingly perfunctorily, and receive insufficient screen time to wrack up the tension the TV series would deliver every week in under an hour.
The sequence actually set on Mars - after a journey taking just six weeks! - seems to belong in a different film. (It also looks more like the Moon than Mars, as the pictures sent back by Viking 1 ten years later confirmed.) Nobody - including the Tracys - seems bothered that our first blundering act on encountering Martians seems tantamount to an unintentional declaration of war on Mars and its inhabitants.