When Duncan Jones was doing press for his excellent “Moon,”
he told me that he already knew what his follow-up would be, a passion
project called “Mute,” which he said would be to his first film as “Blade Runner” was to “Alien.”
He also mentioned that the film would take place in the same universe
as “Moon,” and that he hoped to make it soon. As often happens in
Hollywood, hope is deferred, and Jones would make the great “Source Code” and the misfire “Warcraft”
before returning to the ambitious project with a silent leading man.
“Mute” premieres on Netflix today and it’s an interesting chapter in the
company’s onslaught of sci-fi entertainment in recent months, including
“Bright,” “The Cloverfield Paradox,”
and “Altered Carbon.” Sadly, Jones’ passion has not made it to the
screen in a way that’s likely to make viewers feel the same excitement
he had about the project so many years ago.
“Mute” opens with an accident. An Amish child is horribly injured,
and his parents refuse the surgery that could have saved his ability to
speak. Cut forward a few decades to an almost cyberpunk future that
looks like a blend of anime inspirations, “Blade Runner,” and the kind
of thing Jones likely doodled in a notebook when he was bored in school.
The whole aesthetic of “Mute” has a “teen fantasy” vibe to it from the
tech gadgets that populate this version of Berlin to the weird sex
robots and fetishes occasionally highlighted. This vision of the future
is more colorful than Ridley Scott’s but it was clearly built on the template of his landmark film.
In this city of hustlers, we meet Leo Beiler (Alexander Skarsgard),
the adult version of the Amish kid from the opening scene. He works at
an adult entertainment club with a waitress named Naadirah (Seyneb Saleh),
whom Leo is dating. Jones takes his time establishing their
relationship as a loving, sweet one—Skarsgard can convey a great deal of
affection through only his eyes—but it’s also clear that Naadirah has a
secret. Meanwhile, we meet a couple of American surgeons named “Cactus” Bill (Paul Rudd, sporting a soon-to-be legendary mustache) and Duck (Justin Theroux).
They perform surgeries for criminal enterprises and Bill sulks his way
around Berlin. He too clearly has a secret. Maybe it’s related to
Naadirah’s? And then Leo’s girlfriend disappears, and our mute hero does
whatever it takes to find her.
Jones seems to embrace the noir roots of “Mute”—there’s a poster for “The Blue Angel”
in one of the rooms and “the missing girl” is a classic noir set-up—but
his piece doesn’t have nearly the atmosphere it needed to make the
genre connection work. The production design is shockingly hollow,
without a sense of world-building. It’s almost as if Jones and his team
were too hesitant to just lean into their influences and so worked too
hard to set their design apart, but that makes for inconsistencies and
unengaging visuals. It’s perfectly fine to lean into a classic aesthetic
like “Blade Runner”—“Altered Carbon” does so effectively—but don’t go
halfway.
Viewers likely won’t complain too much about the film’s look
(although its design failures will register subconsciously), but they
will notice that there’s almost no real sense of danger in this world,
and so the stakes don’t seem high enough to care about what happens to
anyone. The biggest problem comes down to pacing. The movie takes too
long to go anywhere, and so it’s the kind of movie that you get
an hour into before you realize that you don’t care about what’s
happening. It doesn’t help that Rudd/Theroux and Skarsgard feel like
they are in different movies tonally, and the former is more
interesting. Skarsgard isn’t bad but Jones never quite broke how to
convey his story without dialogue and so he seems more comfortable in
the other one. And Rudd, as he often is, is the best thing about the
film, finding a sleazy register he doesn’t often use as an actor, which
makes the movie unbalanced and causes it to sag a little when it goes
back to Leo’s quest.
Ultimately, “Mute” is a mishmash of ideas
in search of a movie. Jones is clearly an ambitious and interesting
filmmaker. He’ll get over this misfire and possibly even complete what
was once proposed as a loosely-connected trilogy. I hope it doesn’t take
as long for that one to get to viewers as it did with “Mute” because it
doesn’t seem like the delay did this project any favors.
