Film Review: "Mute" (2018).

In Mute, "he doesn't need words." In this neo-noir science fiction film directed by Duncan Jones, and written by Jones and Michael Robert Johnson. When his girlfriend vanishes, a mute man ventures into a near-future Berlin's seamy underworld, where his actions speak louder than words.

For many years, the film languished in development hell, but Jones never lost hope. Described by Jones as a "spiritual sequel" to Moon (2009), the film is heavily inspired by the Ridley Scott's 1982 seminal science-fiction film Blade Runner. It was originally conceived as a contemporary British gangster movie, then it was changed to be set in Tokyo. According to Jones, the first attempt was made before Moon, Jones first suggested it to Sam Rockwell, but it was considered too big and thus Moon was made instead. After the success of Moon, Jones then changed the setting to future Berlin. In November 2015, Jones announced that following Warcraft (2016), he would direct the science fiction mystery thriller, with Alexander Skarsgård and Paul Rudd to star. During the film's development, Jones had expressed his desire for Rockwell to reprise his role from Moon in a cameo appearance that was to act as an epilogue for the character, and that the film would be the second installment in a trilogy. By late September 2016, Justin Theroux, Seyneb Saleh, Robert Kazinsky, Noel Clarke, Dominic Monaghan, and Florence Kasumba rounded out the cast. At the same time, filming began in Berlin. The film is dedicated in memory of David Jones (a.k.a. David Bowie) (1947–2016), the director's father, and Marion Skene (1950–2017), the director's nanny.

It stars Skarsgård, Rudd, Theroux, Saleh, Kazinsky, Clarke, Monaghan, and Kasumba. Despite solid performances from the cast, one can not avoid the feeling that they are flat and/or fall victim to the trappings and conventions of the genre.

Mute is a visually stunning, but emotionally empty sci-fi film. A hopelessly underwhelming piece of work. The contradictions that plague the movie are apparent from the outset. Too bad the filmmakers didn't try to capture an original spin on the visual aesthetics of the genre, which despite many flaws of its own has a humour that is nowhere to be seen in Blade Runner. They all plod along while sometimes dazzling, sometimes boring special effects, and Ford's climactic confrontation approaches. Instead of tension building, though, things are grinding to a halt. Paradoxically, Jones' crowded, misty, neon streetscape seems even murkier; fuzz I chalked up to VHS tapes is production designer Gavin Bocquet's dumping factory fumes in the air. The film is a dead-eyed pretty girl who looks good on your arm but is a real bore over dinner. The villains are neither menacing nor sympathetic, when ideally they should have been both. This leaves Jones' picturesque violence looking dull and exploitative. A very dark and far too long thriller with many dull moments that would serve the film better by moving along a bit faster.

Simon says Mute receives:

Also, see my review for Warcraft.