Roland Emmerich | 120 mins | Blu-ray | 2.39:1 | USA / English & Mandarin | 12 / PG-13
With nostalgia-driven reboots and belated sequels all the rage these days, it was inevitable someone would eventually get round to Independence Day, the highest grossing film of 1996. Back then it took $817 million, a total most producers would be happy with even today… especially those behind Resurgence, which managed a comparatively paltry $389.6 million, leaving it in 21st place on 2016’s chart.* I guess nostalgia doesn’t win everything.
One thing the two-decade delay has given us is an interesting setup for a sequel. Reflecting real life, the film begins 20 years after “The War of ’96” (i.e. the original movie). Humanity has rebuilt, integrating alien technology with our own to create more advanced aircraft and weaponry, including a moon base and defensive satellite system, all on the assumption that the aliens will come back. But they don’t and everyone lives happily ever after.
Not really! The actual mechanics of the plot are far too fiddly to bother getting into here, but suffice to say the aliens do return, and, in typical sequel fashion, they’re bigger and badder. Facing them on humanity’s side are returning faces (Jeff Goldblum, Bill Pullman), returning characters with new faces (Maika Monroe, Jessie T. Usher), some surprising new faces (Charlotte Gainsbourg?!), and Liam Hemsworth, who somehow merits top billing. No Will Smith, because he died. Well, his character died, because Will Smith was busy doing Suicide Squad, which is basically the same thing.
I jest at the Squad’s expense, but I actually enjoyed DC’s notoriously messy movie more than this. I think. (I intend to review it next week, when it’s also on Sky, so we’ll see what I say then.) You see, although from the outside it may look like Resurgence is just a rehash of the first movie, but with bigger spaceships, there are actually good ideas in here: how the world has developed since the last film, where the characters are, some new facets to our understanding of the alien race. Unfortunately, the film is in such a hurry to churn through Plot that it doesn’t take time to let any of the potentially-interesting stuff settle; doesn’t allow the space for it to be developed or appreciated. It feels wrong to complain that a blockbuster isn’t long enough, especially in this day and age, but you wish Resurgence had just given itself a little time to breathe; to properly explain why characters were doing certain things, rather than throwing in a speedy line of dialogue that there’s no time to process; to allow its set pieces to show off their scale, rather than racing from one to the next as if having as many as possible is better than making the most out of… well, any of them.
Despite the unwavering focus on plot over everything else (it even sidelines spectacle at times, which is what big-budget disaster movies like this should be about), the headlong rush to get through the narrative means its storytelling is really sloppy. For instance, we’re reintroduced to Goldblum’s father (Judd Hirsch) trying to hawk his book to a room of uninterested pensioners; then we next see him on a boat, just in time to get caught up in the giant spaceship’s arrival. So, does he live on this boat? It doesn’t look big enough for that. So is he just hanging out there? Why? I mean, he was just at a book reading. And why does he have a boat anyway? Yet for all this rushing, the film begins to waste time on a bunch of random kids in a car, or some salvage sailors performing a job that (in story terms) doesn’t actually need doing. Clearly the script needed a good going-over by someone with an objective eye.
Maybe it’s daft to focus on the quality of the screenplay in a film like Independence Day — as I said just now, its genre dictates it should be all about spectacle. But it’s the poor screenplay that undercuts those things. Not just because it has iffy dialogue or muddled character motivation (which it does), but because they’ve made the story more complicated than it needed to be and the film is desperate to tell us it as quickly as possible. I suspect it’s not a coincidence that it runs exactly two hours, because it feels like it’s been sliced as thin as possible on an individual scene level, as if they were trimming frames here and there to have it run no longer than 120 minutes.
The big show-off scenes are further marred by variable effects. Much of the really grand stuff is decent, if hurried past, but the film is flooded with green screen work that is consistently atrocious. Like, “it was better 20 years ago”-level bad. The deleted scenes may hold the key to why this is: there’s one where a character is picked up from a bus stop on an ordinary street, except it’s been filmed on a green screen instead of on, y’know, a street. If you’re making your effects team waste time generating something you could’ve filmed by popping down the road, no wonder they don’t have time to do the tricky stuff properly.
And, quite bizarrely, there are a couple of action bits that mirror sequences from, of all things, San Andreas. They happen back to back — intercut, in fact — which just emphasises the parallel. This signifies nothing, really, it’s just… strange.
I really wanted to enjoy Independence Day: Resurgence, because I thought the “20 years later” ideas had promise, and also I have a soft spot for the original. Sure, it’s cheesy as hell, but mostly the cheese works thanks to an earnestness and the evocation of some degree of emotion. Plus, it achieves what it sets out to be — that is, an entertaining disaster movie cum alien invasion actioner. This follow-up wants to do the same thing on a bigger scale, and it is indeed even cheesier at times, but not in the same likeable way. If the first is a tasty chunk of mature cheddar (which, for the purposes of this analogy, we’re going to say it is) then the second is a thin slice of processed burger cheese. And, also like fake cheese, it fails to achieve even the straightforward thrills it sets out to create.
Independence Day: Resurgence is on Sky Cinema from today.
* For what it’s worth, if it had equalled the $817 million then it would’ve been 8th on 2016’s chart, beating the likes of Fantastic Beasts and Deadpool. ^