Aaron Eckhart, Hilary Swank, Stanley Tucci, Delroy Lindo and Bruce Greenwood, with DJ Qualls, Richard Jenkins, Tcheky Karyo and Alfre Woodard.
The Earth’s inner core has stopped spinning, and scientist Josh Keyes with his fellow maverick seismologists must discover why before the planet literally falls apart. So by burrowing into the planet’s center in an elite vessel they might dig deep enough to get to (wait for it) the core of the crisis.
I warned you.
A funny thing happened on the way to the Blu-Ray player.
I initially meant to open this week’s salvo with a treatise on the ways and means of a proper disaster film. Then insomnia intervened and the 9-year old woke up multiple times to interrupt dad’s questionable movie watching practices.
It was late. Later than usual for me to hunker down in front of the screen with the disc, the notebook, the essential libations and my pen clutched in my hot little hand. Time for another evening of Press Your Luck via Netflix. It’s the stuff dreams are made of, or nightmares of a frustrated wifey who’d rather canoodle that accept the vital nature of this blogger’s ongoing opus. Either way, I had beer and a lack of Pop-Tarts.
Midnight was nigh, and I was beat as well as falling behind with my chosen duties. Good thing I had the day off tomorrow; the flick was over two hours long! Could see the sun cracking the horizon by my timetable, including all the pretzels, bathroom breaks and cracking open more truth elixir. Let me tell you, with my nutty watching habits a 90 minute flick can stretch into three hours easily. I have to go outside to smoke, well into the next county it feels. And you can kill a guy anywhere. Go fig.
But twenty minutes into The Core I was interrupted in the worst way. We’re not talking power outages, scratches in the disc (which did happen once or twice truth be told. More on that sh*t later for those cinephiles who can’t afford streaming), or the neighbor kids jacked up on the Mountain Dew and wailing on their guitars for an impromptu garage band practice consisting of and only of Iron Butterfly’s “In-A-Gadda-Da-Vida” remixed by Moby.
No. Worse. A nine-year old girl with insomnia. And dad one-third through the movie and halfway in the bag to boot. Not a Pop-Tart to be seen.
She was stressed out. Happens to kids of all ages. Mom started a new job and was gone most of the night. I clocked out late, too, but Grammy and Pop Pop were gracious enough to hold down the fort until I scooped her up. But Mom wasn’t around as she usually was. No one to chit chat with while Dad’s toiling away in the Seventh Level. Chicken nuggets for dinner again (and again). The general household dynamic torn asunder (and her stepsister kept away from yet another weekend visit by her dooshy daddy, but that’s another story). So yeah, kid’s stressed and therefore cannot seek slumber.
She’s vaguely aware of Dad’s clandestine movie habits and plopped down on the couch to both talk about her lousy sleep and wonder what the f*ck Daddy is watching. I explained to her the gist of the movie and asked (for the hell of it) if she’d join me. By that time the flick was on pause for an eternity, blaring a frozen shot of our heroes trying to extricate their high tech tunneling machine from within an enormous geode. For real. After I explained what a geode was I resumed the film. She watched for about ten minutes (The Core is PG-13 BTW, but I’m over 13 and figured it was okay for the kid to follow along. Don’t judge me) before abrupt protestations.
“It’s too loud! It’s too scary! I don’t know what’s going on!”
Through simple serendipity, a nine-year old girl with insomnia summed up the best mindset regarding a good disaster movie beyond any half-baked blather I could muster. Sure, she didn’t “get” the flick (PG-13 mind you. And shaddap) but her reaction purely illustrates how we should all watch a movie like The Core. In simpler terms, get bewildered and bamboozled. Then find more beer. It helps, believe me. Burp.
But in all seriousness, a good disaster flick should be loud, sometimes scary and make you unsure as to which way is up. A healthy dose of suspension of disbelief and a willingness to let your brain be scrambled into submission both help. Go along with it. Follow stupid down the rabbit hole. Allow some (partial) credence for Michael Bay’s oeuvre for a bit. Check your coat at the front desk. Eat the Oreo’s frosting first. Enjoy the bombast and the dumb, if only for two hours. Then you can get back to the Lars Von Trier binge watch. Don’t forget the Cheetos and the Dustbuster.
That being said, riddle me this. Did The Core takes nods from the pyrotechnics that came before? Was the same demented structure of chaos and creation take hold? Did Gene Hackman let go of that valve at the right time?
Perhaps. First, let’s dig a bit deeper…
Ill winds are blowing through Earth’s ionosphere. Solar winds.
Peculiar environmental phenomena have been popping up around the globe as of late. Auroras over Washington. Birds losing their ability to navigate. Earthquakes nowhere near tectonic activity. What’s worse Wi-Fi keeps crapping out everywhere. What the hell’s going on?
