'Klara And The Sun' Review: A Woeful Waste of Potential
Writer/director Taika Waititi is back with his quirky new sci-fi feature Klara And The Sun. though the film is brimming with potential, there is far too much of it left on the table.
‘Klara And The Sun’, which is based on the novel by author Kazuo Ishiguro, centers on a young robotic girl named Klara (Jenna Ortega) who is purchased to be the best friend and caretaker for a young girl named Josie (Mia Tharia). What begins as a story of budding friendship soon evolves into Klara’s journey to experiencing what it feels like to be truly human and be a part of a family. Rounding out the impressive cast writer/director Taiki Waititi has assembled are Steve Buscemi, Aran Murphy, Natasha Lyonne, Rachel Forman and Amy Adams as Chrissy, Josie’s overprotective and emotionally distant mother.
A story revolving around a sophisticated robot yearning to know what it feels like to be truly human is hardly a novel concept, but thankfully Ortega steps up to the plate to make that well-treaded territory feel more lively and emotionally engaging than most actors in her position could. Ortega shines bright here, wonderfully playing against type as she imbues Klara with an infectious charm, tenderness, curiosity and sense of wonder that allows her to feel delightfully three-dimensional and endlessly entertaining to watch. Ortega also has terrific chemistry with Tharia as they flesh out their central friendship and emotionally compelling dynamic. Tharia is the beating heart of the film, her character given the layers and complexity to shine especially as she navigates a tumultuous emotional and physical journey for the character.
The film also boasts a highly immersive and well-established atmosphere that makes its futuristic sci-fi setting feel authentic and lived-in. From the production design to the costumes to the visual effects, every facet of the world Waititi and his DP Mike Berlucchi have created feels beautifully brought to life, never allowing the audience to doubt it for even a second. The film also boasts another impressive emotionally resonant score from composer Michael Giacchino who continues to showcase a versatility and genre dexterity that is difficult to be rivaled at this point, his work elevating many scenes that need the extra oomph and heft.
However, despite the strong performances and immersive visual aesthetic, this sci-fi tale simply doesn’t have the emotional follow through it needs to land the visceral emotional punch it’s clearly striving for. This a film that certainly has a fair amount on its mind, grappling with the themes of love, loss, friendship and what it truly means to be human, but it never delves into or explores these themes with the depth or complexity necessary to make them worthwhile. Though she’s delivering strong work here as Josie’s mother, Adams is saddled with an underwritten character that she’s only able to do so much with. The film establishes a prickly and estranged dynamic between Chrissy and Josie, but as that relationship begins to evolve with the arrival of Klara, the film never gives their relationship the necessary time to breathe and develop in order to earn that evolution. This is an especially disappointing letdown considering the history of their family and what the two of them have been through together. This is also the case with the relationship between Josie and her best friend Rick. Aran and Tharia’s performances are fantastic and the two of them have palpable chemistry, but again their dynamic feels poorly fleshed out and underdeveloped.
However, the most frustrating aspect of the film is its tonal dissonance. It suffers from a heavily apparent identity crisis, unsure of whether or not it wants to be a quirky sci-fi comedy or a hard-hitting tale of friendship and grief, never fully committing to either as it struggles to find any sort of balance to keep itself afloat. This is due in large part to Waititi’s comedic tendencies which get the better of him here, short-changing multiple compelling, emotionally charged moments and scenes that don’t fully land because he blunts their impact with lazy jokes and visual gags that simply don’t work and cause the audience to disengage with the material. There are moments that show glimmers and shades of a far more emotionally mature and engaging sci-fi film, but unfortunately those moments are few and far between.
‘Klara And The Sun’ has scattered moments of brilliance and a game, highly magnetic central performance from Ortega to boot, but given the boundless potential of this story and source material, there is far too much of it laid to waste as this sci-fi tale fails to make much of a lasting impact. Waititi may have made a splash with his singular blend of quirky comedy and heart, but if he plans on making a return to form, he needs to rediscover how to strike that balance and not let his comedic sensibilities get the better of him. Simply put, this adaptation should’ve shined far brighter.