To make a pun about Oblivion being oblivious to the merits of a good story would be a really, really bad joke.
But I’m going to draw the connection anyway.
Oblivion is contrived, derivative, and cliched. It rips off story elements from stronger sci-fi films that have come before it -- from the cloning revelation of Moon to the red eyeball of 2001: A Space Odyssey’s HAL-9000 -- without carving out anything truly gripping or memorable. It is a glossy copycat, trying to imitate the magic and grace of others but never approaching anything original.
I’m reminded of an unofficial storytelling mantra: tell the story you feel that must be told. What is at the core of this story that would be a detriment to the world if left unsaid? There are many things Oblivion wants to say; but nothing that needs to be said. Indeed, a recent discussion with A.O. Scott of The New York Times and David Denby of The New Yorker reveals that despite the technological changes in filmmaking over the years, in their opinion at least, a good story still makes the best movies. No advances in technical wizardry can replace a strong narrative; it can, at most, only supplement the story you want to tell.
This lack of emphasis on story is where I believe director Joseph Kosinski is weakest. Kosinski made a big splash with his debut feature, Tron Legacy. And all of the undoubtable strengths from that film -- the glossy visuals, the fluid camera moves, the riveting soundtrack -- are on full display here. However, all of Kosinski’s crucial shortcomings, namely the inability to tell a concise, thrilling story, are now glaring in Oblivion. How many clones are there on Earth? Why are they even on Earth at all? Are there any humans alive elsewhere? What is the Tet’s purpose? Why did they feel the need to destroy it?
It seems that Kosinski is far too eager to play with the gloss and glamour of modern CGI and overlooks the simple truth: tell the story first and the rest will follow. Indeed, a peek at the behind-the-scenes featurette of the film, as impressive as it is, only serves to highlight what I suspected. Kosinski seems to focus only on the technology -- the props, the cameras, the lighting -- without so much as a dissection of a single character, motive, or dramatic ambition. He’s a child in a technological candystore -- wanting everything in sight but never getting anything he actually needs.
This is a hollow film in the truest sense of the word. Its outer shell is pristine and inviting. But get past that and you soon realize there is nothing beyond Tom Cruise running, yelling, and fighting. Its characters are predictable and boring, its story beats uninspired and bland.
But man, it sure does look good.
