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andyxpert24 May 2004
3.141592653589793238462643383279502884197169399375105820974944592307816 40628620899862803482534211706798214808651328230664709384460955058223172 53594081284811174502841027019385211055596446229489549303819644288109756 6593

the movie has some guidelines that follow the mathematical path, though strangely interpreted. It resembles the Lynch series, ("Eraserhead" actually), though Lynch uses more colour... I recommend it to all the freaks (lest they should go nuts like Max...) and to the movie freaks, that like to admire pure art. the number i've written is PI, with the precision of 216 decimals... and don't fool yourselves, it doesn't have any pattern, it just runs infinitely...
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Indie film at its best
stharward15 May 2000
'Pi' is independent filmmaking at its best. Without the constraints of the studio/corporate system, Aronofsky and Gullette created a film that is bizarre, intelligent, and unlike anything that came out of Hollywood in the 1990's. Who would have thought to blend Wall Street, the Kabbalah, computer science, Go, number theory, and the most fascinating number in the universe in a solute of obsessive-compulsive, paranoid genius and then strain through gritty B&W cinematography and hyperkinetic editing? The mixture is definitely not for everybody, but I certainly loved it.

Plus the soundtrack (featuring Orbital, Clint Mansell, Aphex Twin. Gus Gus, Spacetime Continuum, and other techno talents) just flat-out rocks.
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Finding God through the ancient language of Mathematics
cultovone9 November 1999
Pi is the oddest, hippest, most chilling account of the descent into the abyss.

Following mathematical clues derived from an analysis of the stock market, Maximillian Cohen begins his descent into madness as he attempts to discover the nature of everything through the peculiar numerical entity known as Pi.

Thrilling enough, but then combine with generous amounts of Kaballistic mysticism, black and white footage and a soundtrack like an audible fractal, and you have a sensory snare which drags you along for the ride into Max's impending breakdown.

Obsession has never been so exciting.

Pi is an utterly gut-wrenching, mind expanding phenomema. If you have ever wondered about the universe, God or the nature of insanity, Pi will take you where you don't want to go.
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Inventive, sharp, *different* cinema
Aidan McGuinness11 March 2002
Warning: Spoilers
After seeing "Pi", you realise that a lot of Hollywood producers should be automatically fired. Why? Because you can make a great film like this for only $60,000 whereas turkeys like "Waterworld" cast tens of millions of dollars. Go figure.

"Pi" is about the obsession of maths genius Max Cohen (Sean Gullette), trying to find a number, a mathematical connection, that underlies all things but particularly the stock market. His obsession however begins to drive him nuts, with constant headaches and paranoid delusions (or are they...).

What's most striking about this movie is it's *different*. It isn't really comparable to any other movie I know, in terms of plot or of style. Aronofsky shows an incredible ability to work with a budget and yet still produce a visually striking movie - the movie doesn't suffer from being shot in fuzzy black & white. The paranoia of the man character is enhanced greatly by the use of a "snorricam" - a camera mounted to the body so that the viewer is attached to Max as he walks. Sharp, extremely kinetic cuts add to the frenetic energy and display what we would later see in "Requiem for a Dream". The whole intense, brooding nature is helped by the black & white imagery never allowing for any colour to seep through, enhanced by the fuzzy dream-like quality of the movie that reflects Cohen's delusions. It's no wonder that Aronofsky came away from Sundance as the Best Director for his amazing work here with such limited means.

The plot is interesting but the number Cohen seeks (which is not Pi - Pi is just used because it is a universal invariant like that which Cohen wants) isn't the centre of the movie. It's about obsession and how, as Max's friend points out, it can drive you to see things everywhere. Sure there are technical inaccuracies in it, but it's played with an assured sense of conviction, ably acted by unknown Gullette.