Dr John Keyes (Eckhart) has a theory. Being a seismologist, he’s pretty in touch with how the Earth eats, breathes and occasionally farts. By all the disparate chaos suddenly plaguing the planet, he has a theory. The outer core of the Earth, the part that controls its EMF, has stopped its rotation. That means in three months everything on Earth that is powered by electricity will halt. Within a year, the sun’s radiation will burn our world to a crisp. Ouch.
What to do to avoid this calamity? Well first, don’t panic. Second, convince the powers that be that this is an apocalyptic threat. Third, don’t panic, for surely there are a collective of science geeks out there who are sharp enough and nuts enough to correct the problem. Namely, and essentially jump-starting an entire planet. No sweat, right?
Keyes (with his maverick theories) gets indoctrinated into a military cabal—which is never a good sign—to initiate a mission to delve into Earth’s inner core to “reactivate” its rotation. Among Keyes’ rogue’s gallery, we have assembled quite the unique crew. We have Conrad Zinksy (Tucci), the preeminent seismologist on the planet to guide the insane mission to tunnel into the Earth (backed up with his supreme arrogance). His former, alienated genius Watson to his Holmes, Dr “Brazz” Brazelton (Lindo) has devised a means to travel into the Earth’s mantle—a nigh indestructible machine—and hopefully intervene with the globe’s eminent failure. And lastly, but not most leastly former space shuttle pilot Major Rebecca “Beck” Childs (Swank) to guide Brazz’ experiment home.
So we got the know-how, we got the tech and we got the mission. Get Earth’s core a-swirling again. But it’s never that easy, is it? ‘Course not. We gotta toss in some MIC intrigue and a giggling robot for the kiddies.
Wait. No giggling robot? Well is is a PG-13 flick after all. Movie sign!…
What I was rambling about earlier with my reluctant, sleepless sidekick holds true regarding disaster films. Too loud. To perilous. Confusion is scads. Believe it or not these are good things to have with such films. Suspension of belief is paramount.
If you were young enough to remember them (and sure as sh*t I wasn’t), TV mogul Irwin Allen of Lost In Space fame got a wild hair up his ass and got into the motion picture action. His notable contributions were The Poseidon Adventure, The Towering Inferno and to a lesser extent The Swarm (hell, at least that muckity-muck got Henry Fonda some work). All were a melange of let’s throw sh*t at a wall and see what sticks, hopefully running down to the floor in a gooey mess. A mess the audiences would love to slop around in.
To wit, Allen’s cinema schlockfests were dappled with a cast of thousands (often with name stars like Gene Hackman, the aforementioned Henry Fonda and even Paul Newman for pity’s sake), all put in perilous positions of penultimate tragedy with a lot of splash and dash in between to culminate in a satisfying ending. Lotsa pyrotechnics and histrionics in there for good measure, too. Plus a lot of cheesy dialogue to boot. Y’know, to lighten the load. Hoorahs all around.
All Allen’s potboilers are fun so long as you don’t think too much about you willingly subjected yourself to. That’s the key, and director Amiel tapped into this philosophy very keenly with The Core. Keep it fun, keep it fast, keep it dumb. In that order. Works well, which is why the peanut butter and jelly sandwich has endured for almost a century. Please trim off the crust. We don’t require anything that resembles substance here. It’s barely an afterthought.
Okay now. Where to begin? Allen’s cheesewheels always starred a mishmash of prominent actors (of their time) pitted against/collaborating with lesser knowns. Again, Amiel took notes. We have the notoriously reliable unreliable Aaron Eckhart as our reluctant hero. I have no love lost on Eckhart. Virtually every film he’s been in he seems out of place. Worse, like bewildered he’s even in a movie to begin with. How the hell did I end up here? Well, in Core, that flappable nature finally comes to good use. What I mean is that you ever catch Battle: Los Angeles? Right. I ain’t supposed to be here. Based on that, Core presents us with Eckhart’s best, most accessible acting until The Dark Knight got released. His skittish, nerdy scientist might be the go to for geek freak as soon as Jeff Goldblum retires. Eckhart here never overplays his hand. Read: he doesn’t ham it up, despite the fact that there are plenty of chances to chew the drywall. His Dr Keyes is the only solid voice of reason—therefore the pinion—which the movie turns. It’s almost as if Eckhart is aware that Core is an Allen rip-off, so he plays the part right. He’s our Dr John Robinson, minus a spine. Underdogs always play well at the ticket taker, don’cha know. Worked for me. I found his acting fun.
