City of Ember (2008)

At first blush, City of Ember seems like it would be a thrilling sci-fi adventure, a page out of Jules Verne's playbook, but ultimately it fails to completely scale the dizzying heights of its creative premise. The movie does deliver some intrigue and some compelling performances (not to mention some mailed-in ones), but huge lapses in logic that might be detected even by the youngest audience member prevent it from being the heart-stopping classic it wants to be.

Some 200 years ago, life on Earth was dying, and in its waning moments great physicists, inventors, and architects designed and built a huge underground city powered by a gigantic generator. The Builders, though, possess some forethought and, assuming that someday the surface will again be inhabitable, they enclosed specific instructions for the citizens of Ember to eventually escape to the sunlight. This information was placed inside a metal box and alarmed with a 200-year timer; by the end of that time, the Builders reasoned, the surface would be habitable. This box was then handed off from mayor to mayor for nearly 200 years. But, as might be expected, the chain broke somewhere along the way, and at present the box sits in a closet, its owner unknowing of its raison d'etre. So here we are, 200 years down the road, and the lights in Ember flicker occasionally, sometimes more than occasionally, and it's apparent to a few that the generator's days are numbered.

Our story focuses on two children, Lina Mayfleet (Saoirse Ronan) and Doon Harrow (Harry Treadway). At the movie's outset, each has received his and her assigned job for life - Lina as a messenger (all verbal), and Doon working in the pipeworks, where he hopes to find a way to save the generator. During the course of their duties, as the blackouts increase, each learns about the mysterious silver box, and they team up to decipher the tattered remnants of the exit instructions. Naturally, they run into complications with Doon's father (Tim Robbins) and the current mayor (Bill Murray), and just as naturally they're eventually pursued by people who'd just as soon no one ever figured out how to leave the dark city.

For the most part, the casting is on target; Ronan seems a lot more engaging and appealing here than she did just last year in Atonement, and Treadway, although looking like a refugee from High School Musical, is just as impressive. Robbins is excellent in a small, but pivotal role, as is Martin Landau (whatever became of him?) as the requisite old-guy-who-sort-of-knows-stuff. The only puzzling casting is that of Murray as the town's jovial mayor; he seems glib and cheerful enough, but it almost feels like he's being ironic, rather than being a part of the story. Often, this sort of approach makes for a hammy performance, but Murray's too subtle here for pure hamminess; he's more like a square peg in a round hole.

The lapses in logic take some willful ignorance to, well, ignore. We see various businesses and transportation, but there's apparently no police, no cemeteries, no fresh fruit. Now, bear in mind that these people have been down there for two centuries. Sure, they have a lot of canned goods, but something tells me they'd be in poor health after a lifetime of poor eating habits. Then there's the fact that everyone seems clueless about the surface. I don't mean that they don't know what's on it; they don't even know there IS a surface. Attempting to leave the city is a jailable offense, okay, bu

Fmovies: In the end of mankind on Earth, the scientists build a self-sufficient underground city for a few people to preserve the human race for two hundred years. They leave also instructions for the future generations to return the surface of the planet in a steel box that should be kept by the mayors through the generations. However, the instructions are lost and the inhabitants stay in the city that is completely deteriorated. The power generator has problems and the blackouts are longer and more frequent and the city is running out of food that needs to be rationed. On the Assignment Day, the teenagers Lina Mayfleet (Saoirse Ronan) and Doon Harrow (Harry Treadaway) are assigned to work with the pipework and as messenger, but they swap their job positions. Lina, who is the descendant of the seventh mayor, finds the box of instructions in the house of her grandmother and shows it to her friend Doon. They decide to explore the way out of the city and they discover that the corrupt major and his henchmen are stealing food of the population. When they are hunted by the major's hoodlums, they have to find the way out of Ember to survive and save the populations from the imminent darkness and end of the city.

"City of Ember" is an original and engaging adventure and it was a great surprise for me. The dark city is a sort of combination of the environment of "Brazil, the Movie" and "Metropolis". The cast has names like Martin Landau, Tim Robbins and a hilarious Bill Murray that performs the typical politician, corrupt, selfish and manipulative. Unfortunately the fate of politicians in real world is not the same of his character. However, the unknown Saoirse Ronan steals the movie with a great performance. It is irritating the repetitive type of review that tells the obvious ("the book was better and better"). My vote is seven.

Title (Brazil): "Cidade das Sombras" ("City of the Shadows")

This infamous box office failure is one of those films I never fancied and after finally giving it a chance I understand why.

With a fantastic cast including Bill Murray, Tim Robbins and Saoirse Ronan this family friendly adventure tale tells the story of an underground society governed my a selfish greedy Mayor who is hiding several truths from his people.

Bill Murray feels wasted, considering he's the movies antagonist he is barely present and when he is it feels like the role could have been given to anybody.

Ronan is great as always the same as Robbins, but a stellar cast couldn't save City Of Ember.

It's not that it's a bad film, it's just too far from being a good one. The story is played out poorly, it all looks kind of hokey and in my opinion it needed to be longer.

City Of Ember was a huge commerical bust and lost its studio a fair few pennies, I'm sure that the fans of the book were not happy either.

The Good:

Very impressive cast

The Bad:

Looks worse than it should

Murray is wasted

Things I Learnt From This Movie:

I want a giant moth

City of Ember fmovies. "City of Ember", director Gil Kenan's follow up to his horror-lite for preteens "Monster House", is a fun ride that's well worth the admission price if only for the superb production design and the likable leads.

