Don’t ever say that Disney doesn’t like getting more green. …
Oblivion is a science-fiction Frankenstein, stitched together with the parts of older, better, films within the genre. If you have seen the seminal sci-fi movies, the ones everyone calls to mind when considering the best the unknown and supernatural have to offer, then you will be familiar with the angles of Oblivion, its many nooks and crannies. This Tom Cruise vehicle boasts striking visuals and a weirdly claustrophobic plot structure, but the familiarity it engenders only winds up doing it harm.
Oblivion is what one might classify as an amalgamation sci-fi. Though many a contemporary feature in the genre is in clear debt to a prior work, Oblivion is one such example where the narrative similarities and likely intentional visual references cover a particularly wide array of films and literature, including La Jetée, WALL-E, 2001: A Space Odyssey, Mad Max, Jin-Roh, I Am Legend, and one particular sci-fi of the past decade that simply mentioning would probably provoke likely guesses of a major plot development in one’s mind before seeing the film.
In the winter of 2010, Joseph Kosinski brought us the sleek and stylized Tron: Legacy, which stumbled in the storytelling department, but undoubtedly excelled from a musical perspective thanks, in large part, to Daft Punk’s highly publicized involvement. Kosinski has taken a similar approach with Oblivion, bringing Anthony Gonzales, head of the electronic band M83, and Joseph Trapanese, who arranged music for Tron: Legacy and M83’s Hurry Up, We’re Dreaming, aboard to provide music for the film