In After Earth, all of that sanctimony begins with a belabored narration delivered by Jaden Smith’s Kitai Raige (yes, it sounds like he should be in a 90’s arcade game), telling of mankind’s exodus from Earth and their travels to Nova Prime and their battles with alien invaders. Whether it’s elder Smith informing his progeny of the time limits and geographical pitfalls he’s going to face, or Smith the younger blabbing about how the alien can kill him, the film is awash in inane babble designed to bypass organic event and wonder. Writing the script with Gary Whitta ( The Book of Eli), Shyamalan wastes no time commencing with his most irritating narrative gimmick announcing the rules of his tale, so audiences have an easy checklist and needn’t bother with pesky things like development or surprise. Whether or not you were aware that the spooky Philadelphian helmed After Earth when walking into the theater, it shouldn’t take more than a few minutes to recognize his signature style and mostly lazy storytelling conventions. Although the story is credited to Will Smith-who has clearly imagined After Earth as a starring vehicle for his son-no one can ignore the doesn’t-know-he’s-dead guy in the room, M. One could be talking about After Earth’s Cypher Raige and son Kitai’s ordeal on the savage Earth of the future, but it is just as fitting a comparison for Will and Jaden Smith, who have this desolate film to overcome. Stranded on a barren, lifeless planet, a million miles away from comfort, a father and son fight for their very survival.
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