Overview: After reading the graphic novels, I thought I was ready for the movie. Unfortunately, Hollywood decided to “tweak” certain elements until there’s little left resembling the books. Not that ink-on-single-colors would work for a live-action film, but they could have left the action in Georgia instead of moving it to Boston, and leaving Greer (Harvey, not John) as a city detective as opposed to an FBI agent. While some “tweaking” might not have hurt, totally deviating from the books doesn’t. This could probably be traced to the trio of Mostow, Ferris, and Brancato, who were also behind the train-wreck of Terminator 3.
The good news is the message remained intact.
The Story: In a near future (no exact year given), humans spend all their time at home jacked into stem-chairs while piloting their surrogates, robotic avatars that interact in the real world now abandoned by humanity.
Two surrogates are destroyed by a mag-pulse type weapon. The destruction kills the operators, one of whom is the son of the surrogate’s inventor. FBI agent Greer searches for the weapon and is lead to the walled “Dread Nation” where his surrogate is destroyed by the anti-surrogate group. He continues without it as he probes deeper into a conspiracy that involves the military, Virtual Self Inc., the company behind the surrogate phenomenon, and the surrogate inventor, Dr. Cantor.
William Shatner, you are not.
What else went wrong? Another problem, other than the deviation from the books, is the look of the movie. Other than scenes showing the stem-chairs and a couple of scenes showing the “central control” of the surrogate grid, it is virtually impossible to tell if it is 2053 or 2009. Having live actors playing the robotic roles only adds to the confusion, though there were times where they not only looked like robots, but acted like robots. That was a surprisingly interesting touch.
… And the message? You can hear just as the movie starts: Does living life through a surrogate mean you’re actually living? Does being a robot make you less of a human? Have you been so plugged into your surrogate that you can’t unplug? And once you are unplugged… then what?
Those kind of questions about humanity being (over)connected to technology are what cyberpunk writers and fans have been asking since William Gibson’s first draft of Neuromancer.
Conclusion: If you’ve already read the books, the movie may only disappoint you with how far off it is. Bruce Willis fans and fans of action films may get a kick out Surrogates. Cyberpunk fans should find the message familiar, though you would be better off with the books.
“Holy father, I pray that you keep Jonathan Mostow, Michael Ferris, and John D. Brancato from ever making another cyberpunk movie, lest they cause the universe to collapse on itself.”
“We had such potential. Such promise. But we squandered our gifts. And so, 9, I am creating you. Our world is ending. Life must go on. “
Overview: Tim Burton sees Shane Acker’s short and helps to make it a feature length move about 9 robotic rag dolls, a.k.a. the “stitchpunks,” who are left to fight the machines that exterminated humanity. Together, the stitchpunks must find a way to pull the plug on the nightmare creations (without John Connor’s help) that have turned their attention to the them.
The story of 9 may not be the most complex, but the straight-forward approach does work with the CGI effects, though the backstory of how the world got into the sorry shape it is in helps makes the doll’s fight more relevant.
The Story: In an unnamed country, a scientist creates the B.R.A.I.N., an AI that was supposed to help humanity. But the country’s chancellor forces the scientist to install the B.R.A.I.N. in a fabrication machine, which is used to create machines of war. The machine rebels and launches a massive war that exterminates humanity. The scientist, the last human left, creates the 9 “stitchpunks” (Acker’s name for the rag doll-bots) and infuses them with a “life force.” When 9 is complete, the scientist dies, leaving it to find the other stitchpunks in their quest to stop the machines.
A stitchpunk in time saves… 1 through 8. The other stitchpunks he finds are: #1 - the “leader” of the group, who shows much cynicism regarding 9’s plans to rescue #2, the inventor of the group who gets captured early on.
Numbers 3 and 4 are twins who hide out in a library. Through them, we learn of the machine’s war against humanity.
5 is a journeyman who was trained by 2. He is missing an eye due an attack during the war.
6 can probably be best described as an “artist” whose paintings are clues about the machines.
7 is the only female in the group. An agile warrior who wears a bird’s skull as a helmet.
8 is a big but dumb brute who acts as 1’s bodyguard. He give a slight clue that the stitchpunks may be robotic when he uses a magnet near his head like a mind-altering drug.
But, is it cyberpunk? Some might question if 9 is cyberpunk enough to review here, but from what I’ve seen (and from the definition on this site), there’s enough to make it cyberpunk; The negative impact of technology (the machine revolt), the man-machine fusion (the scientist transferring his life force to the stitchpunks), the underground (stitchpunks), and the visual style (the post-apocalypse scene and darkness occasionally punctured by light). The only things missing are the access to information and the control over society, though the machine threat could cover the control aspect. Can this be called steampunk? Possibly, though no signs of steam-power is immediately seen. Can this be called “stitchpunk?” Only the doll-bots should be called that.
Conclusion: Those looking for a deep storyline are going to be disappointed. Those who prefer bleeding-edge eye-candy will have a ball with 9. Those looking for a good cyberpunk movie, this should hold you… until Surrogates hits the screens next week.
