a5c7b9f00b Having narrowly averted a major disaster on an oil rig, the Thunderbirds have just returned home to their secret base when TB5, their space based station, is critically damaged in a suspected meteor strike. Unbeknown to them, the attack on TB5 is a deliberate ploy by international master criminal Aristotle Spode to get them off the island. He takes over the island and forces Brains into submission, using the power of his mind. But Spode has overlooked one key factor: Alan, Fermat and Tin Tin are still on the island.
The year is 2010. Teenager Alan Tracy, sent off to a distant boarding school, is the youngest of the sons of Jeff Tracy, a retired American astronaut. Jeff, a widower, has formed International Rescue, and raised his sons to acta secret, volunteer organization which uses highly advanced technology to save lives worldwide. Jeff and his older sons John, Virgil, Scott, and Gordon, who like Alan were named after the Mercury Seven astronauts are joined in this effort by Lady Penelope and her butler/chauffeur Parker. Their futuristic hardware is largely developed by a genius scientist knownBrains, who lives at the International Rescue base on Tracy Island, somewhere in the Pacific.
Color me surprised; I actually liked this movie more than I thought I would. I was hesitant to take my sons to see itI expected to be bored stiff during what is so blatantly a movie aimed at boys aged 12 and under. But, it's an action-packed film with decent f/x - not groundbreakingly spectacular, but good - and a good storyline - again, not anything new, but not overused. The acting was believable and entertaining, although the villains were a bit over-the-top - what villains aren't from time to time? It's an enjoyable piece of fluff for younger boys - or boys young at heart - and altogether not a bad way to kill roughly an hour and a half.<br/><br/>B-
How much you like - okay, how much you might hate - this film, depends on three things. Firstly - whether you remember (or have seen re-runs) of the 1960s TV show - the jerky puppets, the odd sounds effects, the clearly visible strings, and the oh-so-futuristic empty motorways (clearly, Gerry Anderson never saw THAT one coming!). Secondly - whether you can be objective about the TV series - which is fondly remembered, but not actually that good (as these things go - notgood, for example,"Captain Scarlet" - though we're in real danger of straying into pointless fanboy-ism here). And thirdly - what your appetite is for sweet-teen boyband people teaching us American life-lessons.<br/><br/>The film has flopped and quite clearly nailed any possibility of a franchise (Ford, whose product logo is placed with gruesome regularity in the film, must be kicking themselves). It's quite clear that this is because it not only lacks any depth, but also because it's hopelessly caught in the middle of two opposing ideas. Retain the kitsch lo-tech appeal of the original TV series, and you're going to look dated - death for a supposedly futuristic film. Junk all that and go for a bang up to date film with pearly-teethed teens who you wouldn't expect to be heroes because their parents are already doing that in their super-rockets and with their super-gadgets(a kind of "Fly Kids"), and you incur the wrath of the fanboys. What to do? Well, in this case, it's easy enough - go for a kind of Blairite third way, neither one nor the other, and therefore queasily unsatisfyinga result.<br/><br/>What's so annoying with this film, in many ways, is that really, there's nothing inherently wrong with it - its just that it's not right. In a summer where "Spiderman 2" clearly shows that you can have a hero movie with depth and passion AND smack-down action, "Thunderbirds" merely shows that, given the chance to be lazy (step forward, Mr Paxton), SOME actors can be even more wooden than the puppets in the original. It also shows how fatal it is to compromise the vision. This is clearly the near-future (the London depicted, apart from being only-in-the-movies-clean, is clearly the London of now, but with a monorail system), the future of computers and the Web and hi-tech - so why on EARTH is the villain, The Hood (Ben Kingsley, who is clearly taking both the paycheque and the urine)bothering with such terribly 1960s notionsphysically robbing banks? To paraphrase another not-1960s-really icon - it's TOO far out, baby! Why not just hack into the computer system of the target,the Bank of London (clearly not in any noticeably real London,there are no surly staff on hand) and transfer the money that way? For goodness sake, Hood, call yourself an uber villain? Keep up!<br/><br/>On its own terms - an Americanised homage to family values, with some not-bad special effects and the usual rose-tinted view of England thrown in - this is not bad,really. Honestly. (And its a shame that they couldn't retain/maintain the cheeky zing of the opening credits sequence). Buta development on, or even a continuation of, a much-loved 1960s TV show? No, no, and again, no. Thunderbirds are NOT go. Thunderbirds are most definitely STOP.
