The Cell is a weird, quickly-forgotten movie from the post-Matrix wave of trippy science fiction starring Jennifer Loepz and (a remarkably skinny) Vince Vaughn of all people. In essence, it's CSI by way of Paprika, with Lopez's character entering the dreamscape of a criminal to try and find his latest victim.
It's in these dream sequences that the film really signs. An assortment of horrific images, adapted surrealist art, and jumbled-up psychoanalysis produces a number of segments that are genuinely creepy and creative. It raises the same questions about dream and reality as any number of other films, but what makes The Cell remarkable is the lack of clear answers it gives. In the end we never have a single explanation for why our killer does what he does -- we get some hints at a biological deformity, an abusive childhood, and a strange religious belief system, but none of them are established as a clear answer. The meaning of the dream sequences are similar -- they're cinema that begs for explication, and I always love that.
The dream sequences alone make the film worth watching, which is good because other than that there isn't much there. The plot outside of the science-fictional element is a serviceable but generic cop thriller that spends way too much time getting to the point. Vaughn and Lopez are also woefully miscast, which is too bad as their characters really needed good actors to flesh out the hazy writing. There are plenty of cheesy moments and flaws, but I find myself liking the movie despite myself. Maybe I wouldn't hate all of these contemporary blockbusters if they shoehorned in a surrealist sequence or two.
It's in these dream sequences that the film really signs. An assortment of horrific images, adapted surrealist art, and jumbled-up psychoanalysis produces a number of segments that are genuinely creepy and creative. It raises the same questions about dream and reality as any number of other films, but what makes The Cell remarkable is the lack of clear answers it gives. In the end we never have a single explanation for why our killer does what he does -- we get some hints at a biological deformity, an abusive childhood, and a strange religious belief system, but none of them are established as a clear answer. The meaning of the dream sequences are similar -- they're cinema that begs for explication, and I always love that.
The dream sequences alone make the film worth watching, which is good because other than that there isn't much there. The plot outside of the science-fictional element is a serviceable but generic cop thriller that spends way too much time getting to the point. Vaughn and Lopez are also woefully miscast, which is too bad as their characters really needed good actors to flesh out the hazy writing. There are plenty of cheesy moments and flaws, but I find myself liking the movie despite myself. Maybe I wouldn't hate all of these contemporary blockbusters if they shoehorned in a surrealist sequence or two.