David O'ConnellTomorrow When the War Began
September 1st 2010 04:22
Good looking young jeans-models trying to emote in times of great duress usually leads to cinematic disaster of comical proportions. Thankfully, in the much-anticipated adaptation of John Marsden’s series-opener, the shrewdly assembled ragtag group of teens-avenging-humanity prove to be surprisingly competent. Making his debut behind the camera, in-demand screenwriter Stuart Beattie does a fine job of assimilating the elements required to fulfill the blockbuster potential Tomorrow When the War Began seems to have in spades.
In the small Australian town of Wirrawee a group of teens, led by the obstinate Ellie (Caitlin Stasey), arrange a weekend camping trip for the purposes of communing with nature and scampering out from under the thumb of their parents. All the standard teen cliques are represented, including privileged 'townie' Fiona (Phoebe Tonkin), extroverted badboy Homer (Deniz Akdeniz), shy but sweet Lee (Chris Pang), the robust tough guy – and our own equivalent of the all-American jock – Kevin (Lincoln Lewis) and devoutly religious Robin (Ashleigh Cummings).
During their time communing with nature in a wilderness they’ve nicknamed “Hell”, a night-time disturbance causes the first rumblings of apprehension. A battalion of planes is seen racing by overheard and heading back to Wirrawee, but by the time the gang return to the town, they’ve given little more thought to this strangely incongrous vision. Then they discover their town deserted as if all its inhabitants have vanished into thin air.
Curious to uncover the truth, they stumble upon a horrifying sight: everyone has been rounded by an army of black-clad soldiers up in the town’s Showgrounds which is being used as a makeshift prison. Desperate to elude capture they reconvene and devise a strategy that might reunite them with their loved ones whilst keeping one another alive. But what chance do a group of teens, untrained and hopelessly outnumbered, have against the vast resources of an anonymous enemy?
Marsden’s books were careful to avoid demonisation of the enemy, shrouding them in anonymity. However Beattie’s adaptation clearly reveals them - without any specific verbal identification - as being of Asian appearance. Lazy stereotyping of a convenient foe from the past?
What is certain about them is that although they seem thoroughly capable of taking command of the world overnight, they’re all lousy shots. This is an issue that dogs the film’s credibility though it’s hardly atypical for action films - those conceived with a younger audience in mind or otherwise. Time and again in open confrontation the teens are seen dodging a hail of gunfire from the enemy soldiers who seem proficient in hitting every target except their intended ones.
Credit where it’s due though – Beattie does craft moments of genuine tension throughout and the accompanying set-pieces make for a fine spectacle and decent trade-off for their inherently illogical and implausible nature. Equally true, fear of the unknown is effectively evoked as the ill-equipped teenagers are thrown into the fire whilst forced to improvise and stand tall using whatever resources are at their disposal.
The use of popular songs, especially in the early part of the film is lazy and grating. Composing duo Reinhold Heil and Johnny Klimek – strange choices for a blockbuster film considering their synth-dominant back-catalogues – get a chance to provide an ominous undercurrent of dread once the action takes hold but their efforts never rise above the proficiently generic.
Is Tomorrow When the War Began great cinema? Far from it. Serviceable yet undeniably entertaining is closer to the truth. But at least the film can boast genuine attempts at fleshing out these characters in moments of reflection which would be vital to further installments should they be warranted. The young brigade of actors are uniformly solid too without any real standout performances other than Stasey as the strong-willed heroine who is the group's unofficial leader.
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