Overview. At first glance, Gamer would seem to be about first-person shooters (FPSs) taken to new extremes… and the people who play them. Beneath all the explosions, spent bullet casings, and piles of fragged corpses, there’s a story about how one man is using nanotechnology for more than just sick entertainment. While the concept of technology to control humanity is nothing new to cyberpunk, how it is being used to that end in this movie may make you look at Quake and Unreal Tournament (and maybe The Sims series and Second Life) differently.
The Story. Ken Castle is the mastermind behind Nanex, the nanotechnology that fuses to human neurons in the brain to effectively control it. With this level of control, one person can make a Nanex-infused human his/her personal meatbot-slave. This results in the creation of the two largest, most successful live-action MMORPGs: Society, a Sims style RPG, and Slayers, the FPS where convicted death-row inmates fight to survive thirty matches where they win their freedom.
Kable, convicted of murder and separated from his wife and daughter, has won 26 matches already, thanks in part to his “controller” Simon. Kable has become a virtual god worshiped by the world, while Simon has become a rock star equivalent. But as Kable closes in on his 30th victory, a hacker group called the Humanz inform the duo that Kable’s appearance in Slayers is no accident as he hold information that can bring Castle’s empire down.
“This is not something you can control. It ain’t just a game, we’re all slaves.”
Who’s playing you? The potential danger of Nanex becomes all too obvious near the end of the movie, with Castle seeking godlike status. The immediate problems can be seen as Angie (Kable’s wife) is often seen as a Society meatbot to a controller who… let’s just say that which once seen cannot be unseen.
Kable: “You pull all the strings around here.”
Castle: “I think it, you do it.”
As if to drive the point of control home, you should see the “Under My Skin” scene with Castle and some of this personal meatbots doing a little song and dance for visiting Kable, a’ la West Side Story.
Also worth noting: The contrast of the bright neon-and-flesh colors of Society vs. the blood-drenched gray war zones of Slayers.
Conclusion. Some people might love watching meatbots fight for their freedom. Some might be turned away from the movie’s explosive (literally) battle scenes. But if you look past the blasts, you can see how it makes for a pretty good cyberpunk film.
And if you don’t think meatbots are possible, you should take a quick look at this article from 2006…
Lead Slave Hunter/Labor Camp Guard/Slave: Aidar Sydykov
Slave Hunters: Yerbol Zimanov & Yerbol Alkhanov
Slave: Tengiz Sydykov
Labor Camp Guard: Erden Zikibay
Rating:7 out of 10
Any similarities between this and certain movies… was probably intended.
Overview: Somewhere is a budding Steven Spielberg, Riddley Scott, Cecil B. DeMille, or Laszlo Kovacs sitting in a classroom, secretly (or not-so-secretly) dreaming up the next Blade Runner or Matrix, or some similar mash-up of cyberpunk media. Erden Zikibay and Mohamed Talaat make their case with this cyberpunk short.
The Story: It’s mid-21st century and Earth government begins an ambitious space exploration endeavor, but getting people to join the effort proves difficult… until they revive an old institution: Slavery.
I’m going to stop it there since you are already familiar with Blade Runner (And if you’re not, WHAT THE F&^@ IS WRONG WITH YOU???). Forbidden Dreams draws heavily on Blade Runner, and to a lesser extent, The Matrix (the hunters’ outfits and shades). There’s no Roy Batty speech at the end, but a quote from Phillip K. Dick that makes the connection obvious.
Being a student film, the quality is far from the multi-megadollar Hollywood fare. But for its ten minute run, they use what they had to its best effects.
The Bottom Line: You have to give Erden and Mohamed credit: To make a low-budget version of a legendary movie takes some balls. Hopefully they got A’s for their effort.
For the rest of us, Forbidden Dream would probably be best described as the Cliffs Notes to Blade Runner: It gives you the basic idea behind BR in a ten minute snippet, but you really need to see the full movie, if only for Roy Batty’s death speech.
“I knew it. I knew it was coming. But this is not the future my mother warned me about. And in this future, I don’t know if we can win this war. This is John Connor.”
Overview: After the train wreck that was Rise of the Machines, one would think that, with “salvation” in its title, this would be a return to the glory days of Judgement Day.
Not quite there.
Note: The Star rating is based on the cyberpunk content of the movie, not it’s quality. Personally, it would only be a 4 or 5 out of 10.
Salvation is better than T3, but still falls short of T2. Maybe it’s because of the way it is presented. From the trailers one gets the impression that Salvation would be about John Connor’s rise to leadership of the the human resistance. In actuality, Connor’s rise is more of a side-story…
The Story: The movie starts in a death-row jail cell in 2003, where a murderous convict named Marcus Wright awaits execution. He is being visited by Dr. Serena Kogan who wants Wright to donate his body to “science.” Wright agrees and signs the papers (with Cyberdyne letterhead) before being put to death.
Now, it is 2018, and John Connor leads an assault on a Skynet facility. Connor’s team is exterminated while he barely escapes, but someone else manages to leave the facility after the devastation, Marcus Wright. Wright wanders the wastelands until he reaches what’s left of Los Angeles, and encounters a young teen named Kyle Reese. Meanwhile, Connor has his own problems with the current leaders of the human resistance, then learns that he is on Skynet’s hit list, number two behind Kyle Reese.
