Mission to Mars (Touchtone, PG)
Starring Gary Sinise, Tim Robbins and Don Cheadle
Rating:
Two stars - Much like NASA attempting to get a human into space and saying "that's good enough."
Mr. "Mission to Mars," I have met "2001," and you, sir, are no "2001."
"Mission to Mars," while clearly evoking memories of the late '60s classic, falters much like a doomed spacecraft - destined to twirl indefinitely in the void of dumbed-down science fiction.
Not like it will be alone in that deep space. A rendezvous with "Pitch Black" would definitely be on the itinerary. But while that dud had nothing going for it, the failed potential of "Mars" punches the gut just as hard.
This is a tale of the year 2020 (led by ruler Barbara Walters) and attempts to colonize Mars. After an introduction to all the major characters in a nice little barbeque package, a team led by Luke Graham (Don Cheadle) undramatically (off-screen) sets up a base to plant the seeds of civilization.
But, after examining a potential water source, something happens. The dust of Mars forms a "Twister"-like tornado (sans cow), killing three members of the team.
Given the circumstances, a rescue mission is in order. It is on this group's celestial journey that major focus is placed. "Mars" takes the route of outlined personalities, rather than the everymen in "2001." Phil (Jerry O'Connell) is a medium-paced wit computer expert, Commander Woody (Tim Robbins) and Terri (Connie Nielsen) are a husband/wife space duo, and a resident tortured soul Jim McConnell (Gary Sinise) lives out his dream of Mars with the memory of a cancer-stricken wife dominating his thoughts.
Visually, special effects are put to good use with shot after shot artfully crafted. While the story revolves around rag-tag astronauts, the cinematography counters with the small humans swallowed by planetary magestry in the background.
Of course, this isn't a planetarium exhibit, and high drama is mandated to occur before the rescue mission can land. As the title implies, the travel aspect takes more attention that the actual goal.
As Mars receives more visitors, keyholes are sized up to unlock the mysteries of the red planet. Just what they find is somewhat interesting, and a welcome relief for viewers looking for something to care about.
But the damage to the audience's hull is already complete. Shifting between space drama and sci-fi action, each seems the wrong decision to make.
Case in point: the tunes. As the rescue mission's space outcome is tempestuous, a tense organ turge heightens the action. But the audience knows there is danger. If you want the audience to think, don't underestimate us.
As the wannabe-surreal climax nears, any chance for interpretation snatched away from the viewer with reckless abandon. The famous "30 minutes of silence" in "2001" takes multiple viewings to understand, in addition to Arthur C. Clarke's book. "Mars" takes each action and conveniently explains it with tongue-stumbling dialogue. Many cool scenes would increase in greatness with a remote control mute button.
Frankly, open-endedness isn't "in" in the cinematic world. Confusion equals low box-office returns. Complex stories must find a way to appeal simply, with art suffering. Good actors shrug off bad dialogue that keeps the story moving, without interpretation.
Space stories cannot survive in this environment. A promising story leads to the "Mission to Mars" downfall, because they can't throw caution to the wind and deliver. So, go rent "2001," buy Ray Bradbury's "The Martian Chronicles" and set them on your counter as you lay down on the nighttime grass to feel a real sense of wonderment.
Originally published in the 3/23/00 edition of the Northern Star.
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