White House Down

White House Down serves up a heaping portion of Die Hard meets Air Force One. You would expect someone like John McTiernan (who's currently in jail) or Wolfgang Peterson to be the one behind such an antiquated action film, but no. It's Roland Emmerich (2012, Independence Day, The Day After Tomorrow, Godzilla, The Patriot...) Roland is the Michael Bay of disaster films, mixing bad acting, horrible dialogue, preposterously elaborate special effects sequences, and emotionally vapid resolution. We love him because he is an artistic demolition man at heart. There are plenty of explosions, none more impressive than the dome of the Capitol building coming down (which you can see in the previews), but the problem is that this film is intended as more than that. I could tell that Roland wanted a little bit of buddy comedy, a little bit of terrorist action, a little bit of family drama, and of course some catastrophe. The problem is that with all of these elements, what you get is a chunky bowl of crap stew.

The film starts with an introduction to Channing Tatum's burnout Capitol police officer who is trying to impress his estranged daughter while interviewing for the Secret Service. Don't even get me started on the film's flaws regarding the Office of Personnel Management and procuring a federal law enforcement job. Anyway, while on a tour of the white house, it is taken over in an identical method as in March's Olympus has Fallen. In fact, the entire movie eerily follows Olympus has Fallen. Oh, except they use Delta Force instead of Seal Team Six in the depressing helicopter-being-shot-down-by-unexpected-rockets-scene. And it's a little girl instead of a little boy. Reminds me of the Armageddon/Deep Impact rivalry, but this is less exciting. Channing John McClain's his way to the President while trying to save his daughter and stop the bad guys from total nuclear annihilation of the Middle East. There's no witty banter though, and definitely no yippee kiyay moment.

It's been done. Maybe not this same way, and I don't blame the writers. The script is terrible and even a bit embarrassing at times, but I don't blame the writers. They got paid to create a story. No, I blame the producers for this one, who greenlit the project in the first place. Shame on you Mythology, Iron Horse, and Centropolis. Of course, the studios are the ones who will ultimately pay the price, as the opening weekend only brought in a dismal and disappointing $25 million. With a budget of $150 million, this one might end up in the red.

Anyway, my problem is twofold. Channing Tatum is wasted on this. He's given a few opportunities to show a bit of character depth, but it never materializes. His surrounding cast is weak, particularly his daughter (played by Joey King in a role she'll wish she had back in about 10 years). Tatum is a bonafide action star. He's got the physical presence, martial arts moves, and even a rugged yet handsome look. I liked him in GI Joe, and I liked him in this (I also liked him in 21 Jump Street and Magic Mike - don't judge). His talent is utterly wasted. His daughter is made out to be a cyber rebel genius because she has a smart phone and posts videos to Youtube. What year is this, Roland? 1988? WHD would have been an awesome, maybe even stellar film in the late 80's, but this is the 40th incarnation of the same thing and you're 30 years too late.

My second problem is with the tightrope job that Roland conveys of realistic events and and pure lunacy. PICK ONE! I don't want to follow Constitutional adherence followed by a military breakdown a la The Rock. And when did 8 minutes take a half hour? I digress. I realize that sometimes liberties have to be taken to create suspense, move the story along, or introduce a plot twist of some sort. The issue I have is when the poor decisions lead to a dead end.

Maggie Gyllenhaal is solid as one of the Secret Service higher ups who happens to avoid being in the wrong place at the wrong time, and serves as Channing's Al (the cop on the phone to John McClaine in Die Hard). She is one of the voices of reason, and although not given much to do besides give a concerned look and talk on the phone, she's one of the bright spots in the film.

Jamie Foxx goes through the motions as the President. His agenda is somewhat symbolic of the overall message of the film; peace. He plays a pseudo-Obama, a man who didn't do military service who is suddenly thrust into major decisions about foreign conflict. He is portrayed as very weak, and even when he has to fight for his life, he's pretty ineffective. I suppose that's the character, but I never felt any

Jason Clarke and Richard Jenkins are great. Jason Clarke is the Hans Gruber, or more accurately, the Karl. He's the muscle of the bad guys, and I really like him in military-type roles; good or bad. He was exceptional in Zero Dark Thirty as the CIA interrogator, and he is in prime form here as well. Again, he's given a subservient role, so a series of bad decisions by his boss lead to his looking like a buffoon. I'm interested in one of his next projects titled Candy Store with De Niro and Christoph Waltz in a Steven Gaghan project. Should be good. Richard Jenkins plays the Speaker of the House who is thrust into unwanted power during the whole crisis, and conveniently, he has a relationship with Channing. He plays it with a straight face, and I'm glad he got his paycheck.