"Pi" is very interesting because it stands far out from the crowd. It's not one for those who think "Pearl Harbour" is the way films should be made - it's too different for that. A great debut for a director, who went on to surpass this with his superb next project, "Requiem for a Dream". 9/10.
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A Flat Out Great Indie Film
Tarantinoesque15 February 2005
This screenplay must have been turned down one hundred times before someone would finance it. I don't blame them. However, what could have been a travesty was saved by great acting, directing, cinematography, and sound. This brilliant/bizarre film turns a genius's quest to find the code for Wall Street into an adventure that engulfs all of human existence, and God. A brilliant example of how proper film making can turn straw into gold. Some viewers may be put off by the bizarre fits the main character faces, or the intrusion of complex mathematics into film, forcing the viewer to think, but if you watch this film, you will be rewarded a unique movie-going experience few other films will give you. This film gives you a look into the mind of man plagued by the genius he was given.
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not about math, but about obsession, paranoia, searching for answers never found
Quinoa19849 September 2006
Pi is the kind of movie I wished I could've seen in one of those dank art-house movie theaters in New York City, as it's practically gift-wrapped for the crowds. But it's not done with every shot lingering on the characters, soaking in minimalism in its black and white photography, quite the opposite. Darren Aronofsky is a filmmaker I first got into through Requiem for a Dream, which now years after I saw it I want to revisit again upon the soon to be released the Fountain and especially after now seeing Pi. Before with 'Requiem', I did like the movie a lot, but felt a little apprehensive about deeming it that old term 'masterpiece' as the editing, while ultra fast for a purpose, almost came off as too "MTV" for me. But years later, after hundreds of more films taken in, I'm ready for a second look. In this particular case, Pi is also the kind of movie that warrants a second look at the director's other films. His themes run just as much together as does his breakneck style. And it's not just to show off; he truly does get inside a psychology through subjective camera AND editing, to a degree that might impress Hitchcock, albeit with some whiplash.

Max Cohen played by Sean Gullette is the protagonist of the story, who's main foe is none other than the universe itself, in a sense, all through one number. Or rather, a series of numbers, one which might unlock the Stock Market secret for him. He doesn't even want to play the market, mind you, but the point for him- if one can follow- might be attributed to a repeated memory he has of looking at the sun as a boy, and soon looking past the shock of actually looking long at it. This is a very small device by Aronofsky but it works well to establish- and continue- this man's downward spiral. And spirals, by the way, seem to also figure into the film, as well as a secret technology firm (with a woman who reminded me of Condaleeza Rice look-alike), and especially a near undercover Hasidim ring where they need the numbers *in* Cohen's head to unlock some big secret to God. But even with all of this pressure, Cohen can't shake what's dogging him around, in his own cramped, wire-ridden apartment, with many bugs crawling around.

The key for this movie really is atmosphere, in the acting (if it makes you uncomfortable sometimes that's the point too, and it's probably the strangest performance of a lifetime for Gullette), the production design (that apartment and the subways), the grainy, spectacular photography by Matthew Libatique, the editing to be sure- which here, unlike the breakneck 'Requiem', does take a break from the cuts so quick they almost past subliminally (which isn't bad)- and the moody music that is so slight you almost forget its there. It even works for me, and this is a big plus, as someone who's not really interested in mathematics (worst subject in school), and even better as it drew me in to his obsessions with it. I really liked one of the early scenes between Max and his the friendly Hassidic man who explains on paper different numbers and their relation to parts of the Torah. And, in the end, it all comes down to getting engrossed through what the filmmaker's bringing in with this man. There is a sort of detachment from reality- that most of us would never touch much of this with a ten foot pole- but then again it really isn't. Aronofsky also makes a point of some hallucinations/dreams adding to the ambiance, skidding almost towards the pretentious, and thus creating a world all of its own in Pi for Max, and for us as well.

A film that I shall certainly seek out again when I can, if only to see if I can understand some things a little more (or maybe not as case might be), and to see such a powerhouse performance from Gullette. Grade: A
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The best no-budget movie you'll ever see
room10211 March 2003
"Pi (1998)" is, without doubt, the best no-budget movie I've ever seen. Directed by Darren Aronofsky with a ridiculous budget of $60,000 - which I first thought was a mistake in the figures, since I couldn't believe such a movie could possibly be made with that amount of money.

