Westworld 2016

westworld.jpegWestworld is a model of what a reboot should be; everything is bigger, better, more thoughtful and more expansive that the original sci-fi cult classic about a futuristic theme park with a Western theme. With Jonathan Nolan and JJ Abrams at the helm, that’s no surprise, but what is very much surprising is the way they’ve moved the narrative on. The early scenes make it seem that James Marsden’s cowboy will play a similar role to Richard Benjamin and James Brolin’s vacationing thrill-seekers in the original; it turns out that Marsden’s character is actually a robot. Similarly, Ed Harris’s Man in Black seems to cut a iconic figure in the same way as Yul Brynner’s android gunslinger, but again, roles are reversed; Harris’s character is actually a tourist on a permanent vacation of sorts. And the biggest reversal of all is that the robots are the heroes, as their AI gives them a self-awareness that slowly reveals that they’re nothing but playthings for a corrupt elite; their gradual understanding of the need for revolution makes for gripping viewing. Evan Rachel Wood is the key identification character in Delores, but there’s an all-round stunning cast, from Thandie Newton to Jimmi Simpson, and best of all Anthony Hopkins as the park’s co-creator, Ford. Sir Richard Attenborough’s last iconic role was as a Jurassic Park owner in another Michael Crichton story, and Hopkins was probably the actor he used most: seeing Hopkins play God as his creations run amok is just one of a myriad of viewing pleasures on offer. And the action, violent and spiky, is cleverly scored to popular classics; if there was a moment in cinema in 2016 to compare to the astonishing Paint It Black scene in the opening episode, we’re yet to see it.

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