As you certainly realize by now, this was a terrible film. I got upset at some of the character decisions, and the Government's handling of the whole thing. I do wonder however, how this film would have done 30 years ago. It would have been controversial, cutting edge in special effects, and generally accepted by the masses. Think Independence Day box office success. WHD is simply not right for 2013. I can't believe it cost $150 million. Did they actually blow up the Capitol? Skip it. There are plenty of good action films out there now (Star Trek, Superman, WWZ). In fact, if you're beating the heat in the nice air conditioned theatre, see a comedy. The Internship, This is the End, and The Heat are all refreshingly funny and entertaining. White House Down? Two thumbs down. 4/10.

World War Z

"Mother nature is a serial killer." These are the memorable words of the Harvard virologist who is helping Brad Pitt's Gerry Lane track down patient zero and hoping to stop the zombie apocalypse from ending humankind. Very loosely based on the novel of the same name by Max Brooks, the film gives us a fresh perspective on the genre that is all the craze right now.

Let's get this out of the way. Zombies. What is it with the cultural infatuation? My theory is that there is something secretly exciting about the prospect of an apocalyptic event. People have an innate drive for combat/survival/escape (whatever you want to call it) and a zombie apocalypse is something exciting enough, but not quite terrifying because it's completely absurd. Not quite as absurd as an alien invasion, and not quite as frightening as a tsunami, but the Goldilocks apocalyptic scenario. Everyone has a strategy "in the event of zombie attacks". Don't pretend you don't. I personally appreciate Brad Pitt's approach; movement is life.

The film has had more than its share of problems from the get go. Procurement, financing, development, story changes, postponed release date, and critical cynicism. I don't get the negativity. Simply put, the previews make this film look pretty cool. the music is perfect in that ominous bass-line reverberation kind of way, and the realism angle prevails more than any other zombie (or pandemic) film that I can remember. The story is massively predictable, but the suspense is maintained through terrific action sequences and sparing the blood that is such a staple of most zombie flicks. There is no gore porn here, in fact, the zombies themselves aren't hideously missing pieces of their bodies or drooling as they limp along. No, they are rabidly possessed mindless creatures that want nothing more than to spread the virus to a new host. No brain eating, just glassy-eyed people chomping at the bit (literally) to give infectious bites. And the transformation is within seconds, unlike other films of the genre where a member of the group is secretly infected, just waiting for the chance to get someone alone and get them (or more likely, get them in a situation they shouldn't be in). This film is just sharper all around.

What makes the character development work is that there are really just four characters that don't seem disposable at one point or another. Gerry Lane and his wife and two children. The family are relegated to very little screen time after the chaotic action sequence to start the film off, however, there is constantly a sense of hope; an anchor that keeps the hackles up while Gerry is globetrotting searching for the cause (and cure). As a viewer, you somehow feel for this family, and as other characters come and go, they are expendable, so there isn't shock or sadness when they are lost, just an edge-of-your seat hope that Gerry can survive.

What makes the character connection so visceral also cheats the viewer out of some realism. I'm not talking zombie logistics realism, but actual global pandemonium realism. Gerry has a skill set and some vague background with the UN, the WHO, and consequently has major connections. These connections seem to give him the free pass to commandeer cargo and commuter planes, helicopters, procure teams of Army Rangers, Navy SEALs, and Israeli commandos. Not likely in the midst of a crisis of epic proportions. Where the film does redeem some of those points is how Gerry handles himself, his family, and the crisis. Like a true professional. Nowhere in the film does the director use scare tactics, or ill-fated decisions by the nutcase who can't handle the situation. Gerry takes each situation on one by one, and handles them like a Boy Scout. He keeps moving, and consequently, he stays alive. The major action sequences bring a blockbuster quality to an otherwise uncategorizable film. And each major action sequence is delightful.

The writers of the film are a dream team for any movie. Matthew Michael Carnahan (The Kingdom, Lions for Lambs) takes his military action film expertise, mixes it with Damon Lindelof (Lost, Prometheus) and his sci-fi background, who then mixes with Drew Goddard (Cabin in the Woods, Cloverfield) and his horror/monster experience, and then shakes it up with J. Michael Straczynski (He-Man, Twilight Zone, Thor, Babyon 5, Walker, Texas Ranger) and his decades of screenwriting. It's an all-star lineup of writers, and for that I give kudos. The end product? A very well done story. Not too complicated, not too simple. Just right.

