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As drama, “After Earth” offers no surprises as action, it’s rarely stimulating (there’s exactly one shot-from Kitai’s point of view as he’s being dragged to safety by a hidden benefactor-that reflects visual imagination) as a parenting manual, it seems that Will has thrown Jaden into water that’s a little too deep. Meanwhile, Will Smith doesn’t give himself very much to do, and what he does do is close to a parody of set-jawed war-movie determination. Unfortunately, Jaden, though agile and skillful, isn’t a charismatic actor he doesn’t put a lot of personality into the part, and he doesn’t have a deft way with the dialogue. Since Jaden spends much of his time on-screen as the only person in the frame, the responsibility of performance does fall squarely on his young shoulders.
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“After Earth” is also an allegory of the family business, a public affirmation that Will Smith is yielding the spotlight to Jaden and letting him run free as an actor. I suspect it would be a lot more fun than the movie itself.
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Whether or not the similarity is intended, it’s worth noting-as I discovered just now by clicking around on IMDb-that the co-scenarist Whitta “was editor of PC Gamer for several years,” as well as a writer for the games “Prey” and “The Walking Dead.” It’s an aesthetically neutral matter regarding the film (though these elements do seem foregrounded in a way that is occasionally unintentionally comical), but I wonder if there’s an actual “After Earth” game on its way.
![after earth movie pictures after earth movie pictures](https://images-na.ssl-images-amazon.com/images/S/pv-target-images/a52ed653857672e15f78b104202dd7f95905f87fc264a63ce3f9f8a74815b150._V_SX1080_.jpg)
Kitai’s journey of initiation, subject to a set of rules (each inhaler lasts twenty to twenty-four hours he has six inhalers each leg of the journey takes a certain amount of time…), plays out like a live-action video game, and, as the movie progresses, new rules present new challenges, their changing demands even posted on-screen in the protagonists’ video arrays. The future features advanced versions of other contemporary child-safety paraphernalia, such as the EpiPen and the asthma inhaler. It’s not giving away too much to explain that the futuristic technology (which is imagined thinly but with verve) involves a “Naviband,” a device strapped to Kitai’s forearm that allows Cypher to see everything taking place around the young man and to communicate with him-in effect, a super cell phone-and that the drama kicks into high gear when it’s disabled and Kitai has to make his way through Earth’s dangers on his own. Cypher broke both of his legs, and so Kitai must make the journey alone. Cypher and Kitai, apparently the only survivors, need to send a rescue signal with a special transmitter that’s in the tail of the shattered craft, a hundred kilometres away. Father and son are passengers on a flight to another planet when their spacecraft gets caught in an asteroid storm and is forced to crash-land on Earth. His son, Kitai, a cadet seeking promotion to ranger, only aspires to it. Only those who have no fear have a chance of slaying an Ursa that phenomenon of undetectable fearlessness is called “ghosting.” Will Smith, as the military commander Cypher Raige, has it. Mankind’s main obstacle is a monster race, called Ursa, which is blind and detects its human prey by smell-literally, by the scent of fear, as it emerges in the form of pheromones. The action is set a thousand years after humanity had to evacuate a despoiled Earth for a distant solar system, to which the species has adapted. Though set millennia in the future, “After Earth” is very much about life today-an allegory of the transition from being a helicopter parent to a free-range one-and it introduces an impressive array of futuristic paraphernalia to make the point. He also stars in the movie, along with his son, Jaden, and the parental connection is not incidental. Night Shyamalan and Gary Whitta wrote the screenplay for “After Earth,” but Will Smith wrote the story.