August 26, 2010
Seven teenagers from a small Australian country town called Wirrawee – Ellie, Corrie, Homer, Kevin, Lee, Robyn and Fiona – decide to pack a Landrover and go bush for the weekend. They don their packs and venture into the wild, little-visited, cliff-encircled gorge called Hell: flirting with members of the opposite sex, mucking about, and generally enjoying themselves so much that they think little of the fleet of planes that fly overhead one night.
When they finally make the return trip to civilisation they emerge into a Hell of a different kind: houses and streets are empty, the power is out, and it’s quiet; too quiet. An unknown invader has come to Wirrawee and it’s time for Ellie and her friends to see what they’re made of. Now they’re fighting for their lives, their families, their community and their country.
Without putting too fine a point on it, John Marsden’s Tomorrow series of books is hot shit. Generations of readers have devoured them, studied them, loved their beaten, tattered tomes to death. It’s a big deal that Ellie and friends have arrived on the big screen – emblazoned across those cherished books now will be those magic words ‘NOW A MAJOR MOTION PICTURE’ – and it’s a good thing Marsden didn’t let his baby go to just anyone.
Stuart Beattie – writing and directing here – was the man for the job. He was one of the story writers for Pirates of the Caribbean and wrote the screenplays for 30 Days of Night, Australia and G.I. Joe. Whatever you think of those films, Beattie’s brought his Hollywood smarts and instincts to Tomorrow, and the resulting movie delivers the goods: strong characters, solid performances, and things that go ‘bang’. Most impressively of all for an Aussie flick is its generous serving of blockbuster-level excitement: Ellie slinking between cars at the cattle pavilion, the garbage truck chase, the cold, petrifying glare of searchlights. Beattie’s depiction of the intruding enemy forces is perfectly-judged Spielberg brilliance, and there’s enough adrenaline-pumping action sequences here for Tomorrow to be a keeper Stateside.
The ‘who’s-your-favourite?’ casting is excellent. Certainly, it rings alarm bells that a couple of them hail from Ramsay Street or Summer Bay, but it all makes sense on screen: Lincoln Lewis’s just-the-right-amount of captain-of-the-cricket-team cool as Kevin; Christopher Pang’s moody introspection as loner Lee; Andrew Ryan’s chemically-induced unconcern (and Badly Drawn Boy wardrobe) as Chris; and Deniz Akdeniz’s bullish intelligence as the mighty Homer. As for the girls, Ashleigh Cummings (five years younger than some of the others) is a suitably slight and God-fearing Robyn; Phoebe Tonkin is a necessarily radiant Fiona; and Brit actress Rachel Hurd-Wood, more than anyone, gets to behave like a typical Aussie teen. Caitlin Stasey, for her part, takes on the daunting role of headstrong Ellie with utter conviction. Eight principle characters is a lot to share screen time, but they each have their complexities, their moments to shine and/or step up. You can thank Marsden for those details; and then thank Beattie for coaxing it all to the screen so well. It’s a supreme act of abridged storytelling on his part.
There are a couple of odd choices, mostly its general tendency to behave like a run-of-the-mill teen movie (an Aussie music soundtrack featuring Missy Higgins and other rocking-chair FM favourites; Fiona undressing in super slow-motion; a preposterously hip closing credits sequence). There’s also some laboured analogies, some weak comic relief and one instance of too-cute self-referentiality (a similar gag pops up in Scott Pilgrim, where it sits much more comfortably).
That said, Tomorrow manages to be a hell of a lot more intelligent, exciting and mature than most films made with a teen audience in mind. There’s no witchcraft or wizardry, no vampires, werewolves, deceptively spacious closets or talking rodents. Just a ripper of a story and well-drawn, ordinary young people with everything at stake. It has every chance of being a smash hit, here and elsewhere, and deserves the chance to grow. Let’s hope Beattie and his hot young cast get that opportunity, because they’re definitely up to the challenge.
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