Metacritic reviews

All hands on both sides of the camera do outstanding work. Clooney seems to be enjoying himself thoroughly as the old grump whose creative flame hasn’t been entirely extinguished, but it falls more to Robertson to carry the film, which she does with great energy and appeal.

Bird has crafted a gorgeous world rife with creativity and inventive images. A Spielbergian sense of candid awe and wonder permeates each scene with a nostalgic edge.

Director Brad Bird deserves praise for packing such big ideas into such an accessible, rip-roaring, retro-futurist adventure.

Bird and Lindelof have thrown everything they have at this film and, aside from a pause for breath at the end, they’ve made something funny, surprising and packed full of wonder.

If you’re willing to let a few things slide, this is one of the best family blockbusters in years. Clooney and Robertson (literally) soar, the madcap action always feels grounded and Bird’s world is bursting with visual invention.

George Clooney and newcomer Britt Robertson are solidly compelling, but Tomorrowland remains only a moderate success, its ingenuity, wit and enormous heart too often at odds with a ho-hum story and tentpole conventionality that the film tries so hard to transcend.

Tomorrowland is a globe-trotting, time-traveling caper whose giddy visual whimsies and exuberant cartoon violence are undermined by a coy mystery that stretches as long as the line for “Space Mountain” on a hot summer day.

When it puts down its copy of ‘Political Philosophy for Dummies’ and focuses on character and action, Tomorrowland is a blast.

Tomorrowland may be well-made, but whether you're talking about it thematically or dramatically, this is a profoundly mixed bag.

The glaring failure of Tomorrowland is that its central premise — children are the future — is almost completely negated by the preachiness of the execution and the clumsiness of the storytelling.