Independence day resurgence full movie
The aliens are back, and they want … more of the same thing that they wanted before, maybe?
Not that it matters, really. Independence Day: Rebirth, the sequel you probably didn’t want or needed in the hit 1996 blockbuster Independence Day, is all about spectacle.
But Renaissance, which, surprisingly, is not the title of the fourth “divergent” film, seems even more vivid and empty than most films of this type. It’s not exactly awful, although 20th Century Fox’s decision not to show it to critics before the opening day would have shown the same. It’s just boring and pointless – a huge waste of time and money. The characters are flimsy, the dialogue is unnatural, and the amount of destruction is ridiculous, even if it’s all pretty typical of the blockbuster brand inspired by the 1996 Emmerich hit.
You go to see a movie like Independence Day to see the intense sensations, but here they are sorely lacking. With so many films featuring such high-tech destruction emerged over the past two decades, Rebirth looks like a glossy copy of the blockbuster we’ve watched countless times before. Entire cities fall into the sky and fall down again. Fighters participate in breathtaking air battles with high-speed alien aircraft. Major world landmarks are blown up very well. By the end, there is exactly one scene with a lot of real enemy disclosure that offers the excitement and stakes you hope to see. But damn it, getting it is difficult.
Will Smith wisely turned down a sequel, even though the original Independence Day is the movie that made him a superstar. However, some actors return to establish some vague sense of continuity. These include Bill Pullman as the former President of the United States, Jeff Goldblum as the alien protection expert, and Judd Hirsch as Goldblum’s father, who supposedly exists to provide comic relief but just functions again as a lame human stereotype. an elderly Jew from Brooklyn. (The script, which, oddly enough, was written by five people, allows him to utter the words “schmuck” and “putz”.)
This time, a multicultural collective of young actors has been added to this mix, who only run, look beautiful and exchange green laser fire with aliens. Liam Hemsworth, apparently told he is starring in the Top Gun remake, plays Jake, a fighter pilot who is swaggering, smartening up and exchanging sharp jokes with his partner/figure Goose Charlie (Travis Top). He is engaged to Patricia (Mike Monroe), who is the daughter of former President Pullman Whitmore and the speechwriter for the current President (Selah Ward). And Jake’s best friend turned enemy turned out to be Dylan (Jesse T. Usher), the son of the heroic character Smith. (As handsome as he is, Asher doesn’t have a shadow of the on-screen presence that Smith did; on the other hand, who does? Even Hemsworth doesn’t have much of a chance to show true charisma here.)
there is also William Fichtner, who, surprisingly, never turned out to be a secret villain as a commanding general; model/actress Angelababy, who mainly exists to adorn and appeal to desirable Chinese moviegoers; and, strangest of all, Charlotte Gainsbourg as a psychiatrist studying people in contact with aliens.
And – what are the chances? – the aliens returned, exactly 20 years later, in a dramatic mood to re-establish contact. Only this time they are in a spacecraft 3,000 miles wide. (“How the hell did we miss this?” David Levinson of Goldblum wonders loudly.) They’re using it to take over the Earth, to drill its core and steal our resources. Or something. Only a giant, talking ball – sleek, shiny, white, and filled with vital intergalactic information like Apple’s latest must-have device – can stop the destruction of humanity.