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Can Cruise and Universal Make Kosinski's Sci-Fi 'Oblivion' a Global Hit? Review and Roundup

Photo of Anne Thompson By Anne Thompson | Thompson on Hollywood April 19, 2013 at 1:43PM

Tom Cruise went overboard praising Universal execs at the premiere for Joseph Kosinski's "Oblivion" (April 19). "I've been doing this a few years now," he told the Dolby Theater crowd. "Making films today, it takes a village, as artists it's about problem solving." You need the studio behind you, is what he meant: they need Universal to do a good job selling this movie, which started to open April 10 around the world and has already earned $70 million overseas.
'Oblivion' Comic Illustration
'Oblivion' Comic Illustration

The Hollywood Reporter:

After a captivating beginning brimming with mystery and evident ambition, the air gradually seeps out of the balloon that keeps this thinly populated tale aloft, leaving the ultimate impression of a nice try that falls somewhat short of the mark.


Only recently, Tom Cruise looked as if he was attempting to grow twelve inches to play tall tough guy Jack Reacher; now his role-model appears to be Wall-E, the diminutive cartoon automaton left behind on a wrecked planet Earth to clean up. Sadly there's none of Wall-E's spark in this bafflingly solemn, lugubrious and fantastically derivative sci-fi which serves up great big undigested lumps of "Total Recall," "AI," "Planet of the Apes" – with little snippets of "Top Gun."


Although Universal’s publicity department has asked that journalists refrain from spilling the secrets of “Oblivion,” the major revelations, once they arrive, will hardly surprise anyone familiar with “Total Recall,” “The Matrix” and the countless other sci-fi touchstones hovering over this striking, visually resplendent adventure. Pitting the latest action-hero incarnation of Tom Cruise against an army of alien marauders, director Joseph Kosinski’s follow-up to “Tron: Legacy” is a moderately clever dystopian mindbender with a gratifying human pulse, despite some questionable narrative developments along the way. 

The Playlist:

There are a few gaping plot holes that grate as time goes on (it's the kind of film where people don't tell the whole truth for the sole reason that it'll drive the plot along). It is overlong, and familiar, and never quite hits top gear -- it's never especially bad, but neither is it especially excellent, beyond the visual wow factor.

This article is related to: Reviews, Tom Cruise, Olga Kurylenko, Oblivion

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Thompson on Hollywood

Born and raised in Manhattan, Anne Thompson grew up going to the Thalia and The New Yorker and wound up at grad Cinema Studies at NYU. She worked at United Artists and Film Comment before heading west as that magazine's west coast editor. She wrote for the LA Weekly, Sight and Sound, Empire, The New York Times and Entertainment Weekly before serving as West Coast Editor of Premiere. She wrote for The Washington Post, The London Observer, Wired, More, and Vanity Fair, and did staff stints at The Hollywood Reporter and Variety. She eventually took her blog Thompson on Hollywood to Indiewire. She taught film criticism at USC Critical Studies, and continues to host the fall semester of “Sneak Previews” for UCLA Extension.