Josh Hutcherson, of Bridge to Terabithia, has the usual arc from sulky tween to fully-engaged adventurer, but is miraculously non-icky and especially fine in an outstanding sequence where he crosses a chasm. That alone is enough to give the film a glow.īrendan Fraser gives an open-hearted, adventurous performance as a genuinely daring scientist: it’s funny and touching when his companions are overcome to find valuable jewels but he is as excited by ordinary rocks (‘diamonds … rubies … feldspar!’). This respectfully positions itself as a sequel to Verne’s yarn as well as a throwback: just as junior hero Sean learns he can have fun with a yo-yo as well as his PlayStation, this cutting-edge big-screen entertainment keeps telling the audience to go read a book. This is rooted in a pre-Indy, pre-Star Wars tradition of fantastical fun. The fully-realised, magical cavern vistas feel like substantial physical environments but also capture that movie magic associated with really fine matte paintings. This is the first 3D film to combine live-action and CGI to any great extent (Beowulf was all CG), and - though early trailers looked murky - the effect is often startlingly good. There’s something sweet and childish about the 3D gimmick, and this is notable among recent movies for not being ashamed of its contrivances - the whole point is to stick trilobite antennae in your face, take you on a Temple of Doom-style underground rollercoaster ride or have you plummet miles with the screaming heroes. In a 3D cinema first, mouthwash is spat in our faces, but veterans of stereoscop-sploitation will know what to expect when a yo-yo is produced. Journey bombards the audience with a dream sequence dinosaur attack and litters the pre-adventure reel of set-up with make-you-gasp gambits. Like all good 3D films, this take on Jules Verne’s adventure novel gives you a few minutes to get your eye in.
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