Marc Forster redeems himself from his past two films: Machine Gun Preacher and Quantum of Solace (James Bond films are hard to screw up). He's probably best known for Monster's Ball, Stranger than Fiction, and Finding Neverland. All three are independent level movies that were good, but WWZ takes things up a notch. Despite its problems, and gargantuan budget that hovered in the $200-300 million range, the team pulled off a solid movie. Brad Pitt's production team might not take the hit initially thought as WWZ took in $66 million opening weekend, and is near the $100 million mark after just a week. International audiences will eat this up, consuming over $40 million so far.

If you like zombie movies (and everybody with a pulse does...) and you like suspenseful action, WWZ will be a pleasant surprise. If you haven't heard anything about it, you might not be surprised, but you will be pleased. 9/10.

The Internship

The latest from the aging Owen Wilson and Vince Vaughn strikes a decidedly dated chord with their humor, but they cleverly modify their modus operandi to a much more kind and tame focus. Their raucous antics aren't cool anymore, and they realize it, so they gracefully accept their forty-something role in comedy, and present a fresh look at the notorious Wedding Crashers. Written by Vaughn for the screen with a shameless Google plug in mind, and directed by Shawn Levy (Night at the Museum), I was pleasantly surprised with what I got. I was expecting more of America to fall for the buddy comedy routine, so was a bit dismayed by the lackluster box office draw, but all in all, the film is good clean fun.

Vaughn and Wilson play Nick and Billy, two old school smooth talking salesmen with next to no education or real tangible 21st century job skills. When their company goes belly up, they are forced to reluctantly re-enter the modern workforce. Struck down by every appealing option, they have the brilliant idea to enroll in the University of Phoenix and apply for the Google internship program, which for one lucky team that wins the competition, leads to a full-time job. As to be predicted, Nick and Billy end up teamed up with the misfit team. The leftovers after the cool kid draft. They have the loner who desperately wants to be accepted, the party girl who is all talk and no action, and the Asian boy with mother issues. Quite the team, and after a rocky start, they actually come together and bond in the process.

What makes this movie palatable is that Nick and Billy are genuine nice guys. There is no deception or hidden agendas. They are down on their luck forty-somethings looking for some security in their lives. As unlikeable as Vince Vaughn is, he plays what might be the gentlest role of his career. Don't get me wrong, there's still the fast-talking witticism, but it's done with kindness. Maybe his age has softened him up a little. Owen Wilson is along for the ride, as usual, and is a nice complement to Vaughn; they just seem to play off each other very naturally.

Far from believable, The Internship is more Dodgeball and less Wedding Crashers. A preposterous underdog story, but hey, you get what is being advertised. My rhetorical question is this: What company in their right mind would bring a pool of interns together, tell them to get into groups of 5, and guarantee a job to the winners of the competition? Without knowing what skills the individuals even possess? Sounds crazy to me, but Google has proven that they are on the cutting edge of creativity and innovation. Maybe that's the new way things work in the tech sector. I digress.

The Internship is good, clean fun. Not what I would expect from Vaughn and Wilson, but it's solid entertainment. Perhaps the best parts are the cameo scenes of Will Ferrell and Rob Riggle. I wish there were a few more of those as this film would have benefited from the star power. I would put this film on standby, as something to see if you're in the mood for something funny and you've already exhausted the more favorable cineplex options, or put it high on your Netflix list for a fun night a few months from now.

I've been getting tired of Vaughn and Wilson, but this film didn't suck. I gained a renewed sense of respect for them with this one. 7/10.

This is the End

If a film like This is the End came out ten years ago, it would be a joke. An apocalyptic comedy with rising stars starring as themselves. Raunchy sex jokes and self-deprecation rampant, with gratuitous blood and death, and making a mockery out of religion and the book of Revelation. Sounds a bit like a Kevin Smith film. It isn't though, and times are different. Even comedy is pushing the envelope in an attempt to draw crowds and capitalize on the industry's booming success. This is the End straddles the line of inappropriate, but comes out just clean enough that it is hilarious.