Wright tries to get help Reese find Connor, but Reese and his deaf-mute friend are captured, leaving Wright to try to find Connor and possibly find a way to save Reese. When the two finally meet, we learn that Wright isn’t human… only Wright himself doesn’t know it …
Who’s Salvation Is It Anyway? Like said before, Salvation isn’t about Connor’s or humanity’s salvation. Rather it’s about Wright’s salvation; His trial by post-nuclear fire in the robot ruled wastelands to learn that he is not a monster we are first lead to believe…
“He saved my life. I saw a man, not a machine.” - Blair Williams
After being shot down by Skynet’s forces, Blair Williams finds herself and her parachute tangled in a high-tension wire tower. Marcus finds her and helps her down to the ground. She asks if he is one of the good guys, but he says no. She tells him “You’re a good guy. You just don’t know it yet.” She soon falls in love with Wright as they travel back to Connor’s base, and even helps him escape when his mechanization is revealed.
Later, after helping Connor rescue Reese (and some other captured humans), Connor is critically hurt and needs a new heart. Wright offers his. The last words we hear from him are along the lines of “there’s something about the human heart that can’t be programmed into a chip” (Quotes are still coming in). This act of sacrifice would complete Wright’s transformation from death row douchebag to a hero for the resistance. If only the same can be said for the rest of the movie.
The Bottom Line: It’s hard to say that Salvation is bad. It’s not T3 bad, but no where near T2 level. Maybe if McG focused more on Wright’s story than Connor’s… that story would seem be more about salvation than Connor’s rise to resistance leader.
“Humans have a strength that cannot be measured. This is John Connor. If you are listening to this,you are the resistance.”
Overview: Unquestionably, A Clockwork Orange has to be among the most recognizable names of pre-cyberpunk works, invoking surrealistic images of the old ultra violence, sex done to the William Tell Overture, models of naked girls as tables and beverage dispensers, chemically induced behavior modification, the threat of Karma,… and a bit of Beethoven for good measure. It has often been cited as inspiration for cyberpunk novels, and even Rob Zombie salutes the film in his video for “Never Gonna Stop (The Red Red Kroovy).” The subject matter, while speculating about 1995 from a 1960’s view, is still surprisingly relevant for 2007. With themes of street gangs, youth against the elderly, and forced behavioral changes against free will, one can swear the movie was more recent.
But can it be called a cyberpunk movie? There’s no question about the “punk,” but in all honesty, it’s a little thin on the “cyber” since there’s no ubiquitous access to information or man-machine fusion, though Alex does undergo a “reprogramming” in a skull-cap wired to machines to monitor his vital functions. The lack of “cyber” isn’t Mr. Kubric’s or Mr. Burgess’s fault, since nobody in the 60’s could have predicted the impact of computer technology when 1995 rolled around. It still doesn’t subtract much from this piece of cinema goodness that many agree is a timeless classic.
So grab a glass of milk mixed with your narcotic of choice, pull up a naked model table, brush up on your Nadsat, and vidi well, little brothers.
The Story: Starting at the Korova Milk Bar, Alex De Large and his “droogs” tear up the streets of a future England city, beating derelicts, fighting other gangs, raising hell on the roads, invading homes, raping women, then returning to the Korova for a nightcap when we learn Alex also has an ear for Beethoven. His fun comes to an end when, during a failed home invasion. Alex kills a woman and is ambushed by his droogs, leaving him for the police to capture, convict of murder, and sentence to forty years in prison.
Two years into his sentence, Alex learns of the Ludovico treatment. He wants to volunteer, but the Prison Chaplain expresses his doubts and tries to talk Alex out of it.
“The question is whether or not this technique really makes a man good. Goodness comes from within. Goodness is chosen. When a man cannot choose, he ceases to be a man.”
When the Minister of The Interior visits, he selects Alex for the Ludovico treatment. The treatment involves Alex being injected with an experimental serum and made to watch videos of violence and rape, where the serum causes unexpected results.
Dr. Brodsky (During Alex’s first “treatment”): “Very soon now, the drug will cause the subject to experience a deathlike paralysis together with deep feelings of terror and helplessness. One of our early test subjects described it as being like death. A sense of stifling or drowning. At this period we have found that the subject will make his most rewarding associations between his catastrophic experience, environment and the violence he sees.”
During one “treatment,” the doctors use Beethoven’s 9th Symphony as the background music while a Nazi propaganda was viewed. Alex objects to the use of the music, but the treatment continues, causing him to become conditioned to the piece.
“Stop it! Stop IT! STOP IT! Stop showing NEW ROSE HOTEL! IT’S NOT CYBERPUNK!!!!!
After the doctors show Alex’s treatment worked, he’s released back into society. That’s when the Universe plays the Karma card…
Whose Pawn Is He Anyway? The theme of free will versus society’s programming is quite dominant with the implications of the Ludovico treatment, but an underlying theme of people being used as pawns for political and personal gain is noticeable, especially when Alex returns to the home of Frank Alexander, whose house he and his droogs invaded and whose wife they raped. At first, Frank only recognizes Alex as the boy who went through the Ludovico program and calls a friend who can use him:
Frank Alexander: “He can be the most potent weapon imaginable to ensure the government is not returned in the election. The government’s big boast, sir, is the way they have dealt with crime: Recruiting young roughs into the police, proposing will-sapping techniques of conditioning. We’ve seen it before in other countries. The thin end of the wedge. Before we know it, we’ll have the full apparatus of totalitarianism. This young boy is a living witness to these diabolical proposals.”