Lina Mayfleet (Saoirse Ronan) and Doon Harrow (Harry Treadaway) are two of the inhabitants of the City of Ember - an underground city designed to house humans for two centuries as an unspecified disaster takes place on the surface. But as the 200 years have passed, the generator that powers the city gradually falters, causing more frequent blackouts and scarce provisions.

When no one would listen to them, especially the city mayor - Mayor Cole (the effective yet underused Bill Murray) - it then becomes up to Lina and Doon to find the exit that leads to the surface, which is infinitely easier in theory than in practice, considering the plethora of puzzles and riddles they would have to solve.

Without having read the film's source material - Jeanne Duprau's novel - there's no way I can say if the script holds up to the narrative of its literary counterpart, but here's where the film mainly falters. The film feels like a rushed end product crammed to fit within the confines of a typical family flick. Exposition is kept in the sidelines and character development seems more of a ploy to advance the plot than genuine attempts in sculpting something more than cardboard-cut supporting characters.

But despite the narrative faults, Kenan imbues such a magical quality to the dank environment. And for a film lacking impressive turns from its more mature and established actors (including Tim Robbins as Doon's father), upcoming stars Ronan and Treadaway's animated performances save the day, right from a sweeping introduction of the claustrophobic city to a touching finale that finally affirms the characters' quest for light amidst the darkness.

When moving from book to motion picture, there are a myriad of problems associated with such a task, one of which comes from those die hard fans of the original story. Fortunately for myself I have never taken it upon myself to read the source material on which this movie is based upon, nor had I even heard of it until now. As a result I found City of Ember to be a gratifying and sensually enticing experience with brilliant performances, an endlessly captivating story and pace, and a great mix of fantastical environments and characters which pave way for subtext that is grounded in simple allegory of our own, current world. To be sure, there are moments when the film dabbles in and out of tired clichés, most of which we have seen countless times this year alone in other children's adventures; yet what distinguishes this from, say, The Chronicles of Narnia or The Spiderwick Chronicles is through its mature themes and presentation that keeps the older viewer in mind. In this respect, City of Ember is a solid family film that most audiences should enjoy regardless of age, gender or anything else; good entertainment, and a wonderful story to remember at that.

Taking place almost exclusively within the confines of Ember, Gil Kenan here presents us with a vision of a dystopian future, where mankind has been forced to live underground in order to survive. Set many years on from this event however, much of the inhabitants of Ember are unaware of their origin and all the more scared of it as a result. However, in a time of desperation, two citizens Doon Harrow (Harry Treadaway) and Lina Mayfleet (Saoirse Ronan) go on their own quest to try and find an exit from the underground city, which doesn't go down well with gluttonous Mayor Cole (Bill Murray) who just wants his next meal in peace.

What follows from here is a story that isn't entirely unfamiliar (in fact, it's dangerously close to this year's WALL-E), and yet director Gil Kenan manages to take the script and turn it into his own compelling take on a tried and trusted concept. From the arresting opening monologue to the somewhat anti-climatic ending, there is barely a spot here that feels out of place or contrived for the sake of playing to the camera. The pacing, particularly during the middle act, could have been a little tighter, and you often get the sense that there's a lot of footage missing from this cinematic cut, yet as a whole, City of Ember does enough, and with the right amount of originality in tact, to cover up the rough edges. The ending, as I stated, is a little underwhelming and all too brief, but it at least feels coherent and natural to that which comes before it.

If there's one thing that Kenan manages to get across here however, it is the imagination and vision that is present in the script and story. Immediately, and most strikingly poignant during the opening sequence, the City of Ember itself is a sight to behold; from the countless lightbulbs that give the city its light to the murky tunnels that run underneath to provide water, the production values present are superb. Furthermore, the special effects work, although a little obvious during certain sequences involving humans, is noticeably strong; particularly when a giant mole-like creature appears. Not only does the creature look disgusting and completely frightening, but the director does well to stage the beast in such a way as to bring out its realistic characteristics; saying that I got flashbacks of Jurassic Park's raptors scene and a few from Alie

If the only thing City of Ember does is show that Belfast can play host to high concept movies, then it was worthwhile, but no doubt, it was aiming for more than that. Perhaps to stand next to such fare as Harry Potter, or a Pixar flick.

Unfortunately, it falls short, but only just. This is without doubt, an exciting romp about two coming-of-age children who break out of the mold forced on them by the dying Ember, and in doing so, change everything. The acting is solid, the set design and music excellent. The concept, the builders of Ember leaving behind secret instructions to get back to the world, is genuinely engaging.

Unfortunately, they don't get to these instructions fast enough, and a lot of time is spent wandering around the, albeit, beautiful city. Often times there is a lack of a perceived threat. Despite being replete with a nefarious mayor and a mutated mole (like the massive moths, never explained), the story uses neither of these things enough, leaving some scenes to be propelled solely by the heroes following the by-the-numbers instructions left to them. Worst of all, the ending feels like a poor man's Goonies.

In the director's corner, he is guilty of some slow scenes, but what is almost unforgivable is the flat looks of the actors during intense CGI action. Somebody wasn't thinking ahead.

Nonetheless, a charming film that I hope made enough money to spawn treatment of the books sequels.