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It wouldn’t be a stretch to say that this script (from Liang and co-writer Max Landis) is essentially a collection of storytelling gears, and it also wouldn’t be a stretch to point out how much this script does not conceal its awkward shape. From the beginning when Moretz is trapped in the turret, having to fend off objectification and fighting to be taken seriously, the script is mostly concerned with making sure you can relate to her experience, and that you care about the mysteries that are and are not methodically revealed. So if it’s not the sexism that gets you, it’s the impending threat of Japanese enemy fighter planes, or the snarling creatures that look like skinless, winged cats ripping up the plane as if it were a nice couch. These three obstacles that Garrett faces don’t entirely fit together, but the film is more amusing if you just accept them all.  

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