Written, directed by, and starring Seth Rogen, he assembles a twenty-something comedy dream team of Jonah Hill, Jay Baruchel, James Franco, Danny McBride, Craig Robinson, and a handful of A-list cameos. The film starts with Seth Rogen picking up his Canadian buddy, Jay Baruchel from the airport for a weekend of drugs and male bonding. They end up at a party at James Franco's house, and that's when the apocalypse starts, right in the middle of the Hollywood Hills. Simple enough, but what makes it click is the sheer star power. Not just A-listers though, hot comedic A-listers, and lots of them. Michael Cera, Aziz Ansari, Paul Rudd, Mindy Kaling, etc. We even get to see Rhianna and Emma Watson playing who knows how realistic versions of themselves. The fun of the film is talking afterwards about whether any of these actors stretched out of their natural personalities, or if they are just being themselves. Each of them has a distinct role to play, and the apocalyptic catastrophe isn't center stage at all.

Seth Rogen is in his typical loveable stoner groove. He is the glue in the movie; the centerpiece, dishing out assists to each of the other cast members. Jay Baruchel is our star, conflicted about the Hollywood lifestyle and showing both common sense that is missing from the others, and some social anxiety. You root for him because he's a good guy, but also because he's surrounded by these A-listers, and he somehow seems out of place. The film is clearly geared toward him. His friends have had the spotlight, and now it's Jay's turn to get his face and name out there into the media.

James Franco proves once again that he is best when doing comedy. His role in Pineapple Express was possibly his high point (127 hours was amazing, but it was the film and the role, not the actor that made it) and he is truly a funny guy. He puts off an aura that you just want to hang out with, and embellishes his chance to be a bit of a weirdo. Craig Robinson steps out of the Office and into film (I met him in Hollywood once), and gets some great lines and causes a smile every time he's on the screen with his "Take Yo Panties Off" t-shirt and "Mr. Robinson" towel.

Jonah Hill is the nice one of the bunch, and almost annoyingly so. Jay doesn't like him, but his generosity and kindness stifle any attempt to dislike him at all. He seems like he might be a nice guy in real life, and they exaggerate that personality trait about as much as possible. He meets an unfortunate end that is a bit of a head scratcher. The possession bit wasn't that funny, and seemed a bit out of place. Besides, being raped by a demon can't be pleasant. I suppose with all the other phallic jokes, there had to be some actual sodomy, right?

My personal favorite of the cast, Danny McBride is full on Kenny Powers. Completely unfiltered mouth, he throws out lines like they are candy at a parade. His wit is so natural and offensive that he earns a place in the pantheon of comedy as far as I'm concerned. He's despicable and self-centered, but still grounded in realism. He's the loner of the group that is pretty much hated by all of them. Just all around funny. The star of the show however, is Michael Cera. Embodying the stereotypical young Hollywood douche bag, he snorts coke, has a threesome (probably the 2nd best scene in the film), and is generally a complete prick to everyone he meets. The rest of the guys have a running joke about his role in the circle, and he meets his end in a particularly deserving if not unfortunate way.

Rogen saves the best for last however, with a pre-credits song and dance number that is pure magic. Riotously hilarious nostalgic late 1990's magic. By the way, the Channing Tatum cameo is a bit wasted and just weird, but he's funny nonetheless. This is the End won't win any Oscars, but it may be the funniest film of the year so far (better than Hangover). It will certainly be supplanted by We're the Millers in August, but if you're looking for a fun time, some good laughs, and you aren't easily offended, you will definitely enjoy it. I wouldn't recommend this for the older or conservative crowd however, but that's not the target audience anyway. You know you're curious. 8/10.

Man of Steel

Superman is the most revered and iconic of all superheroes. For over 75 years, he's been in the fabric of American society with his conflicted conscience trying to identify with his own people, while protecting the inferior human race. There have been numerous attempts to bring him to life in television and on the big screen, and although Christopher Reeve was the closest thing we have seen to a real superman, Henry Cavill is the perfect choice for the re-invigoration of the franchise. He embodies everything that we know and love about the man; physical strength, black hair with the little curl on the bangs, and steely eyes. Cavill is destined for greatness, much as Hugh Jackman was made by Wolverine. The only difference is that Cavill is bigger and more cut.

Everyone knew that Man of Steel would be the movie event of the summer. The superhero film to follow in The Avengers' footsteps from last year. The global movie-going audience can't get enough of the genre, and Superman is the biggest of them all. Zack Snyder, Christopher Nolan, and Warner Brothers are building the Justice League universe, and after the gargantuan success of the recent Batman trilogy, it looks like Man of Steel is likely here to stay, at least for the next decade until special effects are even better, and there's a newer, younger, bigger man to fill the red boots and tights.