Frank doesn’t realize that Alex is the one who raped his wife until he hears Alex singing “Singing in the Rain” in the bath. He manages to get Alex to drink drug-laced wine to knock him unconscious. When Frank’s co-conspirators arrive, they lock Alex in an upper-floor room while playing Beethoven’s Ninth, causing Alex to attempt suicide. While recovering in the hospital, we see the old amoral Alex return when a nurse shows slides. The Minister of the Interior visits Alex to apologize for the treatment and offer a government job.
Alex used the people he encountered for his own amusement, including his own droogs. After undergoing the treatment, he’s unable to defend himself as those he tormented and attacked gain a measure of revenge on him. Then he’s used as a political pawn.
Conclusion: A Clockwork Orange is a difficult movie to describe. It’s not an easy view with it’s ultraviolence, rampant sex, and drug use, but it makes for an interesting movie nonetheless. It’s a sick, twisted, demented, deviant, weird, and totally fucked-up view of the future. In other words, a real good movie.
Overview: There have been some truly interesting projects in the no-budget Sci-Fi indie movie business. One of the most impressive is Jason Tomaric’s Cl.One. Made for a budget of only 25,000, Tomaric tapped into the power of mass collaboration to solicit help from half the city of Cleveland, Ohio. While I might have a number of issues with the movie itself, nobody viewing the effects and look of Cl.One would ever think they were produced on a shoestring. In short, the Tomaric was able to pull together a far more professional looking movie based on personality alone. In a Wired article, Tomaric guestimates that he received somewhere between 1.7 to 2 million in free goods and services. The tagline for this movie is “3,000 extras. 48 locations. 650 digital effects…. Made by one kid out of his parents’ basement.” Count me as impressed!
The Story: Due to a horrible nuclear world war, the last vestiges of humanity can no longer procreate. The damage caused by radiation has genetically mutated the remaining inhabitants. So now, humanity exists in pockets of globed cities that are administered in a surveillance-type society mode. The cities are connected via a series of high—speed tunnel trains. The hope is that genetic research and cloning will offer a continuation of the species. Unfortunately, an anti-government resistance movement called Spectrum has also arisen.
Unfortunately, cloning seems to yield fully formed, but soul-less, mindless humans. In essence they are empty shells. To transform these clones into living beings, it is hypothesized that a human will be found who’s DNA has not been irradiated, and who’s genetic sequence will be an exact match needed to give life the clones. In doing so, humanity’s future will be restored.
Chancellor Derek Strombourg, the head New Athens who is beset by the loss of his only child who died due to radiation damage, has created a school of the best and brightest. But this is just a front for his real goal – to test all students with the hopes of finding the “one” – the one with the genetic match necessary to bring the dormant clones to life. After four years of searching, he finally has a match - Student Orin Stalward. To make this work, he has to initiate the experiment right at the moment that Stalward is planning on taking his own life. To make matters worse, Spectrum, the anti-government “terrorist” organization headed up by Joshua Adams is causing significant problems to Strombourg’s leadership, both in its attacks and in its intrusion into Orin’s life.
The Pacing and Story Issues: From a pacing standpoint, Cl.One starts off with an impressive “bang” and goes downhill from there. Cl.One is at best a very complicated story. I consider myself fairly astute at this point in picking up various cyberpunk themes and storylines, but still found that it took me two or three viewings just to get the jist of Cl.One’s basic plot (this is different from say, taking two or three viewings to “figure out the meaning” of movies like Oshii’s Avalon for instance). Adding to this is the relatively meandering pacing, where most of the story complications are narrated. If you aren’t awake enough to catch and assimilate a myriad of facts in seemingly innocuous dialogue moments, you’ll miss the meaning of the later scenes. In totality, the project doesn’t come together. There are a lot of interesting themes and ideas, but the execution falls short. Had they done this over, my suggestion would be to transform more story points into active story points versus narrating or orating them over a the first third of the movie. Even more problematic is the change in actor focus near the end of the movie – the “exciting mindfuck twist” finish at the end is always cool, but the change of context really muddies the overall experience.
The Acting: The acting in Cl.One is certainly nothing to write home about. Jeff St. Clair as Derek Strombourg is really the only one who delivers a consistent performance. That said, there are very few clunkers either. Nobody truly embarrass themselves, and you never really get the feeling you’re watching a cheesefest trainwreck. While this isn’t exactly a ringing endorsement, keep in mind that this cast is almost comprised completely of amateurs. Not even the director had any experience prior to this shoot. While there were few clunkers, there was also distinct lack of emotional “umph” that really detracted from the overall experience. The stilted, uneven dialogue dialogue contributes to this in that it really doesn’t give the cast much to work with. Everyone was playing their parts but the performances as a whole came off as flat, which reflected poorly on an already slow-paced flick.
