{"id":1309,"date":"2018-12-06T23:03:04","date_gmt":"2018-12-06T22:03:04","guid":{"rendered":"https:\/\/www.senses.se\/en\/review-mortal-engines\/"},"modified":"2025-06-16T19:19:04","modified_gmt":"2025-06-16T17:19:04","slug":"review-mortal-engines","status":"publish","type":"post","link":"https:\/\/www.senses.se\/en\/review-mortal-engines\/","title":{"rendered":"Review: Mortal Engines"},"content":{"rendered":"

Also, read our review of Mortal Engines on UHD 4K<\/a>.<\/em><\/p>\n

Peter Jackson<\/strong> is a director whose career I’ve followed with considerable interest, well before his breakthrough with the Lord of the Rings<\/strong> films. He has consistently delivered epic and visually innovative works. However, his output in the last decade has not maintained the same level of quality as his earlier films. Therefore, the trailer for Mortal Engines<\/strong> initially sparked excitement, suggesting a return to form with a visually striking concept. The trailer heavily implies Jackson’s involvement as director, but this is not the case. The directorial role is helmed by Christian Rivers<\/strong>, a debutant director with a background in special effects and previous collaborations with Jackson. This raised some concerns.<\/p>\n

Set over 1000 years after the devastating 60-Minute War, Mortal Engines<\/em> depicts a world where humanity continues its struggle for survival. Cities have been transformed into massive, mobile machines that traverse the desolate landscape, scavenging for resources to sustain their populations. Among these are the “predator cities,” colossal megacities that consume smaller settlements, assimilating their populations into their workforce. London<\/strong>, a predator city, captures and crushes any smaller city in its path. Hester Shaw (Hera Hilmar)<\/strong> arrives in London and attempts to assassinate Thaddeus Valentine (Hugo Weaving)<\/strong>. Tom Natsworthy (Robert Sheehan)<\/strong> intervenes, saving Valentine. During the ensuing chase through London’s engine room, Tom discovers that Valentine is not the benevolent figure he appears to be, and he and Hester become targets, as Hester possesses knowledge of Valentine’s secrets.<\/p>\n

One of the most compelling aspects of Mortal Engines<\/em> is its imaginative world-building. The visual of London as a mobile city, pursuing and capturing smaller settlements with grappling hooks, is remarkably original. The special effects, crafted by Peter Jackson’s Weta Workshop<\/strong>, seamlessly blend computer-generated imagery with practical model work. The attention to detail is impressive, often blurring the lines between digital and physical effects. However, visual spectacle alone cannot sustain a film, and the narrative execution has shortcomings.<\/p>\n

Hester Shaw is presented as an unconventional heroine: scarred, hardened, and reticent. Unfortunately, the mystery surrounding her character dissipates quickly, which seems to be a result of the direction. While Hera Hilmar<\/strong> delivers a competent performance, the character arc feels underdeveloped. Her reluctance to share her backstory is immediately followed by extensive exposition, leaving little room for intrigue.<\/p>\n

Tom Natsworthy (Robert Sheehan<\/strong>), Hester’s companion, undergoes a predictable “wimp-to-hero” transformation within the film’s runtime. His character development feels perfunctory, lacking genuine depth.<\/p>\n

Hugo Weaving<\/strong> delivers a solid performance as the charismatic villain, but even his efforts cannot inject genuine emotional resonance into the film. Interestingly, the CGI character Shrike<\/strong>, voiced by Stephen Lang<\/strong>, provides a more emotionally impactful presence. His storyline is a highlight, and delving further would reveal too much of the plot.<\/p>\n

In conclusion, Mortal Engines<\/em> offers an entertaining experience. The initial visual feast is captivating and unique. However, the screenplay’s weaknesses become apparent, and Christian Rivers’ direction lacks the nuance and boldness of Peter Jackson.<\/p>\n

The film’s ending relies on familiar clich\u00e9s, drawing heavily from elements reminiscent of Star Wars<\/strong>, particularly in the revelation of Thaddeus’ true nature to Hester.<\/p>\n

The screenplay is penned by Peter Jackson, Fran Walsh<\/strong>, and Philippa Boyens<\/strong>, adapting the book series by Phillip Reeve<\/strong>. While the film initially adheres closely to the first book, it diverges as the narrative progresses.<\/p>\n

Overall, Mortal Engines<\/em> is not a poor film. It boasts several commendable sequences. However, with Peter Jackson at the helm, the film might have benefitted from a more daring and innovative approach. As it stands, it is an acceptable offering, but not a strong recommendation.<\/p>\n