The Island (2005)

Directed by: Michael Bay | 136 minutes | action, drama, science fiction, thriller | Actors: Ewan McGregor, Scarlett Johansson, Djimon Hounsou, Sean Bean, Steve Buscemi, Michael Clark Duncan, Ethan Phillips, Brian Stepanek, Noa Tishby, Siobhan Flynn, Max Baker

Michael Bay’s films are regularly maligned by film critics. His work is said to be a degradation of film culture and if you are to believe the anti-hype, Bay is responsible for the worst film of all time with ‘Pearl Harbour’. In ‘Team America: World Police’ there is even an entire song devoted to this (seemingly) bad product. Now Bay’s films are usually not the most subtle of works, but at times they offer quite nice entertainment. ‘Armageddon’, at least in the first half, was quite worthwhile in terms of action and humor; and ‘The Rock’ can actually be called a successful film. In this film it became clear how important good actors and interesting (sub)themes can be for a film. Sean Connery and Nicolas Cage made a winning combination as the heroes, and Ed Harris provided a three-dimensional villain whose motivations brought up an interesting issue.

Bay can do it, and roughly the first half of ‘The Island’ suggests that we are dealing with a film that is at least equal in quality to ‘The Rock’. The film begins as a challenging and above-average SF thriller, in which some horrifying and morally dubious truths gradually come to light. While most elements of the premise have been used in other films before (“The Matrix,” “THX 1138,” “Blade Runner”), the events remain intriguing; especially when you don’t know exactly how the fork works and go on a life-changing exploration with Lincoln. It is this curious design that is largely responsible for the interest of the viewer.

In addition to building the interesting concept (which has something to do with cloning), the actors are also essential for selling the story. It is clear that Ewan McGregor has experience with these kinds of films by now. He comes across as natural and manages to put both humor and drama into his role seemingly effortlessly. Sean Bean plays the role of Merrick, the director or psychologist of the tightly regulated institute where Jordan and Lincoln, along with a large group of similarly dressed fellow residents, are housed. Just like in ‘The Lord of the Rings’, where Bean managed to form Boromir into one of the most interesting characters, in ‘The Island’ he also adds a certain class and layering to his role. Steve Buscemi is also an important factor in the success of the first half of the film. He seems to feel at home in any type of film. Whether in a small arthouse drama like ‘Ghost World’ (also with Johansson) or a blockbuster like ‘Desperado’ or ‘Armageddon’, he always manages to adapt his unique flair to the specific script. It brings just that little bit of extra nonchalance that makes you forget you’re watching a movie. Scarlett Johansson, who plays the second major lead, unfortunately does not come into its own in this film. She is presented here as a barbie doll, with the main points of attention being her bleached hair, her body dressed in a tight tracksuit, and her full, constantly glossed lips. The character also has the content and depth of a piece of plastic. Maybe Johansson just has a hard time dealing with the action heroine Jordan who, like Lincoln and just about every other character, barely develops. The meager dialogue she has in the film often comes off as a bit awkward. It is possible that she still has to get used to (this type of) action films, but in ‘The Island’ she is clearly out of place. Perhaps it would have been better to choose a simpler actress here.

The moment Steve Buscemi disappears from the scene is also the moment that the film switches into the disappointing, and we all know, Michael Bay action mode. In other words, a lot of over-the-top chases, shootings, explosions, and improbable stunts. Sometimes these action sequences work just fine in their own right, as in the case of an air bike chase, but at least as often the show is just too absurd for words, and the action gets downright tiresome. What bothers most about the action approach is that practically nothing is done about the interesting issues that emerged at the beginning of the film. Based on the characters’ reality just made clear, so much intriguing psychology could (and should?) have been dealt with that the one-dimensionality of the characters and the entire second half of the film leave the viewer with quite a hangover. For example, Lincoln and Jordan’s initial childish behavior when they first come into contact with the outside world is very amusing and also offers dramatic possibilities. However, this road is unfortunately abandoned in favor of a straightforward chase story that gradually takes less and less care with (plot) logic and credibility.

Perhaps a reversal of the two halves, where the beginning would be action-packed and the second half deepens, would have resulted in a more positive assessment. Now as a spectator you are left with an empty feeling, knowing that there might have been more in it. The script, delivered to Bay by Spielberg, has more than enough in it for a rich action film. But we can be happy that Michael Bay has at least heard the bell toll. Let’s just hope he can find the clapper next time too.