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Film Review: ‘Tomorrowland’

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Britt Robertson co-stars in the fantasy adventure Tomorrowland. (BG)

Britt Robertson co-stars in the fantasy adventure Tomorrowland. (BG)

By Dwight Brown
NNPA Film Critic

If you took the world of The Jetsons, and made it a live-action film location, that would describe the visuals for the mysterious, glorious and fantastical place Tomorrowland. Seeing it is easy. Getting there is difficult. All the work it takes to travel to this paradise may not be worth the effort for this film’s target audience, young girls. Blame the meandering script, the lax pacing and some cheesy sets for making a trip to Shangri-La an iffy adventure.

Director Bard Bird (The Iron Giant and Mission: Impossible — Ghost Protocol) co-wrote the script with Damon Lindelof (World War Z) and Jeff Jensen. Can’t knock Bird and Lindelof’s writing pedigree, on the one hand. On the other hand, with that much firepower, they should be able to write a script that is worth following, one that unfolds mysteriously but engagingly and is easy enough to comprehend. A film that panders to young female audiences shouldn’t have a complicated screenplay. If adults lose interest discerning what’s going on, kids will be scratching their heads, text messaging or falling asleep.

It’s 1964, the height of the New York World’s Fair. A precocious kid named Frank Walker (Thomas Robinson, who looks like a young Jay Leno) has come all the way to the Big Apple to show off his invention, a jet pack that can make him fly—theoretically. He presents it to a huffy judge named Nix (Hugh Laurie), who scoffs at the machine made with two vacuum cleaner tanks. Nix’s young assistant Athena (Raffey Cassidy, Snow White and the Huntsman) takes a liking to Frank, gives him a lapel pin with a “T,” and suggests he follow her, Nix and his crew. Frank does, and winds up in a futuristic citadel.

Fast forward to present day. Casey Newton (Britt Robertson, The Longest Ride), a feisty adolescent, her dad (Tim McGraw) and younger brother live in Cape Canaveral, Fla., so close to NASA she can smell the jet fuel. She gets arrested, and when she is released, she is given back her personal belongings. In her stuff is a mysterious lapel pin with a “T.” Whenever she touches the trinket, inexplicably, she is taken away to fields of wheat, with a mystical city floating in the distance. “I think I’ve seen the future,” says Casey. As she tries to unravel the mystery of the pin she meets Athena. The two, and a much older Frank (George Clooney) who is now an eccentric, reclusive inventor, are on a mission to get back to Tomorrowland.

The inspiration for the film comes from Disneyland’s Tomorrowland and Epcot Center. That very inorganic premise is possibly why the script feels so contrived. The Casey character is decently drawn, should intrigue girls and Newton makes her very appealing. The older Frank character, as played by Clooney, is so crabby you want to force-feed him Prozac. Ditto Laurie as the bitter Nix. As the story goes on, and on, and on, it becomes apparent that Wonderland needs to be saved for a bunch of reasons. None are that clear, nor will they be of great concern to many.

Scott Chambliss’ (Star Trek Into Darkness) production designs for the magical city are ingeniously beautiful. At other times his sets look obviously fake (interior of the inter-dimensional space ship) to the point of distraction. Cinematographer Claudio Miranda’s (Life of Pi) visions of the city will stay in your psyche. His shots of regular scenes are dated and reminiscent of Back to the Future. Jeff Kurland’s costumes on the normal people blend in well, but his space age fashions for Nix look like rejects from an Earth Wind & Fire tour. There are periods when Casey, Frank and Athena are on the run and the pace kicks in. But over the course of 130 minutes, editors Walter Murch and Craig Wood have not done their due diligence. There are times when you will tap your foot and wonder if there is any popcorn left at the concession stand.

The point of Tomorrowland is to encourage youngsters to think out of the box, stay positive and never give up. It’s a sweet and inspirational message buried in a mire of cryptic plotting. Still, young girls may get a kick watching Casey solve problems adults can’t.

Visit NNPA Film Critic Dwight Brown at DwightBrownInk.com.

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Oakland Post: Week of February 11 = 17, 2026

The printed Weekly Edition of the Oakland Post: Week of – February 11 – 17, 2026

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Arts and Culture

Book Review: Books on Black History and Black Life for Kids

For the youngest reader, “As You Are: A Hope for Black Sons” by Kimberly A. Gordon Biddle, illustrated by David Wilkerson (Magination Press, $18.99) is a book for young Black boys and for their mothers. It’s a hope inside a prayer that the world treats a child gently, and it could make a great baby shower gift.

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Photo of Black History Month book covers by Terri Schlichenmeyer.
Photo of Black History Month book covers by Terri Schlichenmeyer.

By Terri Schlichenmeyer

Authors: Various, Copyright: c. 2025, 2026, Publishers: Various, SRPs: $17.99-$18.99, Page Counts: Various, 

Everybody in your family has stories to share.

Your parents have told you some, no doubt. Your grandparents have offered a few, too, and aunties and uncles have spun some good tales. But there’s so much more to know, so grab one of these great books and learn about Black History and Black life.

For the youngest reader, “As You Are: A Hope for Black Sons” by Kimberly A. Gordon Biddle, illustrated by David Wilkerson (Magination Press, $18.99) is a book for young Black boys and for their mothers. It’s a hope inside a prayer that the world treats a child gently, and it could make a great baby shower gift.

