'Chaos Walking': Film Review

) is that Viola's superior intelligence almost invariably gives her the upper hand. It doesn't help Todd's case that she can see and hear his churning thoughts while hers remain private. But the chemistry between Ridley and Holland lacks heat, even for a blossoming relationship in which she keeps romance off the table.

Still, Todd provides for her by catching a giant lake creature to cook, giving lab-raised Viola her first taste of organic food, and he steps in to fight off an angry Spackle. That hulking creature has a featureless face, skin like tar and webbed feet, with a rangy, humanoid body missing an arm, suggesting the species may not be the fierce barbarians Prentiss has described. Humane Viola stops Todd from killing it, which goes against everything he's been taught.

There are welcome moments of intimacy during which Viola reads the journal of illiterate Todd's mother for him, illuminating his understanding of the past and of the true nature of the mayor. But there's a drearily formulaic quality to the action, from a close shave with the inflamed Preacher in raging rapids to a narrow escape from Prentiss and his men after Todd and Viola have found shelter with a mixed-gender farm community headed by a woman, Mayor Hildy .

Liman and editor Doc Crotzer keep things humming along efficiently enough, with a nudge from a big, muscular score by Marco Beltrami and Brandon Roberts. And in-demand action cinematographer Ben Seresin takes advantage of the rolling green landscapes in terms of breadth and atmosphere. Maybe genre fans starved for large-scale sci-fi will find some appeal in the joyless journey. I couldn't get past the tiresome premise of men quite literally airing their insecurities.

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