The FX: One of the best ways to cut corners on low-to-no budget science fiction projects is the selection of interesting locations. Cl.One excels in transforming seemingly ordinary locations into cool science-fiction settings. In all, fourty-eight Cleveland locations where used, including a nuclear power plant, a jail and Nasa locations. But perhaps the most interesting was the laboratory, which was created in a beer brewery. While one or two of the FX scenes look cheap (primarily the train sequence), the majority of the CG used in this Cl.One worked wonderfully. The FX and overall production values were generally what you would expect from a professional film, not a no-budget indie flick. Cl.One creates a look similar to Sky Captain and the World of Tomorrow, in that the entire film has been sent through digitized color filtering. While the overall look was professional, it served to drab-down the picture, which didn’t work well when combined with flat acting and slow pacing.
Blank Clone Bodies? One of the “take on faith” science points that Cl.One asks the viewer to swallow is the idea that they can make cloned bodies which are “blank” – meaning they have no soul, no memories and no personalities. The big challenge involves figuring out how to make these blank bodies get magically filled by finding the right matching genetic sequence to give life to a thousand frozen embryos. . All sorts of questions that might go through your head are all bypassed – why can’t the way that cloning today works still work in the future? Also, if they have all this expertise at genetic engineering to the point that they “know” the match they need, why can’t they modify the genetic code prior to uploading? Even more problematic, if they are transferring DNA sequences, why does the state of the person whom the DNA is from matter (Orin needed to be suicidal for his thoughts to not transfer to the clones)? You can ask those questions if you buy-in to the idea that clones can be made without souls or thinking, etc. This is an extreme version of the blank-slate approach, one which is nonsensical on its face, and one which they provide absolutely no rationale for in the narrative.
The Bottom Line: Cl.One has some terrific things going for it, but in the end, I like the background story of its production far more than I like the movie itself. Truly, I absolutely loved the “making of” featurette. That large segments of Cleveland pitched in for free to make this movie is a crowing achievement, one which should be celebrated. In orchestrating this dynamic, Jason Tomaric shows himself to be a true film making talent. And while the lighting and production values are high quality, the movie itself just doesn’t come together. The score is way too emotional and dominating when matched with the scenes, the actor performances and dialogue. The story doesn’t hold together, and the “twist” near the end makes you seriously question the character focus choices throughout the movie. On a positive note, the lighting and visuals were consistently interesting. Because of this and the background of the production, I would recommend Cl.One to anyone interesting in indie Sci-Fi flicks.
Overview: One thing I love about Indie movies is the opportunity for complete originality. Indie director Hiroki Yamaguchi delivers a strange, but very well made micro-budget movie that is truly unique. From viewing the extras, virtually every part of the set was designed by searching through junkyards for throw-offs. Similar to the Cube, Hellevator: The Bottled Fools largely takes place on a single set. Similar to Brazil, the world of Hellevator is a bizarrely dystopic surveillance society where things just don’t seem to work right. Nobody got paid who worked on this, but you wouldn’t know it from the quality. Hellevator definitely has its own feel.
The Setting: Hellevator takes place in a non-specific dystopic near future, where a colony of people have long ago decided to move underground. While some aspects of life clearly involve advanced technologies, there is a strong analog, mechanistic component to society. Now, all life takes place in a very large megalopolis comprised of a set of very large levels and tunnels. Life is fully governed by an omnipresent security force, who have cameras in all key locations. Over 130 levels in all, each has a specific purpose. Some have hospitals or schools, others are power centers, and Level 99 is the prison ward. Because everything is underground, issues related to air quality are at a premium. Smoking is illegal, and merits a death sentence. To get from each level, people use these very large, mechanical elevators.
The Story: The beginning of Hellevator starts off with a television report of a set of explosions on Level 138, which ends up killing over 100 people. The police have pegged a few suspects of causing this crime, both of which ended up stuck on an elevator which malfunctioned during the explosion. Flashback to Luchino (played by Luchino Fujisaki) who is a troubled teen-age girl living on Level 138 who is on her way to school, which is on Level 4. She has a penchant for rebelling against the system and starts her day by illegally purchasing cigarettes from a drug dealer. Unfortunately, she almost gets caught, and ends up leaving her still burning cigarette butt at the power center near a set of flammable fluid containers.
Luchino gets on the elevator to take her to level 4, which is where the rest of the story takes place. On each floor, new people get on while others leave. Eventually when the elevator gets past 110, the elevator operator announces that they have entered the “express mode” – no more stops should occur for a long time. At this point, the elevator is holding the white-gloved elevator operator (Ninalada Mochiduki), a business man (Viblio Sawatsukumori), a woman with a baby carriage (Alamocia Nakaji), a quite guy with headphones (Nocosh Utsunomiya) and Luchino. Unfortunately, the elevator is force-stopped at level 99, the prison level. Two prisoners, one a bomber (Calpico Teranouchi), and the other a serial rapist (played wonderfully by Zitacock Obitani) get on with a very unstable young prison guard. Shortly afterwards, the explosion on Level 138 occurs. This causes the elevator to malfunction, and the small group is now stranded.
The malfunctioned elevator becomes a powder keg for runaway paranoia. The prison guard starts to lose it, and through a strange sequence of events, causes the prisoners to become free. The rapist quickly beats the guard to a pulp, which ends with a sequence where he takes a bite out of the guard’s neck. From there the prisoners sadistically start to impose their will on the beleaguered elevator participants. The rapist starts to do his thing on the elevator operator and eventually starts kicking Luchino. Luchino starts to have flashbacks of times when her father abused her similarly - Luchino eventually snaps. She picks up the gun and starts to repeatedly shoot the bomber prisoner.