And fun is the watchword towards our remaining cast members. Be mindful that The Core‘s plot is ludicrous, so the actors better shape up to carry this farce to the bitter end with elan or at least marginal competence. Overall, they’re likable. No, I mean it. For the film’s contexts the cast and crew of the Virgil are all enjoyable (even Tucci’s snot. I enjoyed his smarm). The key to this is stereotyping. I know, I was just as surprised as you are. If The Core is a nod to Allen disaster flicks, then there better be a disparate mishmash of oddballs and heroes at the ready, all of which possess that certain something that makes it all click. What is this magic ingredient?
Why do we stereotype? Because it’s easier and it’s quicker. With the rapid fire pace The Core delivers, really deep character study is superfluous. Just go along with the reluctant hero-moustache twirling rapscallion-maverick scientist-plotting MIC types. And a girl. Gotta have a girl. Helps if she’s pretty, and carrying around an Oscar adds a bit of street cred, too. The Core‘s casting is straight out of a John Hughes reunion, chockablock with all the dopey sci-fi stereotypes you can shake a stick at. And all of them reassuringly cheesy with faceplam-worthy dialogue to boot. Makes the mission go down a bit easier overall. So to speak.
Still with all the B-movie histrionics, wonky characters and implausible…everything, The Core is lacking in a few basic, first grade elements that could’ve elevated it to Irwin Allen fractured glory. I’m always talking about pacing here at RIORI. How it’s absolutely essential to drive the plot. Now The Core does have decent pacing, but there is some noticeable sputtering throughout the thing. To wit, is there such a thing as reserved urgency? If so, then this movie has it. Right, right, we know the Earth is doomed. The thinktank is working on a rescue plan. Things seem very dire. Then why are all these folks so damned rational about it? I know our crew is composed of steely military types and MIT misfits known to be more mindful that emotional. But this is a movie, too. If this were the ideal disaster flick, there’d be sufficient freak-outs countered by urgent emotional face-slapping to quell the rantings (“Forget him! He’s gone!” “No he’s not!” – Hicks and Vasquez from Aliens, BTW). Nope. Some shouting, but that’s about it.
An aside: despite the dynamite casting, we have a glaring issue. I don’t care about her Oscars. Hilary Swank seems really out of place here. Even if she got her start as The Next Karate Kid, action apparently isn’t her strong suit. Most of the film Beck seems wobbly, detached and wooden. The look on her face most of the time says, “Stupid agent.” Even Alfre Woodard—one of my fave actresses—who is on par with Swank’s dramatic chops snarls a lot better that Hilary does. Other than Swank, as I’ve pounded on, the rest of the cast was great.
One more thing for the bitch board: Amiel may have been trying to honor Allen’s disaster flicks with The Core, but overall his work came across as “Poor Man’s Emmerich.” Noodle that one. Sure, the action plays out smooth, but the direction was also kinda tame. It was as if Amiel was playing it safe, holding back. I know that sounds hard to believe after my glowing shiny shiny, but there’s this feeling of drawing the whole thing out (at 2 plus hours running time, this isn’t such a stretch. So to speak). A little too much roominess for all the ensuing pyrotechnics. It can make for a sort of uneven viewing experience, a la that “reserved urgency.” Emmerich throws everything and the kitchen sink out the freakin’ window with his bread and circuses. Amiel should’ve cranked up the nutty a bit more is all. Just sayin’.
Despite the dumb and corn (or perhaps because of it), I dug The Core. So to speak. I’ll stop that now. It’s a complete waste of time. The acting is silly. The story is demented. The F/X were awesome. Just toss the remote over your shoulder—after you’ve grabbed a cold six first—watch and let your cranium fill with Oreo filling. Some action movies are dramatic. Some are violent. And some are just unapologetically stupid. That being said, Irwin Allen would’ve approved of The Core.
Now if it only had a Leslie Nielsen cameo. Box office gold.
Rent it or relent it? Rent it. Its flaws make it great. Like with Pacific Rim, don’t think too hard about it. Just go with it. Better get two sixers for optimal viewing pleasure. Play it safe.
- “There’s nothing on the other side of the equal sign.” I suck at math, too.
- “Unobtainium?” Isn’t that the crap the bad guys were mining for in Avatar? Cameron, first the Harlan Ellison swipe and now this?
- “God, I hate this sky.” F*cking smog I tell ya.
- This must be the first disaster movie ever that has a simulator of an imaginary machine. Told you Amiel was kind of playing it safe.
- “All right. I’m hitting him again.”
- Wouldn’t Journey To The Center Of The Earth be a better title? Ah, right. Been done and has too many words for modern Pokemon Go audiences.
- “After that it gets bad.”
“Better leave her behind with The Kids Are All Right.”