If someone said you couldn’t do something that you were clearly able to do, would you fight to do it anyhow?  In the new book, “Remember Her Name! Debbie Allen’s Rise to Fame” by Tami Charles, illustrated by Meredith Lucius (Charlesbridge, $17.99), a young girl in the Jim Crow South is told that she can’t dance because of the color of her skin.

She didn’t listen, though, and neither did her mother, who took her daughter to Mexico, where the girl soared! This is an inspiration for any 5-to-7-year-old; be sure to check out the back-of-the-book information, if you’re an adult fan.

Do you often hear your elders say things that sound like lessons?  They might be, so “Where There is Love: A Story of African Proverbs” by Shauntay Grant, illustrated by Leticia Moreno (Penguin Workshop, $18.99) is a book you’ll like. It’s a quick-to-read collection of short proverbs that you can say every day. Kids ages 4-to-6 will easily remember what they find in this book; again, look in the back for more information.

Surely, you love your neighborhood, which is why the tale inside “Main Street: A Community Story about Redlining” by Britt Hawthorne and Tiffany Jewell, illustrated by David Wilkerson (Penguin Kokila, $18.99) is a book for you.

Olivia’s neighborhood is having a block party, but she’s sad when no one shows up. That’s when she learns that “the government” is discriminating against the people and businesses near where she lives. So, what can she and her neighbors do? The answer might inspire 6-to-8-year-old kids to stand up to wrongs they see, and to help make their neighborhoods stronger and safer.

And finally, if a kid wants a book, where can they go to find it? In “I’m So Happy You’re Here: A Celebration of Library Joy” by Mychal Threets, illustrated by Lorraine Nam (Random House, $18.99) is a good introduction to the best of what a library has to offer. The freedom to walk into a library and borrow a book is the theme here, as is the sheer happiness of being welcomed, no matter who you are.  This is an easy book for kids as young as two and as old as five to enjoy.

On that note, if you want more, head to that library, or a nearby bookstore. They’ll be glad to see you. They’ve got stories to share.

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Activism

Art of the African Diaspora Celebrates Legacy and Community at Richmond Art Center

Now in its 29th year, Art of the African Diaspora is the Bay Area’s longest-running exhibition of its kind. Its roots stretch back to 1989, when artist and educator Marie Johnson Calloway founded Colors of Black, a salon for African American artists. That gathering inspired artists Jan Hart-Schuyers and Rae Louise Hayward to establish The Art of Living Black at the Richmond Art Center in 1996.

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‘Be Still...’ by Virginia Jourdan is on display at the Richmond Art Center (RAC), in Richmond, CA. Photo by Carla Thomas.
‘Be Still...’ by Virginia Jourdan is on display at the Richmond Art Center (RAC), in Richmond, CA. Photo by Carla Thomas.

By Carla Thomas

The 2026 Art of the African Diaspora exhibition is on display at the Richmond Art Center (RAC) through March 14. The one-room gallery bursts with more than 100 works – paintings, photographs, sculptures, and mixed-media pieces – each affirming the power, beauty, and vitality of cultural expression across the African diaspora.

Now in its 29th year, Art of the African Diaspora is the Bay Area’s longest-running exhibition of its kind. Its roots stretch back to 1989, when artist and educator Marie Johnson Calloway founded Colors of Black, a salon for African American artists. That gathering inspired artists Jan Hart-Schuyers and Rae Louise Hayward to establish The Art of Living Black at the Richmond Art Center in 1996. Their vision was to showcase the creativity of emerging and established Black artists, bridging communities and widening access to audiences historically excluded from mainstream art spaces.

Over the decades, that founding vision has expanded and evolved, carried forward by artists, family members, and the Richmond Art Center after the loss of Hart-Schuyers and Hayward. In 2018, a new generation of artists formed a steering committee to organize the event; a year later, the exhibition was renamed Art of the African Diaspora to embrace the broader global connections of people of African descent.

The new name reflects not only a broader cultural lens but also an empowered community network that supports artists across the Bay Area. As part of this year’s programming, RAC will host ‘Art of the African Diaspora: Public Art in Our Communities,’ a free panel on Sat., Feb. 21, from 12 to 1:30 p.m. Artists Kristine Mays, James Moore, and Malik Seneferu will join arts administrator Denise Pate for a conversation on the impact and process of public art. The discussion will be moderated by longtime arts advocate and producer Flo Wiley.

Each panelist brings a distinctive voice to the conversation. Mays, known for her ethereal wire sculptures that capture movement and spirit, has exhibited internationally and is represented in collections ranging from the Smithsonian to the Crocker Art Museum.

Sculptor and painter James Moore creates abstract metal works and colorful field paintings that explore movement, balance, and emotion. His recent public art installations include large-scale pieces in Richmond’s Shields-Reid Park. Malik Seneferu, a self-taught San Francisco native, has built a large body of work celebrating African American life through vibrant murals and expressive figurative art.

Representing the institutional side, Denise Pate oversees public arts investments as director of Community Investments at the San Francisco Arts Commission, advancing racial and cultural equity through funding and advocacy. Together, these artists and administrators will trace how public art emerges, from concept to community collaboration, and why it matters.

The Art of the African Diaspora exhibition runs through March 14 at the Richmond Art Center, 2540 Barrett Ave., Richmond. The center is open Wednesday through Saturday from 10 a.m. to 4 p.m. Admission and programs are free and open to the public.

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