Those of you who've become familiar with my reviews of the last
five years know that I complain loudly when a film destroys my willing
suspension of disbelief. Heaven knows that I've ranted on more
than one occasion about a failure of logic, or an inconsistency, or a
scientific gaff that pulled me out of the film. But never before
have I been as offended by the utter lack of respect the filmmakers
must have for their audience to have foisted this nonsensical movie on
the public. I'll never know if screenwriters Cooper Layne and
John Rogers didn't care or if they're simply ignorant to The Core.
I'll not waste your valuable time by picking the movie
apart. There's so much pseudo-scientific nonsense begging for a
good thrashing that it would take a review the size of a screenplay to
do justice to the critique. And in all fairness to those viewers
intent on watching this film, I can't discuss my objections without
revealing spoilers. So I'll confine my comments exclusively to
the plot and the characters... When odd things start
happening - thirty-two people drop dead simultaneously in Boston and
pigeons heedlessly fly into the sides of buildings at Trafalgar Square
- Dr. Joshua Keyes (Aaron Eckhart), who specializes in geomagnetics at
the University of Chicago, and Dr. Serge Leveque (Tcheky Karyo), a
high energy weapons expert presumably from France, are summoned to
Washington. The Pentagon wants to know if an electromagnetic
pulse weapon might have caused those isolated but unique
events. Keyes' and Leveque's answer is no and they are summarily
dismissed, but Keyes can't let it go.
Upon returning to
Chicago, he performs some research and correlates what he finds in a
computer simulation; he sadly concludes that the Earth's core has
ceased to rotate. Since the spinning core generates the planet's
protective magnetic field, this spells doom; as the field collapses,
cosmic radiation will penetrate the atmosphere to wreak
havoc. And as an unpleasant overture to life's inevitable
extinction, vast atmospheric instabilities will cause unprecedented
lightning storms on a destructive scale never before known. Keyes
brings his findings to the attention of National Science Advisor Dr.
Conrad Zimsky (Stanley Tucci), a nicotine addicted egomaniac who's not
adverse to stealing other scientists' work. 
The experts examine
Keye's research and quickly conclude the obvious: the only hope to
preserve life on Earth is to restart the core's spin. A few more
mathematical models and computer simulations later, it's determined
that this can be done with a one thousand megaton thermonuclear
explosion at the boundary between the Earth's inner and outer
cores. Fortunately (and conveniently), the technology exists for
deep Earth penetration in a manned craft able to set the weapons in
place. For two decades in his desolate desert hanger, Dr. Ed
Brazzelton (Delroy Lindo) just happens to have been developing on a
shoestring budget the required hardware. This sets into motion a
fifty billion dollar rapid development of the unique craft that is the
planet's only hope for survival.
The second half of the film
follows the intrepid “terranauts” on their
mission. Admittedly, they do not encounter the dinosaurs and
primitive life of Jules Verne's Journey to the Center of the Earth,
but what they do experience is no less absurd. Will the brave
crew save the Earth? Will self-sacrifice and extreme heroism rule
the day? Will any survive to return to the Earth's surface,
thousands of miles above? Maybe.
The screenwriters
have invested a few of the characters with some psychological baggage
before packing them into the huge worm-like craft made of Unobtainium
for the unimaginable trip through solid rock and liquid
magma. For example, Childs is a bit of a prodigy, the youngest
ever astronaut-pilot; she's never experienced failure and lacks
maturity. And Brazzelton and Zimsky share decades-old enmity over
valuable intellectual property. Such internal and external
conflicts give the actors something to do besides reacting to blue
screens and I'm confident they were grateful. The cast is
uniformly excellent. Many have made notable appearances in much
better films, and it's highly unusual to find these specific players
involved in this genre. I can only hope that this experience
hasn't soured them on science fiction.
Video: How
Does The Disc Look? 
The film's theatrical aspect ratio of
2.35:1 is presented in a great anamorphic video transfer. Edge
halos are essentially absent. Small object details and fine
textures are exceptional. Color based on flesh tones is highly
accurate. Chroma noise and smearing are not visible. Shadow
detail is quite good, but does lack some definition in a few nighttime
scenes. And I didn't notice any digital artifacts. The
images are sufficiently revealing to make the CGI effects somewhat
obvious, beyond the “that's impossible” factor. Film
gain is not apparent. In general, this is a great looking
disc.
