Is it this movie some people don't like, or just science fiction, in general? Compared to many attempts at showing a future dystopia, this one is really no worse. Actually, I think people are just loathe to see something negative that our wonderful world is on track to possibly become. Too much of a probable outcome for us to be comfortable, but isn't that the point? Futurists are predicting human brain implants for memory enhancement as early as 2040-2050. Is this portrayal, as strange as it seems, really so far-fetched? Even half-way decent science fiction appears few and far between. This one is not the masterpiece people want, but not every movie can be a masterwork. It's definitely above-average from my observation of the genre. Constant, harsh criticism creates an unrealistically high expectation, in my opinion. I thoroughly enjoyed this movie for its entertainment value with some scientific and existential philosophy thrown in.
Reviews
4 Reviews
Caught in the Crossfire
(2010)
Not what one might expect.
4 July 2010
This movie had no particular agenda, really, which in itself, is great. It didn't pretend, just proceeded to assemble the parts of a down-to-earth crime story. This gritty drama possesses a sense of validity that its glossy, slick, higher-budget counterparts often lack. This made for a refreshing difference. Lots of surprises from a well-written story that builds the plot deliberately.
Adam Rodriguez, of CSI Miami fame, did an excellent job of acting. We're accustomed to expect this from him, but for some reason a lot of television actors encounter difficulty doing as well in movies. Better-than-decent acting, and excellent "street feel", added to the production values by 50 Cent.
I particularly enjoyed the local flavor of the Michigan scenery. Felt almost like New England, in some ways. I had to give a look at the production information to tell where it was shot, to be certain. There was no overuse of cop-props, or crash scenes, but still plenty of action as things unfolded. I think the whole cast, and everyone involved, deserve a "pat on the back" and congrats for this one. Worth a watch, even two.
Adam Rodriguez, of CSI Miami fame, did an excellent job of acting. We're accustomed to expect this from him, but for some reason a lot of television actors encounter difficulty doing as well in movies. Better-than-decent acting, and excellent "street feel", added to the production values by 50 Cent.
I particularly enjoyed the local flavor of the Michigan scenery. Felt almost like New England, in some ways. I had to give a look at the production information to tell where it was shot, to be certain. There was no overuse of cop-props, or crash scenes, but still plenty of action as things unfolded. I think the whole cast, and everyone involved, deserve a "pat on the back" and congrats for this one. Worth a watch, even two.
Triangle
(2009)
May cause dizziness.
24 January 2010
Somewhat confusing. I didn't hate it, but this plot concept has been implemented more successfully before, I think. This film spins dizzily until you get that vague feeling like when you've forgotten why you walked purposefully into another room in your house. You stand there befuddled for a moment, then you do your best to muddle through the ambiguity without context.
The recursive nature of Triangle's plot emerges almost immediately, but is not used as skillfully as in the movie Identity (2003), in my opinion. I kept waiting for some original defining twist that never appeared. There are no intermittent flashes of thread interconnection to serve as clues. So, you keep watching for the big surprise that doesn't pop. I'm sure this plot device is not original to Identity, either. Both films resemble Hitchcock's Vertigo (1958), a little, but in Triangle you barely have any inkling, beyond motion-sickness, that the plot is even moving forward.
There is much to confuse the viewer in this film. The intentional circular logic does not congeal, even to the very end, failing to confirm the complete sequence of events. Is the main character dead? Is she in a coma? Is she in a mental state of dissociative fugue? We never really know for sure. I really don't understand why the "just a driver" character is introduced so late. Perhaps a half-hearted attempt at plot resolution? However, as soon as you start feeling the relief of it finally being over, you just find yourself back at the beginning of the endless loop, again. Since the film viewer always sees through the main character's eyes there is no disinterested observer to imply objectivity. You can't even be sure if you're watching an instance of the unending-ending trope. This film was interesting in a few places, but not organized or clever enough to avoid looking like fragments of other stories.
The recursive nature of Triangle's plot emerges almost immediately, but is not used as skillfully as in the movie Identity (2003), in my opinion. I kept waiting for some original defining twist that never appeared. There are no intermittent flashes of thread interconnection to serve as clues. So, you keep watching for the big surprise that doesn't pop. I'm sure this plot device is not original to Identity, either. Both films resemble Hitchcock's Vertigo (1958), a little, but in Triangle you barely have any inkling, beyond motion-sickness, that the plot is even moving forward.
There is much to confuse the viewer in this film. The intentional circular logic does not congeal, even to the very end, failing to confirm the complete sequence of events. Is the main character dead? Is she in a coma? Is she in a mental state of dissociative fugue? We never really know for sure. I really don't understand why the "just a driver" character is introduced so late. Perhaps a half-hearted attempt at plot resolution? However, as soon as you start feeling the relief of it finally being over, you just find yourself back at the beginning of the endless loop, again. Since the film viewer always sees through the main character's eyes there is no disinterested observer to imply objectivity. You can't even be sure if you're watching an instance of the unending-ending trope. This film was interesting in a few places, but not organized or clever enough to avoid looking like fragments of other stories.
Wonderful World
(2009)
Even The Vacuous Get Lucky
19 December 2009
Warning: Spoilers
I applaud Wonderful World for approaching a number of complex social situations that few light-hearted movies touch on. Yet, I felt a bit cheated to find that the final plot resolution was little more than a romantic comedy adaptation of the now banal, "There's no place like home." Yes, boys and girls, they had a marvelous adventure on their enchanted journey, but "All's well, that ends well" when they wake up, in their own beds, to realize the whole wacky excursion was just a silly old dream.
Much time is spent developing the suspicious, cynical, stuck-in-a-rut man that Matthew Broderick plays. All the while, we are led to believe he possesses such innate talent and goodness. The female co-star was portrayed as offering "magic" and spontaneity, in contrast to his indolence. However, at the crucial moment this script disappoints as both of the main players prove incapable of rising above stereotype. The ending was not exactly "happily ever after". Still, it doesn't seem probable to me that their newfound affinity would just implode in such an autonomic spasm of conclusive normalcy. Even in fiction, when there's only hope of more hope, the tightrope balancing of expectation against the commonplace is in itself a letdown.
Much time is spent developing the suspicious, cynical, stuck-in-a-rut man that Matthew Broderick plays. All the while, we are led to believe he possesses such innate talent and goodness. The female co-star was portrayed as offering "magic" and spontaneity, in contrast to his indolence. However, at the crucial moment this script disappoints as both of the main players prove incapable of rising above stereotype. The ending was not exactly "happily ever after". Still, it doesn't seem probable to me that their newfound affinity would just implode in such an autonomic spasm of conclusive normalcy. Even in fiction, when there's only hope of more hope, the tightrope balancing of expectation against the commonplace is in itself a letdown.
Tell Your Friends