After Martians maimed Earth in 1889 and were internally dissected by microscopic bacterium, humanity continued unimpeded. By War of the World: Golitah’s depiction of 1914 New York, we raised an alternate Statue of Liberty holding a sword instead of a torch. In the city center, a statue was erected depicting an ample breasted female hoisting a machine gun twice her size. Despite winning nothing, Goliath’s political leaders still deemed it necessary to hoist a machine gun in egotistical victory.
And oh how this is America. Goliath depicts worldwide cooperation between a soon to be German Nazi squad, passe British, and others nonessential countrymen working under the broad muscular structure of an ammunition spewing Teddy Roosevelt. Mars again ejects a cycle of brainy extraterrestrials from its surface in preparation for war and plants their heat beam ejecting tripods on the US of A’s sacred soil. How dare they somehow inexplicably find a cure for their bacteria vulnerability and land next to Roosevelt! The worldwide panic as they launch attacks in European countries? Irrelevant. Because ‘Merica.
Indefensibly blind patriotism decides our scientists were keyed into alien technology enough to birth a horde of steel and diesel machines in Martian tripod form. It’s mostly to make them angry for stealing their design copyright as even in this fantasy infused world, tripods are rampantly impractical fighting units.
An ambitious display of explosions covers a meandering strife between nationalist soldiers, the type of scuffle which results in a late night session of barroom fisticuffs. Character separation is lost in a rush of commonplace, square jawed anime design tropes with stereotypical accents keying in differences while delivering this hokey script.
Planet immigrating critters remain devoid of purpose for Goliath’s scope, leeching from H.G. Wells’ “envious eyes,” line. They exist to imprison us and shoot buildings, rendering structures inhospitable for their eventual takeover. It would make sense were this pseudo-sequel not intent on depicting a swanky Martian surface perfect for a type of tentacled machine plague.
Goliath enters a routine of sacrificial heroic superstars plunging into smoky warzones without producing a reason for interest. So much of this feature is cultivated from other sci-fi resources as to carry no identity of its own doing. Roosevelt saving America is done without a wink or a nudge, completing an end result which would be equivalent to Abraham Lincoln: Vampire Hunter treating itself seriously.
War of the Worlds: Goliath is distributed on Blu-ray by Anderson Digital, somehow before Paramount decided to release their iconic 1953 edition of H.G. Wells’ story to the format. It’s almost depressing to consider this happened. Regardless, AVC encoding has minimal work ahead of itself considering the sharp lined simplicity of the source animation. Certain complications, namely hazy smoke, introduces banding which could be levied against compression or the digital effects themselves.
Styling brings about assured color, a mixture of militarized navy blues and drowning primaries to best settle the dour mood. Backgrounds exhibit splendid variation in hues, keeping materials broad in their style. Explosions reach hefty levels of orange and a constant stream of kinetic lasers offer back-and-forth displays of intense greens. Vividness is plentiful.
Resolution performs admirably when avoiding aliasing, an expected attribute within the thick 2D lines, impressive within the complexity of 3D models. Budgetary scrapes lead to artificial zooms which soften up imagery, removing line purity for something a touch puffier. No artificial enhancement has been employed in a misguided attempt to even out these shots.
Goliath is marketable for its 3D, even if the results are disinterested in using this format. Pushing depth are ambient dust or burning embers, used sparingly to cover up limiting dimensionality. Two dimensional animation is notably so, boxed out with identifiable layers separating characters. Environments carry a distressing indifference to hosting these animated players.
There are unquestionable attempts to choreograph for 3D, including beams firing directly toward viewers. Yet, this effect is nominal, resulting in Goliath appearing unfinished. Models done in 3D themselves still adhere to this flattened scope.
Alien warships smash down and drench the soundscape with LFE, introducing a DTS-HD mix mobbed by bass. Explosions, gun fire, lasers: They all exhibit an exceptionally fearsome assault of low-end capacity.
Mixing is otherwise lean, granted a mock stage to utilize. Bars feature stock ambient dialogue placed in the surrounds lackadaisically with fight scenes failing to generate distinctive positioning. Bullets and lasers drift between speakers sans definition. Somewhere in their midst sits forgotten dialog, mixed in low enough for action to unseat its audibility.
Director/producer Joe Pearson couples with writer/producer David Abramowitz for a commentary track, an extras highlight in a rush of so-so bonuses. Optional is a version of the movie with inset storyboards. Storm Before the War tells two pre-battle stories with an interesting brushed art style. A dozen text profiles (which are apparently a thing which did not die during DVDs reign) focus on the voice actors.
The Art of War offer two galleries to pursue, including one loaded with blueprints for the vehicles. A deleted scene is ridiculously labeled “rare,” an extension of a romantic scene in the finished product. General making-of info is spilled for 24-minutes, turning into a capable featurette.
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Click on the images below for full resolution screen captures taken directly from the Blu-ray. Images have not been altered in any way during the process.