Next generation visual effects and ear popping sound effects will immerse you into the world of “Mortal Engines,” a movie about a future that requires a key from the past.
An hour of apocalyptic conflict, called the Sixty Minute War, turned our society from the Screen Era, or our current state in time, to the setting of Mortal Engines, where Hester Shaw (Hera Hilmarsdóttir) lives. Hester lives in a mining town which, like some other towns and cities, is on wheels.
That is, until the city of London destroys the small town, forcing its population into living in London. Meanwhile, London citizen Tom Natsworthy (Robert Sheehan) needs to collect our everyday items, such as toasters, phones, even maps, in order to sustain his job at the London Museum. The two cross paths and find out they are more similar than they think, and they go on the adventure of a lifetime to stop Thaddeus Valentine (Hugo Weaving) and his evil plans for London.
The film overall was average, but it was the outstanding special effects that made the movie better. In both the beginning and ending scenes, they used outstanding graphics that made you feel inside of the world of Mortal Engines. But even with these spectacular special effects, the movie wasn’t one of my favorites.
The story line was a bit confusing at times. For example, in the earlier scenes it was hard to follow the story and hard to connect with the characters some thing that other movies usually do just fine with.
When it wasn’t confusing there also wasn’t anything too interesting in the story. Nothing about the story hit me with a surprise, and all the characters weren’t anything outside of their defining characteristics.
The main character, Hester, wasn’t at all dynamic until maybe the very end. This was true of the other characters as well. This made it difficult to truly connect with the characters.
The movie definitely pushed its PG-13 rating. It had profanity throughout and had a lot of scenes with intense violence.
I give Mortal Engines a 3 out of 5 stars.
It was good, but there was definitely room for improvement. Props to Christian Rivers, who made his debut as a director with this film, for making this film absolutely gorgeous.