(The actor denied the allegations but said he supported the right of women to speak out.) You might infer this is the reason Mr. Franco's new “Future World,” which he stars in and directed with Bruce Thierry Cheung, avoided screening for critics ...
Suki Waterhouse and James Franco in “Future World.”CreditLionsgate
May 25, 2018
The previous film directed by and starring James Franco, “The Disaster Artist” last year, was sufficiently disarming to garner awards buzz; Mr. Franco won the Golden Globe for best actor in a musical or comedy. Accusations of sexual misconduct against Mr. Franco grew more prominent in the wake of that victory, and his Oscar hopes were derailed. (The actor denied the allegations but said he supported the right of women to speak out.)
You might infer this is the reason Mr. Franco’s new “Future World,” which he stars in and directed with Bruce Thierry Cheung, avoided screening for critics. Perhaps not.
Future World (2018 Movie) Official Trailer - James Franco, Milla Jovovich, Lucy LiuCreditVideo by Lionsgate Movies
“Future World” is a miserable, idiotic sci-fi trifle, threadbare in both the imaginative and production value categories. I’d say it looked like what Corky St. Clair of “Waiting for Guffman” would come up with if he had a mind to make a “Mad Max: Fury Road” knockoff, but that would be insulting to Corky St. Clair.
Mr. Franco plays Warlord, a postapocalyptic villain he essays with relish that sometimes seems untoward, particularly in his hostile interactions with female characters. Warlord is trying to rule a female robot, Ash (Suki Waterhouse), who may find her “soul” courtesy of Jeffrey Wahlberg’s Prince. He in turn has left his Oasis to find medicine to cure his mom from the Red Fever.
The script purports to be by Mr. Cheung, Jeremy Craig Cheung and Jay Davis, but as the plot description should indicate, there’s a good chance the three of them took turns copying it from a fifth grader’s composition booklet.
This is a movie in which one character says, “I wish I could see a tree” while trees are actually visible in the shot. Yes, they’re out of focus, but come now. What’s most remarkable is that it took two directors to yield a work this turgid and inept.
A version of this article appears in print on , on Page C4 of the New York edition with the headline: Pure Wretchedness In the Present Tense. Order Reprints | Today’s Paper | Subscribe
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