It’s hard for me to judge a movie like Journey 2: The Mysterious Island too harshly because I am not representative of its intended audience. A pre-teen or fifth-grader may not be dissuaded as I was by the blindingly hurried pace plot discrepancies or absence of any character development while watching Brad Peyton’s (Cats and Dogs: The Revenge of Kitty Galore) attempt at reliving the success of Eric Brevig’s original Journey. And you know what? That’s okay because as a family film it adheres to a formula laid out by far superior fantasy adventures and runs its course quickly without ever leaving a moment to reflect on how ridiculous it is.
Essentially a series of set pieces tied together by a thinly drawn father-son story Journey 2 picks up a few years after the first film and finds Sean Anderson (Josh Hutcherson) searching for the titular location where he believes his long-absent grandfather has been stranded. Upon retrieving a coded message from a satellite tower just outside of town he enlists the help of his new ex-Navy stepfather Hank (Dwayne Johnson) to get to the bottom of the mystery. Together they travel to a tropical paradise and hitch a helicopter ride with Gabato (Luis Guzman) and Kailani (Vanessa Hudgens) before crash landing on the Mysterious Island where an action-packed escapade awaits them.
The above description reads like a standard adventure template and that’s exactly what Journey 2 is. With a bare bones script from the writers of Bring it On Again neither director nor actors had significant material to work with but they run jump duck and dive through sets that resemble the jungle-gym from Legends of the Hidden Temple and various theme-park attractions as if they were cast in Peter Jackson’s King Kong giving every scene everything they’ve got. It’s a good thing that the ensemble was so enthusiastic about the picture; though there isn’t much chemistry between them they collectively draw your attention from the gratuitous gimmicky 3D videogame-inspired digital environments and outdated creature design.
Every role has a designated responsibility in this by-the-numbers production: Hutcherson is the brains spitting out expository literary facts to keep the story going throughout while Johnson is clearly the brawn. Guzman with his incessant infantile comedy is the mouth while Hudgens – quite frankly – is the eye candy. Only as a unit can they come close to making Journey 2 entertaining but even when working in relative harmony it’s hard to find much qualitative value in the film. As previously stated Journey 2: The Mysterious Island wasn’t made for all audiences. It will provide a few moments of underage humor and three-dimensional thrills for the kids but everyone else will be wondering why they had to watch The Rock sing “What a Wonderful World” in an adaptation of a Jules Verne novel.
Beneath the glossy sheen of Zac Efron there exists the makings of quite a fine actor glimpses of which were seen in both the blockbuster comedy 17 Again and the indie drama Me and Orson Welles. His transition out of the Disney-fied teen-dream world and into more adult-oriented projects is a gradual uneasy one as is evidenced by his latest film the metaphysical drama Charlie St. Cloud which finds him perched squarely in between the two camps. Efron it appears is in that awkward stage.
In Charlie St. Cloud Efron plays the title character a carefree college-bound sailing star whose bright future is torpedoed when an awful auto wreck takes the life of his beloved kid brother Sam (Charlie Tahan). Charlie at the wheel of the car at the time of the crash briefly dies himself only to be wrested from a flatline by a particularly stubborn and spiritual EMT (Ray Liotta).
Years later Charlie’s body has made a full recovery but his mind remains plagued by some nasty after-effects of the tragedy. He’s given up sailing ditched his college plans gotten a job at a cemetery and taken up the habit of holding regular conversations with dead people — specifically his brother Sam with whom he meets daily in a forest clearing to play catch. Usually such mental deterioration coincides fairly closely with physical deterioration which is why you don’t encounter a lot of well-groomed paranoid schizophrenics on skid row. But Charlie has kept up with his workout and grooming regimens earning a reputation among the residents of his sleepy Pacific Northwest town as a sort of beautiful nutcase.
Unable to escape his all-consuming grief Charlie seems doomed to retreat further into isolation and despair until salvation arrives wrapped in a cardigan: Tess (Amanda Crew) a feisty pro sailor and no stranger to tragedy herself can see beyond Charlie’s unhinged persona to the sensitive troubled and irresistibly hot man that lies beneath. As their relationship deepens Charlie is increasingly torn between his imaginary friends and his real-life love.
It’s a noble aim giving tweens questions deeper than just “Edward or Jacob?” to contemplate and Charlie St. Cloud’s principal message “life is for living ” is a worthwhile one. But director Burr Steers having learned from the success of 17 Again clearly knows where his bread is buttered and so he takes care to sate the demands of Efron’s screeching fanbase by stocking the film with ample glowing shots of his star lovingly lit and clad invariably in a light blue solid color shirt and emoting against a picturesque coastal landscape. (Lest you think I'm exaggerating check out this studio-supplied promo clip featuring an interview with a shirtless Efron.) The awkward mix of existential drama and Abercrombie & Fitch commercial combined with a healthy dose of loopy Sixth Sense-esque supernatural shenanigans tossed in toward the end makes for an experience only the most fawning of Efron’s fans could enjoy.