From there, the story devolves into a repetitive set of sequential events which cause various people on the elevator to lose control. Some result in murders while others result in interesting character expositions. Throughout, the mood is high tension paranoia. Eventually, the THX-1138-like guards break the remaining few left alive. The story then connects back to the police detective, who is in the process of interviewing those that survived the elevator trip. The ending, not discussed here, provides a different take on the world which this future takes place.
The Acting: The acting in Hellevator is far better than one would expect in a movie where nobody was getting paid. Luchino Fujisaki turns in a solid performance as a person devolving back into psychosis. Zitacock Obitani is terrific as an extremely bizarre serial rapist, and almost makes the movie a must-watch all by himself. The rest of the cast works. The only stand-out lousy performance is turned in by the blond haired prisoner guard, but he doesn’t last long enough to matter.
The Cinematography: Hellevator, uses two omnipresent color schemes: within the elevator, everything is dingy yellows and greens. For the police interrogation scenes, everything is dark blue. Yamaguchi makes liberal use of perspective shots, sometimes involving fish-eye lenses, and frequently looking down or up at the participants. In short, Yamaguchi makes the most of a very limited budget and set. He even throws in a Matrix slo-mo shot that was apparently filmed with a single camera.
System Service Staff as Robots: In Hellevator, the elevator lady acts completely robotic until the convicts break things. Her overt disposition is of a person who never gets rattled, never intimates a personal connection, and never changes her demeanor regardless of the surroundings. In a sense, she is the perfect employee for the underground megalopolis. Similar to movies like Brazil or 1984, the elevator lady represents the humans as machines metaphor. In this view, we are nothing more than a single redundant part – a cog in a massive machine. For the ideal system employee, individualism has been quashed in favor of ritualized, repeatable routines.
Telepathy: Hellevator does a good job of integrating telepaths into its strange world. The majority of the people are normal, and do not recognize the telepaths. In Hellevator, the Telepaths are able to notice when another uses their sensory perception. What makes Yamaguchi’s view of telepath’s somewhat interesting is he also touches on their ability to see others’ memories. This leads to some interesting flashbacks of others’ experiences on the elevator. More interesting though is the fact that Luchino’s personal psychosis colors her views of the others’ memories. This turns reading thoughts into something far less precise, and in the end makes it more believable.
Repression Exposed by Extreme Psychological Pressure: Hellevator explores extreme psychological pressures on a group of already unstable people. Everyone stuck on the elevator is hiding something significant about themselves. The businessman is potentially a bioterrorist; the woman with the crib is hiding groceries instead of a baby, and the quiet guy in the corner is masquerading as a cop. Luchino had been abused by her father to the point that she eventually flipped and killed him. She has since repressed her issues but when placed in a similar circumstance, Luchino responds similarly and goes on to murder one of the convicts. Her perception of reality starts to bear little resemblance to the rest. The robotic elevator woman turns into an emotional basket case. Although this is a fully reasonable reaction to an attempted rape, the contrast shown is with her earlier robotic persona. In fact, everyone, when thrown into this circumstance acts in wholly strange ways.
The Bottom Line: If you like Extreme Japanese Cyberpunk movies, Hellevator: The Bottled Fools is well worth a watch. There’s quite a bit of blood and gore, but not when compared to some of the more extreme straight Japanese horrors. The plot is pretty straightforward once the movie gets moving – I would have wished for a bit more interplay between the plot points. Also, there are a number of plot points which were touched on as significant, but were never completed. But overall, the movie is original and interesting. Little throwaways like the child’s pet brain only add to the fun. Yamaguchi and crew really make the most of their set and the overall shoot. This one will stay with you for a few days.
Overview: Director Andrew Niccol explores the potential horrors of genetic engineering in Gattaca. Originally seen as a flop, taking in only 12 million on a 36 million dollar budget, Gattaca has developed a loyal following from cable and DVD viewings. Whether or not people find this movie enjoyable or believable, virtually everyone agrees that Gattaca is quality film. Viewers will definitely notice a well paced movie that’s wonderfully acted in artfully composed scenes.
The Setting: In an unspecified near future time frame, genetic engineering has altered the course of society. Genetic engineering is employed to remove all major defects when conceiving. Upon birth, each new-born baby is given a Genetic Quotient (G.Q.) that details their potential risk areas, including heart issues and susceptibility to diseases. Some couples still ignore the genetic engineering of children and instead go for a “faith birth” – one where potential defects in the baby are left to chance. Unfortunately, these “faith” children now grow up in a world where their genetic pedigree significantly reduces their opportunities. A surveillance society is now in place where people are divided into having either “valid” and “in-valid” status. Highly sought after jobs are only available to those with “valid” status, while “in-valids” are left to handle the menial tasks of society.
Ethan Hawke plays a flawed “faith birth” named Vincent Freeman who dreams of becoming an astronaut. Vincent is particularly flawed, and is predicted to have a 99% chance of heart failure by age 30. All but the most menial jobs are out of reach for “de-gene-erits” like Vincent, and he is told by both is parents and his genetically engineered brother to lower his expectations. But Vincent decides to defy the odds. Vincent seeks out shady characters in the underclass who put him in contact with wheel chair-bound Jerome (Jude Law), a person with an almost perfect GQ score, who broke his back in a car accident. Jerome agrees to give Vincent urine and blood samples so that he can assume Jerome’s identity and bypass the security measures in place at Gattaca, the huge aerospace corporation.