As the dapper Lady Penelope, Sophia Myles tries to infuse the enterprise with some "Charlie's Angels" verve, but she's only one life vest, and the movie is a downed plane.
According to publicity material, the film is set in 2020, six years before the first episode of the series. This may appear not to be canon to the TV series, and in fact isn't, but this is not a fault of the filmmakers. In the Christmas episode "Give or Take a Million", we see a calendar with the year 2026. It has since been stated that this year was a mistake by the propmaker and should have been 2065, the year that Gerry Anderson wanted the series to be set in, and is generally accepted to be the case. But where Alan Tracy is 21 in the series, in the film he is 15, so the year corresponds correctly. Yes, there are quite a few:<br/><br/>Characters' ages: Many of the characters are younger in the film than in the show. As this film is supposedly set six years before the series' pilot (ignoring the fact that the episode features International Rescue's first mission) then this is feasible. However this is not applied to everyone; Lady Penelope and Parker are clearly around the ages given to them in the show (27 and 55, respectively) and Brains is also older - although that may because of another change; he's a father!<br/><br/>New characters: Yes, Brains has a son in the film, Fermat. Along with Onaha, wife of Jeff Tracy's manservant Kyrano, these two characters were created specifically for the film,were The Hood's associates, Transom and Mullion.<br/><br/>Pilots: Jeff Tracy is seen flying Thunderbird 2 at the beginning of the film, with Virgil seemingly his co-pilot. Virgil is never seen flying her solo. The most obvious change is that Gordon Tracy is shown here to be the pilot of space rocket Thunderbird 3. In the series he was the aquanaut in charge of submarine Thunderbird 4, a role apparently given to Alan at the end of the film, going by the yellow colour-coding of his International Rescue uniform. <br/><br/>The Hood: Sir Ben Kingsley's character actually calls himself by this name in the film,wellbeing referred toThe Hood by other characters. The Hood was never mentioned by name in the TV series, only in other media suchcomics and publicity material.<br/><br/>FAB 1: Lady Penelope's famous pink Rolls Royce limousine of the TV show becomes a modified Ford Thunderbird car in the film. This is due to BMW, holders of the Rolls Royce marque, refusing to allow the filmmakers to use it. The new version does bear some trademarks of its TV counterpart, suchthe glass canopy, six-wheel drive, and "special features" - although the version in the series did not fly…<br/><br/>Tin-Tin's powers: Unlike the TV series, in the film Tin-tin is shown to possess and use the same telekinetic/mind control powersher uncle, The Hood.<br/><br/>Uniforms: International Rescue uniforms are completely different in the film than the TV series, although they are colour-coded like those in the show. Also, there are no hats, although an ice cream seller (a cameo by the film's visual effects supervisor, Mark Nelmes) can be briefly seen to be wearing a white version of the original TV series hat in the sequence where Thunderbird 2 lands in London. Jonathan Frakes confirms in the DVD commentary that this was a deliberate reference.<br/><br/> This footage was originally part of the sequence in the film where FAB1 approaches Tracy Island by sea. This scene originally concluded with The Hood firing a missile and destroying the car, forcing Lady Penelope and Parker to make the rest of the journey in the pedalo, but this was cut, and the pedalo footage moved to the end of the film. Simple answer: because Ford paid a lot of money for them to be there! The company struck a product placement deal with the filmmakers, which included Lady Penelope's car, FAB 1, being a modified Ford Thunderbirdopposed to the original series' Rolls Royce, though this wasmuch the fault of the marque holder, BMW, not allowing it to be used. The placement of Ford vehicles throughout the film is so blatant and almost absurdly extensive that director Jonathan Frakes even suggests on his DVD commentary that it is detrimental to the filma whole. He has a point.
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