Worlds of difference

Rating: 3/10 (7 August 2005)

There are many, many unanswered questions at the end of Steven Spielberg's WAR OF THE WORLDS, but one overrides all others. Namely, why did Spielberg, the man who created such humane, thoughtful and landmark sci-fi epics as E.T., THE EXTRA-TERRESTRIAL; CLOSE ENCOUNTERS OF THE THIRD KIND and JURASSIC PARK, decide to waste his time and talent remaking a piece of junk like INDEPENDENCE DAY?
Okay, this WAR OF THE WORLDS is not really a remake, not even of the 1950's version of H.G. Wells' original story. It is a new variation of an old theme. But let's face it, this film exists not because of any compelling need to tell this particular story in any form, but because CGI special effects have advanced to the point that it is now relatively easy to show mass annihilation of innocent life and mindless destruction of large parcels of real estate with a greater degree of realism. Just like INDEPENDENCE DAY -- which, by the way, was a blatant rip-off of "The War of the Worlds" -- this film is propelled solely by the desire to show images of devastation and mayhem.
Like in CLOSE ENCOUNTERS, Spielberg tells a personal story within the context of an intergalactic event. Beyond that, his two films have little in common; indeed, they are almost exact opposites. One story is about a man who abandons his family, while the other is about a man who strives to reunite his family. One is about a man mesmerized by the promise of otherworldly mysteries, while the other is terrorized by the realities of otherworldly invaders. In one, a little boy's encounter with aliens is a wondrous adventure; in the other, it is a little girl's horrifying ordeal. One film celebrates a promise of universal unity, while the other panders to paranoia and fear. One is a tale of divine hopefulness, the other of helpless despair.
Granted, WAR OF THE WORLDS may boast superior effects, but it is not nearly as inspired as CLOSE ENCOUNTERS. And though it has many of Spielberg's stylistic touches, WORLDS seems like imitation Spielberg and less like a Spielberg film than carnage-riddled junk like GODZILLA, ARMAGEDD0N, CON AIR, THE ROCK, MARS ATTACKS! and many others, including INDEPENDENCE DAY. Instead of using his command of computer wizardry to take us once again into other awesome realms, Spielberg uses them to destroy ours. Quite frankly, I expect more of Steven Spielberg than blood-soaked landscapes and new, inventive ways to show people being slaughtered.
I suppose we are to be impressed that Spielberg has increasingly tackled darker material as he has matured, foregoing movie serial adventures like Indiana Jones and childhood fantasies like Peter Pan. Certainly, after SCHINDLER'S LIST, a film that garnered him hard-won respect from the tougher critics, his films have gotten darker, though not necessarily better: AMISTAD, SAVING PRIVATE RYAN, MINORITY REPORT and even A.I. (and on the horizon, films about the Munich Olympic terrorist attacks and Abraham Lincoln). But -- big deal! Something magical seems to disappear from Spielberg's works when he thinks he needs to be "serious." Maybe it's that playful sense of mischievousness or the spirit of joy that comes with trying out a new toy, but films like MINORITY REPORT and WAR OF THE WORLDS simply lack the energy, the humor and the excitement of even his earlier, simpler thrillers like JAWS and DUEL.
You can't fault the man for wanting to try new things and experimenting with new cinematic recipes, but seeing Spielberg squander his talents on a something like WAR OF THE WORLDS is like watching the world's greatest pastry chef want to prove that he can fry up a perfectly adequate hamburger, or worse, butcher the cow to make the hamburger meat. It's enough to make you lose your appetite.