Epic is the only way to describe Man of Steel. However, it's not epic in the way that Dark Knight was, but more in the way that Transformers was. Slight disappointment was inevitable, and I could criticize choices made by the writers and director all day, but the fact remains, this is a project that is impossible to do well enough to satisfy all of the demographics.

Our story begins as an origins story on the planet of Krypton. A perfectly cast Russell Crowe (Jor-El) brings his son into the world as the planet is crumbling around him. His wife and he decide to instill the cultural DNA of the entire planet into their son before sending him off to Earth as a last ditch effort to save their species' heritage and bloodline. Unfortunately, General Zod, played by Michael Shannon, shows up with other plans. In a coup d'etat, the military leader attempts to stop Jor-El, but his attempts are futile. The baby is safely sent to Earth, and Zod and his henchmen (and woman - one of the best characters in the film) are banished to a cryostasis prison in orbit of the planet.

We all know the story from there. Taking heavy plot lines in a much more modern and sexy fashion from 1980's Superman II, Superman grows up and begins to question his place in the world. He knows that he won't be accepted by the people, but there is an inherent goodness that is so overwhelming that he can't stop himself from saving humans left and right. That's probably the biggest draw of the character. We all admire heroes. The ones who sacrifice everything to help and save other people, selflessly putting themselves in harms way. Superman is the ultimate hero, altruistic and modest. The anti-Tony Stark in many ways.

Zod finds Superman on Earth, and attempts to rebuild Krypton in the middle of Metropolis. It is up to Superman to stop him, even as he is hunted and ostracized by the humans. It is out of fear and distrust that the humans are reluctant to accept Kal-El, two common themes throughout the film that prey on the most cowardly traits of human nature. Epic battles ensue, and destruction is rampant as the city of Metropolis becomes the battleground of these superhuman beings.

The film weighs in at an impressive 143 minutes, but it actually seems shorter. It doesn't let up very often, with destructive action sequences flying around the landscape reminiscent of 2003's Hulk (read into that what you will). Far be it for me to question the Goyer/Snyder/Nolan team's actions, but some of the action actually seemed a bit too quick and blurred in its execution. Obviously this is a film making technique to blend special effects with live action, but I felt a bit reticent to accept the super speed world that the characters fought in. It was too much on the screen to take in and enjoy, and although crashing through buildings and tearing up streets is fun, the characters who are brawling were very difficult to see most of the time.

Characters are the flip side of the eyegasmic action. Cavill is stellar, and Kevin Costner up until his parting scene is a good choice as Pa Kent, the Kansan who takes in little Kal-El and raises him in the most Americana setting imaginable. Diane Lane is his mother, and the rest of the support cast are comprised of Chris Meloni in a testosterone-fueled role as the Army Colonel who seems to do a bit of everything, Laurence Fishburne in a wasted role as Perry White, Richard Schiff as the only voice of reason in the room, and one of my current favorite supporting players, Michael Kelly as the equivalent of "Jimmy" from the old Superman comics. Side note, see Dawn of the Dead for his best role to date - and the recent Netflix series House of Cards for a taste of his chops. He's a pretty solid actor.

The best supporting character however, is unknown German actress Antje Traue, who plays Faora-Ul, a Subcommander of General Zod's army who is pretty much the most fun warrior princess of recent memory. It doesn't hurt that she is given ice cold lines, and has a simple purpose; protect Krypton and it's way of life. Nothing stands in her way, especially not weak traits like morality. The other side of the coin, the female protagonist Amy Adams is Lois Lane, and I have to say, I wasn't impressed. She didn't seem to fit, and the love story seemed a bit too rapid and forced. She didn't bring a spark to the character that I was hoping, and someone a bit less plain, and a bit more sexy would have been a better fit. Maybe Malin Akerman with dark hair pulled back and glasses. Too specific? I envision dark hair and glasses when I think of Lois Lane, and plain is nice, but there needs to be more of a reason that Superman chooses her beyond her journalistic curiosity.

