In 2021, the whole world is connected by the gigantic Internet, and almost a half of the population is suffering from the Nerve Attenuation Syndrome (NAS).Johnny with an inplanted memory chip in his brain was ordered to transport the over loaded information from Beijing to Newark. While Pharmakom Industries supported by yakuza tries to capture him to get the informaiton back, the Low-tech group led by J-Bone tries to break the missing code to download the cure of NAS which Johnny carries.Written by
Miho Ishimine <firstname.lastname@example.org>
Robert Longo and William Gibson originally intended to make an art film on a small budget, but failed to get financing. Longo commented that the project "started out as an arty $1.5 million movie, and it became a $30 million movie, because we couldn't get a million and a half." See more »
The opening scrawl mentions the second decade of the 21st century, but the date stamp once the movie begins says, "The Internet 2021". 2021 would be in the 3rd decade of the 21st century. See more »
The Japanese version (director's cut) is rather different from the international re-edited cut. It runs ca. 10 minutes longer (the additional scenes focus mostly on Takeshi Kitano's character Takahashi), some additional scenes are intact whereas they were committed in the other version), in other scenes different camera angles were used. It also has a different score composed by Mychael Danna (Brad Fiedel was brought on later re-score the picture) and more violence. See more »
SAD BUT TRUE
Performed by Orbital
Written by Phil Hartnoll and Paul Hartnoll
Published by Sony Songs, Inc. o/b/o itself and Phil Hartnoll US (BMI) / Sony Music Publishing UK
Produced and Mixed by Orbital
Recorded at Strongroom 7; London
Orbital appears courtesy of London Records See more »
Gibson doesn't translate well to film
This is not a terrible film as claimed, but it had faults: poor pacing; weak atmosphere (visuals were there, but insufficient music track to back them up); and its largely unexplained universe.
Ideally, you need to have read Gibson's short stories and "Neuromancer" first, and then all the props - cyberspace, 'black ice', grubby streets, brand-name hardware, Yakuza assassins, muscle grafts, etc - make sense. The "Blade Runner" style information dump was no substitute. Incidentally, many of these props appear cliched, but remember that Gibson more or less invented them; it's merely that this film appeared long after they had become standard movie fixtures.
Gibson's written work has fairly sparse dialogue, and makes heavy use of precise and rather introspective visual description to convey character. Perhaps this just doesn't translate well to film.
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