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Slumberland (2022)
A young girl discovers a secret map to the dreamworld of Slumberland, and with the help of an eccentric outlaw, she traverses dreams and flees nightmares, with the hope that she will be able to see her late father again.
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Duration : 1h 57min
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This leaves Nemo turning to the world of her dreams as a way of coping with her loss and perhaps even getting a chance to see her father once again. While there, she happens upon the actual Flip (Jason Momoa), a smugly incompetent thief looking for a map belonging to her dad that will allow him to traverse throughout Slumberland, hopping from one person’s dream to the next. Nemo finds the map and uses it to force Flip to help her track down her father. The two bound from one dream to the next—minus occasional returns to the real world and Uncle Philip, who is so boring he claims to never dream himself—while being relentlessly pursued by Agent Green (Weruche Opia), a representative of the bureaucracy that governs the dream world and is determined to crack down on the likes of Flip. The two are also pursued by a massive shadowy nightmare determined to engulf Nemo for good.
A lot of money has clearly gone into producing “Slumberland” but there is a precious shortage of imagination on display throughout. In films like “Constantine” and the last three entries in the “Hunger Games” saga, director Francis Lawrence has proven himself to be a decent enough craftsman but he lacks the kind of wild imagination needed for something like this—he presents an elaborate visual tableau (including a recreation of one of McCay’s most famous images, a giant walking bed) that never connects in any meaningful or memorable way. (Woe to those who play that “Framed” game if "Slumberland" ever gets used as one of its subjects.)
The screenplay by David Guion and Michael Handelman at least initially tries to grapple with examining the use of dreams as a way for a child to cope with unimaginable grief. But that idea is quickly set aside for a series of endless chases, explosions, and moments seemingly cribbed from other popular fantasy films from the last couple of decades. Although Barkley is okay as Nemo, especially in some of her trickier scenes with O’Dowd, the usually reliable Momoa is a real disappointment. His obnoxiously flailing turn seems to have been designed to do for him what “Pirates of the Caribbean” did for Johnny Depp, but ends up more like “Mortdecai.”
