Joseph Kosinki’s sci-fi pretender Oblivion arrives at our cinemas with an unmistakably bulky baggage. It piles up an excessive weight of borrowing, conscious or unintentional, bearing the absolute misfortune of being compared to a live-action version of Pixar’s dystopian romantic sci-fi WALL-E, featuring a protagonist, operating as a mechanic/repairman, roams a desecrated post-apocalyptic Earth where humans have buggered off to a different planet somewhere (this time, one of Jupiter’s moons Titan, of all places).