The Last Mimzy (film, sci fi,usa, childrens)

The Last Mimzy has a stylised, trippy visual approach to familiar sci fi / children stories terrain: children find something that the adults do not notice until the impact is too great to be ignored. Among the subtle clues for adults are the two attractive and plausibly cantankerous children’s increasing independence, the stolid older boy (Chris O’Neil) winning the school science fair, the winsome younger sister (Rhiannon Leigh Wryn) scaring the babysitter out of the house. Middle class and coping with white collar affluence/long hours parents only really get scared when Rhiannon psychedelically swirls the contents of the sugar bowl into dad’s breakfast, and returns his chide of using too much. Interestingly both a laugh out loud observation of the mores of family meal time pettiness, and as the sweet faced little girl stares down her father and he recognises how out of his depth he is, a little scary. This playing it both ways is typical of the films strengths. The characters successfully subvert their stereotypes. The state finally becomes aware of the power of these children’s toys, from the future, in the person of a big bald black man (Michael Clarke Duncan) – he is both the ultimate potent, but also with his flies down and looking for his PC password, "try under your underwear" suggests his wife, he is, in a rich, one minute allowed to be a kind and safe softy. So when the generator toy charging itself causes the lights to go out throughout Seattle, and Michael, responsible for homeland security, swoops with his SWATs, we can believe his less punitive stance, and his open-ness to the unfolding mix of Mandelas and nano sized Intel logos. Plausible and prettily portraying a future either distopian or eco-utopian, The Last Mimsy playfully delivers a new age message.


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