Zack Snyder is an interesting choice to direct Warner Brothers' biggest project that might also shape the future of their film division. It's a heavy burden to lay on a man's shoulders, but he bravely and confidently brought his cutting edge style to the screen in a flashbang of visual effects. A great start to the Justice League journey. Visionary is truly the best adjective to describe his film making legacy that he is creating. He is likely going to continue with either a Man of Steel sequel, or as a major piece of Justice League. Personally, I think Chris Nolan should remain the frontrunner for the job, but it's a lot like Peter Jackson returning to the Hobbit after LOTR. It has to be a labor of love, and from what I've read, Nolan has hung up his superhero camera. Go after Ben Affleck. Rouse the cynics and see what he can do. Jon Favreau was a relatively fresh director with a recognizable acting resume, but he didn't direct an Oscar winning picture either. If Nolan or Affleck aren't doing Justice League, I'll be surprised. Snyder could get the gig, but dropping him from Superman II would be a mistake at this point. However it pans out, they have a great start. I would absolutely love to see Ryan Reynolds back as Green Lantern, and Christian Bale as Batman, but that's a stretch to get both of them onboard.

I see a distinct difference between the DC and Marvel landscapes, and it's difficult to put into words, but I would say that there is more humor and character sentimentality with the Marvel heroes, whereas the setting and deep themes of sacrifice, loyalty, and even darker human nature quandaries exist in the DC universe. Batman and Superman are the most iconic comic book heroes of all time. That is a fact, and they are a bit more divisive with their audience target. Darkness and death equals bigger risk, but with bigger risk, there is bigger payoff. Man of Steel will be the top grosser of the year despite early mixed reviews. It wasn't all that I had hoped for, but honestly, could it ever be? You're going to see it, and you won't be disappointed unless you want a believable love story.

By the way, I was disappointed not to see a Desolation of Smaug, or a 300: Rise of an Empire preview before the film as they both came online this week. Maybe it was just in Imax. 8/10.

After Earth

Let me get this out of the way. After Earth isn't as bad as some early reviews say. It's also not rooted in Scientology, though there may be some possible or even likely connections, it doesn't detract from the story at all. To put it another way, this is no Battlefield Earth.

Will Smith wrote this film, and M. Knight Shyamalan was inspired to take the helm after a slew of bad films since 2004's The Village (I liked it, most people didn't). The premise, if not clear through the previews, finds a father and son as the only survivors of a crash on planet Earth nearly 1000 years after humans were forced to flee due to the threat of an alien species. It's a pretty cool idea for a sci-fi action film, but After Earth is really more about the relationship between the father and son, and a vehicle to launch Jaden Smith's acting career into the extreme nepotism stratosphere.

For his credit, Jaden Smith holds his own in a role that is mostly devoid of human interaction. The relationship between him and a stoic and intimidating Will Smith shows intrigue. If their real relationship is anything like in the movie, I feel sorry for Jaden. Because of the simplicity of the plot, the film relies on the emotions of the characters. It's pretty much the two of them the whole time, with a few flashbacks to their family back on Earth... er... Nova Prime. Will Smith is Cypher Raige (awesome name), and he's the Prime Commander of the army. His strength is his ability to control his fear, which coincidentally is the way that the menacing Ursa (alien creatures) detect humans - through their fear pheromones. Kind of a cool story for a sci-fi fan, and I am. It's a little bit Pitch Black and a little bit Starship Troopers.

Shyamalan doesn't have much to contribute to the mix, and there are a couple of very small twists, but for the most part is very predictable. If you're hoping for the magic of early M. Knight, you'll be disappointed. He's just a name attached to a Will Smith Summer Blockbuster. This is definitely a different type of blockbuster however. There isn't a whole lot of whiz-bang action, or massive explosions. There aren't even a good number of action scenes. What it is though, is a bit clever. They use cool technology that if accepted for what it is, seems advanced primitive. Like a stick that is a sword in many different ways. Or a suit that changes color based on the environment and the state of the person wearing it. Or a single use gel package that you inhale to coat your lungs with a liquid allowing absorption of oxygen to work on a foreign planet. Things like that. It's kept simple in a sci-fi universe.

Will Smith is cool as usual in a role that he has to secretly love. You can tell he's proud of his son, and this film is in many ways written for the kid as a right of passage. If you take out the conspiracy theories of its ties to Scientology and just enjoy it for what it is, After Earth is a pretty cool movie. It's not as slow as some of the harsher critics have said, and although it's no Star Trek, it fits in the summer sci-fi genre nicely. I liked it, and I recommend it for families looking for an action film to see with their younger kids. It has some scenes that might be a little scary, but it's a father/son bonding film at heart. 7/10.