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Ugly, sordid, and proud of it, with less than no justification. “Meet the Feebles meets Who Framed Roger Rabbit” conveys a far greater sense of dignity, cohesion, and purpose than this witness movie deserves.
This sci-fi riff on the end of privacy is not as provocative as it would like to be, and its mystery completely falls apart in the end. But its visual worldbuilding is fascinating.
Quick takes from the now-wrapped 61st London Film Festival.
Visually, this dying future world is immersively hellish. Intellectually, though, its ideas haven’t kept up with the rapidly evolving science-fictional conversation.
Doesn’t hit all the noir tropes so much as it wrings all the gloomy joy from them, and the mystery is underwhelming and unmysterious, but still: Riz Ahmed.
My pick: “Pearl,” blending new VR tech with old-fashioned characters and emotions, demonstrating storytelling possibilities that are beginning to open up.
Ridiculous coincidence drives the plot, but a reliance on outdated notions of gender expectations is what makes this neonoir such an infuriating experience.
An elegant potboiler that judiciously balances psychological and physical suspense, one that feels like a romantic drama from WWII only recently rediscovered.
Eschewing the compelling SF questions it raises, Morgan resorts to violence and would-be cleverness, and makes concrete what it should have left ambiguous.
Two fun characters played by two great actors with fantastic chemistry together go in search of a movie, and — spoiler! — never quite find it.
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