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'm not sure why this movie fell flat, but it definitely did. Robin Williams seems to play his non-comedic roles as pathetic rather than dramatic, and the "cutter" here portrayed, who edits people's life-recording chips after their death, was quite similar to the character in "One-Hour Photo." This time instead of being attracted to (or at least fascinated by) children, he is haunted by a recurrent and traumatic childhood memory. Mira Sorvino, as his girlfriend who always comes off second best to the editing machine, works hard to inject life into this script, but to little avail. BTW, it seemed quite strange to me that though the whole film focuses on the influence being recorded might exert on adults' interactions, and the ethicality of the post-mortem editing, nobody even seems to consider that there might be something wrong with recording everything one does (yes, EVERYTHING!) for the first twenty years or so without the person's knowledge or consent. This is so frightening because the denial of young people's right to any semblance of autonomous existence is rapidly becoming entrenched in the contemporary culture.
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