Audio: How Does The Disc Sound?
The Dolby
Digital 5.1 track is also excellent. The surrounds are quite
active and with one exception, decode perfectly with EX
enabled. That one exception is the launch platform arrival scene
in the rain; the surround track's rainfall sounds are too high in the
center surround as compared with the left and right
surrounds. Exceptionally deep bass is felt as well as heard and
will require a capable subwoofer to appreciate. Christopher
Young's heroic orchestral score, brass and soaring strings, is nicely
conveyed across a wide soundstage and with a palpable sense of
depth. Sound effects have a pleasant punch, uninhibited by
audible compression; in fact, to provide dynamic headroom for the
sound effects, the dialog runs a couple of dB lower than most
DVDs. The spoken word remains quite clear throughout; the sonic
fireworks never get in the way. 
There is a second English
track in Dolby Surround 2.0, and the alternate language track is in
French. The audio is supported by subtitles in French and
English, for which Closed Captions are also provided.
Supplements: What Goodies Are There?
Director Jon Amiel
may be heard in a scene-specific, feature-length
commentary. I appreciate his inclusion of
filmmaking technical details, such as the description of a crane shot,
the substitution of a disguised apple for a peach, and noting how
special effects were integrated. He describes some of his
artistic decisions and the contributions of his production
designers. You'll also find a few admiring comments about his
actors. But I found his emphasis of those scientific factoids
that are accurate all the more annoying in light of his glossing over
the excessive artists' license taken in the making of the
movie. To the Core and Back: The Making of The
Core (10:52) is a stereotypical making-of short that offers
the director, the producers, and the writers the opportunity to
comment on their work. The players are also heard from, in
particular Hillary Swank. She comments on how she found the new
experience of acting in front of a blue screen, based exclusively on
her imagination, so challenging. 
Deconstruction of the
Visual Effects is a group of shorts that delve into CGI and
practical effects. "Pre-Visualization" (4:31) describes
the process of creating animatics as an aid to the director as whole
sequences were constructed. "Trafalgar Square" (3:16)
describes how the CGI pigeons were created; the filmmakers want you to
know that no pigeons were harmed in the making of this
film. "Rome" (3:32) is a description of the seamless
blending of a model shot (the model was an impressive eighty feet in
diameter) and CGI to create the illusion of mass
destruction. Further mayhem at "The Golden Gate Bridge"
(4:27) shows how that sequence was created. Finally, "The
Geode" (3:03) demonstrates how a small set was integrated into a
larger CGI shot.
There are ten Deleted or Extended
Scenes (14:11 aggregate), which play sequentially with or
without an optional director's commentary. With the exception of
the first deleted scene in which Keyes has a touching emotional
reaction to his initial discovery of mankind's imminent doom, the rest
are best left as supplements. In several, Zimsky is portrayed as
unstable or a buffoon, even more addicted to nicotine than we perceive
in the theatrical cut. Leaving them behind was a good call.
Finally, Paramount has included several
trailers. Timeline (1:58) has not been released
to the motion picture theaters...yet. Tomb Raider 2: The Cradle
of Life (2:27) and The Indiana Jones Trilogy (1:46) are both DVD
promos. All of the supplements are shown in non-anamorphic
widescreen or full screen. The 135-minute feature is organized
into twenty chapters.
DVD-ROM Exclusives: What do you get
when you pop the disc in your PC?
No ROM extras have been
included.
Parting Thoughts
This $85 million
production (which made back less than half of its cost at the box
office worldwide) could have afforded scientific advisors to help
minimize the nonsense and possibly steer the movie in a slightly more
plausible direction. By the way, the director points out that
with tongue in cheek, a flying trout smashing into a London shop
window may be found in the theatrical cut on this DVD as part of the
Trafalgar Square sequence. You'll find it at precisely 9:00 into
the film. Hmmm... Perhaps I've missed the point; maybe the entire
film is one vast practical joke. Despite the excellent video and
audio, and the somewhat interesting supplements, the movie's content
compels me to suggest buyer beware.