Vincent succeeds in fooling Gattaca personnel with the urine and blood samples, and by almost neurotically ensuring that any genetic tissue of his will not be left behind. He scrubs his body daily to remove excess skin cells or loose hairs, and constantly cleans his office space and keyboard to ensure there is no material left behind other than planted samples from Jerome. Due to his immense personal drive, Vincent quickly climbs the ranks of the organization. He is put on a project to design a year-long flight to one of Saturn’s moons.
Vincent’s dreams are almost coming true, but just as quickly his dreams are jeopardized when the lead flight director is horribly murdered – unfortunately the investigation has turned up one of Vincent’s “in-valid” eyelashes. Worse, his brother Anton is heading up the investigation. Complicating matters further, Vincent has fallen for a fellow Gattaca employee named Irene (Uma Thurman). Irene’s GQ is not good enough for flight, and has accepted her lesser standing in society. Ethan must escape the investigation while still keeping his astronaut and love life dreams alive.
The Acting: Gattaca boasts a terrific cast in which all key roles are wonderfully delivered. Ethan Hawke provides us with a terrific flawed but inspired faith child. Jude Law is just as good as the crippled GQ has-been, and Uma Thurman performs solidly in a supporting role as the love interest who has given up hope for fulfilling her dreams. The rest of the cast is also solid, including Alan Arkin as a beat cop, and William Lee Scott as Vincent’s brother. Along with solid pacing, the quality of the acting allow us to overlook some of the more problematic aspects of the story.
The Visuals: Gattaca goes for an understated, high-tech view of the future, where we are only treated to the higher echelons of society. Director Andrew Niccol plays with a number of oppressive color schemes to give us a dystopic vibe. Yellows and blacks are constantly employed, as are dull blue-grays to provide us a sense of hopelessness and inevitability. Greens and sleek, shiny charcoal grays are employed to convey the high-tech nature of society. Niccol and Cinematographer Slawomir Idziak consistently provide us with well composed shots and artistic visuals and set pieces that take in a range of lighting and shadows effects.
Surveillance Society Through Genetic Profiling: The vision of a domineering surveillance society we see in Gattaca may be more relevant now than when it was released in 1997. In thinking through a variety of policy options, the United States is currently debating the trade-offs between public safety and personal privacy. Worse, the technology surrounding our personal genetic code is right around the corner that will give insurance companies information on predilections we have toward certain diseases. It is hardly a stretch to imagine corporations and insurance companies engaging in genetic profiling within the next ten years or so. In that sense, Gattaca cuts to the heart of the issue – even though percentages may suggest clear issues with the majority of a population, there will still be outliers like Vincent. Gattaca tells us that personal drive can still overcome genetic superiority.
Genetics Is Overplayed: In many ways, Gattaca is a one trick pony in that it examines a world where genetic profiling drives virtually every aspect of society. While the vision is motivating, we are left wondering why extreme advances in genetics don’t lead to improvements in medical care. For instance, a prediction upon birth that a heart has a 99% of failure by age 30 is based on an assumption medical treatments will remain static. For the viewer to buy this vision of the future, we must believe that society has given up on the long-standing notion that technology can cure all ills. On a lesser scale, one wonders why a corporation as powerful as the Gattaca Corporation cannot figure a more streamlined method of ensuring the loyalty of their employees – one wonders who any work is ever done considering the employees seem to spent a significant amount of time verifying their identity and drug free status through the daily gauntlet of surveillance testing.
The Bottom Line: Gattaca is a very well made film that provides us a valuable cautionary tale into how genetic engineering abuses could lead to significant societal maladies. The pacing, acting and cinematography are all of consistently high quality. That said, the world of Gattaca isn’t as coherent as I would have liked. We get no sense of the political implications of genetic profiling, nor do we see any innovations other than genetic engineering. In this sense the future setting is perhaps more simplistic than was necessary. Additionally, some of the plot points seem over-contrived. The last week of Vincent’s life prior to launch has too much going on (a new love interest, a murder investigation headed up by his brother, issues with Jerome), and there was probably a bit of overkill on the sentimental ending. That said, Gattaca is a great flick, and very much deserves a viewing.
Overview: Code 46 is a movie that generates significant disagreement on ratings. The pacing is glacially slow, but there are enough interesting ideas that many viewers will really dig the final product. Viruses as transhuman upgrades, memory removal, and problems brought on by mass cloning all are mashed together to give an interesting, but somewhat incoherent view of a near-term dystopic future. The cinematography is interesting, and the story itself may end up working well enough for some to enjoy the final product.
The Setting: Code 46 takes place in a non-specific near future, where overpopulation and degradation of the earth have led to a situation where cities have become protected entities. The population is now divided into those living in the outside and those citizens who have rights to live within. Each city has restricted access – a person is required to have “papelles” (a valid passport/visa) to enter. For some reason, even though there is massive overpopulation, cloning has been used in an overabundant fashion. There is even a law, Code 46, which restricts the relations between those who are genetically similar. Viruses have been genetically engineered to allow new capabilities for people, but also have become so deadly that people must have a valid insurance policy to stay in the city.
