Occupying a territory somewhere between faux essay film and reverie, Gabriel White’s Oracle Drive roves the well-mown desolation of the light-industrial urban fringe. Although the voice we hear on the soundtrack is distinctly Kiwi, it speaks with the casual expertise of an inter-planetary visitor, one seriously misled by his own rich stock of earthly classical studies. He marvels at the literal and metaphorical significance of signage and street names, Atlantis, Romulus and Remus, Isis, The Nile, The Tiber, Oracle Drive, Sexyland; you’ll find them all on the North Shore. Only cars inhabit this road-ribboned environment – and strange dancers who pass across the landscape with mysterious purpose, oblivious to its mundane uses. Meanwhile, elegant camerawork, an ominous music track and surprising visual effects collude to shift the flaneur’s provocation into something else again; there’s beauty and eerie immanence lurking in the guarded blandness of Albany.
Jack Harper (Tom Cruise) is one of the last few drone repairmen stationed on Earth. Part of a massive operation to extract vital resources after decades of war with a terrifying threat known as the Scavs, Jack’s mission is nearly complete.
When the crew of the Enterprise is called back home, they find an unstoppable force of terror from within their own organization has detonated the fleet and everything it stands for, leaving our world in a state of crisis.
Young princess Anna of Arendelle dreams about finding true love at her sister Elsa’s coronation. Fate takes her on a dangerous journey in an attempt to end the eternal winter that has fallen over the kingdom.