Tom Holland and Daisy Ridley are lost in a sea of dystopian cliches in a delayed and misjudged adventure about a future where men’s thoughts are visible
There are fascinating stories to be told about how the bestselling YA adventure The Knife of Letting Go mutated into much-delayed big screen misstep Chaos Walking. There’s an original script by Charlie Kaufman, umpteen drafts from a string of other writers soon after, a bloated $100m budget, reshoots from a different director and a hot young cast who aged quickly as the film spent over three years in the edit. Tales of strife and struggle, all of which would be more compelling than the final film itself, a delayed, mostly drab, attempt to cash in on the post-Hunger Games thirst to watch dystopian tales of attractive yet grubby young people rallying against the system.
Related: Raya and the Last Dragon...
There are fascinating stories to be told about how the bestselling YA adventure The Knife of Letting Go mutated into much-delayed big screen misstep Chaos Walking. There’s an original script by Charlie Kaufman, umpteen drafts from a string of other writers soon after, a bloated $100m budget, reshoots from a different director and a hot young cast who aged quickly as the film spent over three years in the edit. Tales of strife and struggle, all of which would be more compelling than the final film itself, a delayed, mostly drab, attempt to cash in on the post-Hunger Games thirst to watch dystopian tales of attractive yet grubby young people rallying against the system.
Related: Raya and the Last Dragon...
- 3/4/2021
- by Benjamin Lee
- The Guardian - Film News
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