Review of Lost in Space (1998)
*** out of ****
By David Wright
For those of us growing up in the days of 2001, THX- 1138, the Outer Limits, Star Trek (or, to a lesser extent, Fantastic Voyage or Planet of the Apes), we continue, often without reason, to think sci-fi is really about history and politics, sociology and even philosophy. We scoff at the simplistic story line of a Star Wars but are vindicated when the real Han Solo contemplated the meaning of life, death and revenge in the Blade Runner. Currently, the battle rages, with a victory in a Terminator, Dark City, or Gattaca, a loss with Independence Day, Event Horizon or Sphere, the retreat into hapless comedy in Men In Black and on and on.
So where does Lost in Space fit into this war of ideas? A few scant reviews are at least somewhat positive. The estimated $20 million box office take is unanimous in its verdict: the film is the first to sink the Titanic from the #1 spot. The trailers promise non-stop action and visual effects - which the $80 million dollar film delivers (unlike Independence Day, it actually contains more startling effects than advertised). Fears that Friends co-star Matt LeBlanc would prove obnoxious are unfounded, partly because his character is made to make fun of, and partly because he seems to have no trouble shaking his 'Friends' image.
But true science fiction fans - who cannot avoid seeing either a Dark City or an Event Horizon - will be more than suspicious of the film for it's television namesake - but to condemn the film along these lines will likely be misguided, despite the reference to various galactic monsters, the famous robot, and two cameos from the TV show. And certainly it is true that, despite our best whishes, the film offers little to tease the imagination of distant cultures, societies and other forms of life. Its production and direction reminds one of a Starship Troopers - without the militaristic or gory overtones. It is relatviely easy to make fun of the film's thin characterizations, convoluted plot, and the distinct odor of a bad Disney movie.
But I think this will again be a mistake. Overall, this is a *family* film --in the good sense of the word--, and I cannot think off hand of another sci-fi work that has attempted so much in that direction. It resembles a Twister in the skies: sandwiched in between the stunning visuals are poignant reminders of family trials and tragedies, tales of interpersonal conflict and celebration. But unlike Twister, there is the makings of an interesting plot - although unbelievable to true devotees of the genre- nonetheless it advances the development of the characters (who actually resemble human beings with real problems). And the acting is fine. William Hurt downplays his sci-fi heroism (rather like Dustin Hoffman in Sphere). Phrases are muted and depressed, his voice is a calm monotone, and he stands in mammoth contradistinction from the chaos swirling around him. Mimi Rogers plays a splendid unappreciated wife, unperturbed by her husband's excuse that he is 'saving the world'. No more should really be said concerning the familial conflict, suffice to say it is well done by children and adults alike. It is this element which really saves the film and is probably the reason that Hurt agreed to do the picture.
So yes, I think this is a good sci-fi movie. No, it does not stretch our imaginations, but it does have interesting characters and revolves around human conflict. And it does so in the style that we come to expect: rapid fire sepcial effects and fireworks. For adding 'family values' to the genre, the film should win a prize.
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