The Story: William Geld, played by Time Robbins, is an insurance investigator imbued with an empathy virus, who’s been tasked to track down a forged papelle ring in Shanghai. Shortly after arriving, William quickly determines that the guilty party is a worker named Maria Gonzales (Samantha Morton), but he doesn’t turn her in. For some reason, even though he is happily married, he is strangely attracted to Maria, so he falsely implicates someone else. After following her home, Maria and William become fall for one another. William leaves the next day for home, but is brought back a few weeks later when the forged papelles continue to be produced. He decides to turn Maria in, but she has left. After investigating, he finds that she had incurred a code 46 violation. William fears that he is the genetically similar party and sets off to find her.
The Acting: Director Michael Winterbottom seems to be going for a Lost in Translation type vibe, but this feel doesn’t really work very well. The leads both turn in believable performances, but something is missing. While the world certainly has an alienated feel, there’s never a sense that the chemistry William and Samantha is strong enough to support a “genetic attraction.” It’s all cerebral. Unfortunately, with the rediculously slow pacing of the movie, this merely adds disconnectedness with the audience.
Viruses as Genetic Upgrades: In Code 46, custom made viruses are used for short to long term sensory upgrades. William has an “empathy” virus which allows him to read people’s thoughts. Other viruses allow skills to be developed. The weird thing about the use of viruses as an idea for genetic manipulation is that it causes all sorts of dangerous linkages. For instance, viruses can be passed on, and worse, can change over time. This, I think, is why insurance may play such a large role in Code 46, and why the cities are cordoned off (again, this isn’t really explored all that well). It does make you wonder though, how exactly will genetic manipulation be used in the future? If we are to look for transhuman-like upgrades, are we going to be purchasing an ensemble of cocktail viruses?
Futuristic Low-budget Worldbuilding: Without a large budget, and the absence of CG, director Winterbottom struggles to make his world look futuristic. Mostly based on locations, Winterbottom also emphasizes pastel florescent shades to indicate futurism. Pastel florescent pinks, greens, and blue tones are used in most of the otherwise normal looking city scenes. The outside world is mostly desert, apparently brought on by the effects of global warming, whereas the people all dress like they’re in New Dehli. The night scenes are generally neon shots of Shanghai, which sort of fit in the cyberpunk, near-future genre. Still, there are glaring problems which break suspension of disbelief, where the futuristic world looks identical in most places. The most obvious one deals with the liberal use of modern day cars - apparently the auto industry got laid off after 2003. A cheap solution would have been to jimmy up a few futuristic fiberglass bodies to stick on-top of a jeep or VW, but instead, we are almost left with an alternate view of the present.
Cyberpunk Tower of Babel – the Creole Merging of Languages: In Code 46, English seems to be the only language used, but it has been “creoled” in that many of the words have been replaced with words from other languages. Boy and girl is now chico and chica; paper is now papelle; hello has been transformed to “meehow”; discontinued is now discontinuago. The cool part about this is how naturally the actors work the word changes into the dialogue. The problematic part of this is that within 50 years or less, the world (even if only the industrial parts) would transform into a single language. If there even is a trend toward this, I think we’d be looking more like 300-500 years for a place like Shanghai to do away with their native Chinese. The more interesting question this raises though is the issue of whether the human race is moving toward a reverse Tower of Babel, or whether the local cultures will become more entrenched as a defense against a globalized language and culture. The world is getting smaller all the time – the implications of this are far from understood right now.
Cyberpunk Oedipus Complex: Harkening back to Freud, Code 46 explores the issue of a man in love with his mother. In Code 46, this connection is so strong that it exists even when the relationship itself is not known to the participants. Personally, I never bought into anything as generalized as Freud’s Oedipus complex, and I don’t know that it works all that well here. But the genetic/cloning slant to this question certainly raises some interesting thoughts. Still, with the advent of overpopulation, its hard to see why people would resort to making an abundance of clones. Perhaps for nefarious thoughts such as body replacement parts, but it would be a stretch for an overpopulated world to create massive versions of the same person. Based on the huge insurance slant in Code 46, we might assume it had something to do with contaminated bodies, but like so many other aspects of this future world, this is never really explained.
Removal of Memories: The idea of memory modification and their removal has been explored in other movies (Eternal Sunshine of the Spotless Mind, for instance), but the general question is probably similar. Are memories discrete entities that can be targeted and wiped out, or is something more organic going on? Also, if your spouse cheats on you, will a future option for conflict resolution be to simply have the memories of the offending person and the deed itself removed? If so, would you still think your spouse cheated?
The Bottom Line: Although the plot runs at a glacial pace, and the chemistry between the actors is stilted at best, the inclusion of interesting thoughts, however haphazard, potentially make Code 46 worth a watch. I would have liked to see a bit more clarity on the basis for the technology selections, and definitely would have liked to see more emotive chemistry between the leads. The “Lost in Translation” vibe just doesn’t work here all that well. Bottom line, if you’re someone who doesn’t mind watching interesting looking paint dry, you might end up liking Code 46.
