There is nothing wrong with being generic. There is no crime in staying standard and formulaic. Sure, it signals a kind of creative malaise on the part of the product being discussed, but when it comes right down to it, if something achieves the basic goals of its medium or market, why should it be punished for doing so in a solid and efficient way. This issue seems especially important when considering the latest update of the Jules Verne classic Journey to the Center of the Earth. Though this new film obviously believes it offers a unique twist on the storied adventure romp, it’s really just a standard spectacle wrapped up in a technological gimmick that more or less salvages its existence.
Having lost his brother ten years earlier, Professor Trevor Anderson still wonders what happened to him that fatal day. He gets a chance to rekindle his curiosity when nephew Sean shows up for a family visit. The boy brings with him a box of memorabilia, including his dad’s copy of Journey to the Center of the Earth. While looking it over, Trevor discovers some notations that seem to support his own scientific research. Hoping to discover the truth, the duo takes an impromptu trip to Iceland. There they meet up with Hannah Ásgeirsson, a mountain guide familiar with the situation as well as the local terrain. One botched hike later, and the trio is falling down into the core of the planet. There, they discover that Trevor’s brother may have unlocked the secret to Verne’s novel…and that it may have all been based on fact.
As it chugs along like a novice marathon runner aware of its inability to win the race, Journey to the Center of the Earth 3D does nothing to dissuade us from its earnest need to entertain. In a long line of limited projects that propose to do little more than meet a certain commercial ends, there is nothing inherently bad here. The acting is good, the plotting perfunctory but built to serve an uncomplicated cinematic strategy. Like a theme park ride, former F/X wiz turned director Eric Brevig keeps the action moving, giving us one minor movie magic moment after another. By the end, when our hero has saved the day, captured the girl, and reclaimed his professional dignity, we feel satisfied, if not completely overwhelmed with well-earned entertainment value.
Thanks to Brendan Fraser, who has that rare ability to turn even the most hackneyed dialogue into something almost resembling wit, there is no major void at the center of the storyline. Carrying the entire production on his Mummy mounted shoulders, he does a nice job of being both fatherly and flashy, a hero in everyday dude attire. Sadly, the rest of the cast can’t match him. Child star Josh Hutcherson (Zathura, Bridge to Terabithia) is locked down in whiny brat turned superman mode. His eventual change of heart, when it comes, never resonates as anything other than a script mandated shift. As the easy on the eye candy female facet, The Tudor‘s Anita Briem is mere beauty baggage. Again, Fraser is functioning on a whole other level. His costars can’t find said audience friendly/pandering wavelength.
That just leaves Brevig and his technologically updated ‘50s filmmaking gimmick to get us over the humps, and for the most part, both succeed. Don’t be fooled by notices that claim this film can be enjoyed sans the optical ballyhoo. Without the 3D, this movie would be a lame, tired TV vacuity with little redeeming value. Granted, there are a few to many ‘gotcha’ tricks, times when objects fly at the audience for no other reason than the polarized glasses on their face. Yet no matter what visuals are employed to render the threats real and the spectacle epic, the lack of dimension and depth almost undermines the movie’s imperfect appeal. For his feature film debut, Brevig shows some cinematic skill. He doesn’t understand the nuances inherent in the language of film, but give him some giant piranha or a collection of man eating plants and he’s perfectly happy.
Those looking for a revisionist “twist” on this material will have to settle for Journey‘s sole sense of invention - the notion that Verne may have based his books on actual fact. We learn of a secret society devoted to his writings, a group that believes in the validity of his speculative science. During the narrative, allusions are drawn to major elements in the novel - the fossilized mega-mushrooms, the prehistoric creatures - and the book plays a key role in uncovering the potential escape route. Sure, liberties are taken, but with any old story, some contemporizing needs to take place. After all, post-millennial wee ones aren’t going to sit still as scholars and scientists debate, using dialogue meant to disguise enlightenment and education. They want a rock ‘em, sock ‘em rollercoaster ride, that’s it.
Those of us who grew up in the Chicago area during the ‘60 and ‘70s will never forget Frasier Thomas and his Family Classics’ devotion to the delightful James Mason/Pat Boone take on this material. While it can never top the nostalgic version from 1959, Journey to the Center of the Earth 3D is not offensive or irritating in its pre-planned revisionism. Instead, it guarantees a good time and never strives to go anywhere beyond that. In this day and age where everything needs to be bigger, brighter, and bathed in a clever marketing conceit, this action adventure throwback is definitely engaging. If you don’t anticipate too much, your expectations will be measured out and easily met. Go in expecting gangbusters, and you’ll see the lack of dimension - goofy glasses or not.