In a future where people stop aging at 25, but are engineered to live only one more year, having the means to buy your way out of the situation is a shot at immortal youth. Here, Will Salas finds himself accused of murder and on the run with a hostage - a connection that becomes an important part of the way against the system.
Jarrod and his pregnant girlfriend Elaine travel to Los Angeles to meet his old friend and successful entrepreneur Terry, and his wife Candice. Terry gives a party in his apartment for ... See full summary »
Set in a futuristic world where humans live in isolation and interact through surrogate robots, a cop is forced to leave his home for the first time in years in order to investigate the murders of others' surrogates.
The story is set in a world where implanted microchips can record all moments of an individual's life. The chips are removed upon death so the images can be edited into something of a highlight reel for loved ones who want to remember the deceased. Caviezel portrays the leader of the organization that opposes this technology's development. Written by
This movie does not appear to take place in our universe nor share its time-line. Cars, homes, dress, and furnishings sometimes appear to be from our past or present, while certain technologies, obviously, do not yet exist in our world. Therefore, it does not matter if the events take place in a present, past, or future. In fact, no date is ever revealed nor mentioned in the movie. Even the tombstones in the graveyard scene have no birth or death dates. See more »
When Bannister takes his daughter into his study, he closes the door. The visual record is shot along the length of his arm, so either his eyes are in the middle of his chest, of the camera was shooting from too low. See more »
I need to speak to you alone.
Michael, why don't you go down to the store and buy some cigarettes?
We got eight packs already.
Well, bring them back then. We don't need so many.
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"The Final Cut" is a dark cross between "Eternal Sunshine of the Spotless Mind", "One-Hour Photo" and "Citizen Kane."
While this is an original screenplay by writer/director Omar Naim, it is faithful to a Philip Dick-type imagining of a techno-world in the not-so-distant future, with the bleakness, of both the excellent production design, cinematography, music and the story, only briefly mitigated.
I like how gradually we see the explanations and issues of memories from many different view points and issues, while one lives and dreams and how one lives on in other people's memories, as a multiplier effect in touching other people and our own souls.
Just as the interviews of family recall the journalist trying to understand Kane, the fine scene is a nice visual play on his famous mystifying "Rosebud," ironically demonstrating that someone outside one's head can never understand what is significant and meaningful to an individual, what goes into making that unique personality.
While I'm not sure it's such a bombshell that eulogies --in this case as visually edited "re-memories" culled from brain implants--are whitewashes (as pointedly satirized by Tom Wolfe in "Bonfire of the Vanities") and the political protesters seemed almost to be satirically out of a T. C. Boyle novel, James Caviezel's seriousness keeps them out of Unabomber territory.
One awkward miscast is Mira Sorvino. As if it's not already obvious why a Robin Williams would be attracted to a blonde bombshell, another layer of motivation is added, but it just makes absolutely no sense why she was drawn to him. Not only does this seem yet another instance of film's older man/younger woman tendencies, the character would have made a lot more sense as an older woman with a past.
The effective multiple screens showing the editing of "re-memories" may be difficult to distinguish on the eventual DVD, but I wasn't sure if the blown-up look was from projection issues.
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