Most of the cast and crew later re-united to make "Requiem for a Dream (2000)" - one of the best movies made in the last few years. Like many others, it was "Requiem" that made me find "Pi". It took Aronofsky only 2 movies to become one of my favorite directors, and I can't wait to see what the future holds for this young and promising writer/director.

The movie stars Sean Gullette, which co-wrote the movie with Aronofsky and Eric Watson. You might recognize him as Arnold (Marion's old partner and shrink) in "Requiem". Gullette is perfect in his role and does an amazing job here. It's a shame we don't see his talent in more movies.

Mark Margolis (Mr. Rabinowitz in "Requiem") is excellent as Max's mentor and all the other cast is doing a great job too.

Like in "Requiem", technical aspect is top-notch: Excellent black-and-white cinematography (Matthew Libatique) and the innovative use of the Snorricam, lightning, editing (Oren Sarch), and music (Clint Mansell, frontman for Pop will Eat itself).

The director's commentary for this movie is fascinating. After hearing it you'd appreciate the effort and heart that were put into this movie a lot more.

Look for guest/cameo appearances by Samia Shoaib (the nurse in "Requiem") as Devi, Max's nextdoor neighbor; Clint Mansell (the movie's composer) as the photographer; and Abraham Aronofsky (Darren's father) as one of the men delivering the suitcase at the door.

One last word. While some aspects presented in the movie - such as the Hebrew numerology and mathematical concepts - are correct (that is, the explanations of Hebrew numerology are not made-up; That _doesn't_ mean I actually believe in any of the meanings attached to them), I suggest you to use your suspension-of-disbelief instead of trying to find logic and mistakes in them.

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Hard To Add Up....But An Intriguing Curiosity Piece
ccthemovieman-14 March 2006
Now here'a film that is "not for all tastes," as the cliché goes.

"Strange" doesn't quite cover it but it is not that bizarre that you can't figure out what's happening. Director-writer Darren Arokofsky made a name for himself with his second movie, Requiem For A Dream, and this was the young filmmakers' first effort. It was made a tight budget since he was an unknown, but that's part of the attraction. This is grainy black-and-white, and so is the gritty story and most of the characters. The unique look fits the story.

It's not a story that is going to please a lot of people - an almost-demented math wizard trying to figure out stock market codes and two groups hounding him trying to cash in on his brainpower. One is trying to use him to make big money in the market and the other is trying to decipher ancient Jewish texts and thinks our mathematician can help. Meanwhile, he wants no part of any of these people.

Our hero, the numbers freak, thinks the entire world revolves around numbers. Everything in the universe, he thinks, can be figured out through number codes. Not only is he wacked and paranoid but so is about everyone in here. They all have strange ideas. Innovative camera-work makes the story even stranger. In fact, it's that photography that makes this DVD a part of my collection

If you're looking for something different here and there, I would give this curiosity piece a quick look. (It's not a long movie.) Overall, I thought this "added up" to an intriguing film, but if you give it a try and hate it, don't blame me.
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Cohesive, stylish and innovative
wilywilliam11 April 2003
The predecessor to Requiem for a Dream, this is arguably more stylish and engaging. This is helped largely by the simply outstanding soundtrack. Aranovsky's use of a haunting yet modern score binds the movie together perfectly, aided by some fantastic cinematic techniques that disorientate the audience in time with the music. The character narration is also a great cohesive tool, with the deadpan delivery more than matching the tone of the piece. This film is not as beautiful as Requiem, nor does it have quite the same gutwrenching effect, but nonetheless, this is still some film. If you like your movies very hollywood then this is not for you; but if you like stylised innovation, then you have to watch this.
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alyssong-121 February 2005
Warning: Spoilers
This was a strange and at times disturbing movie, but I strongly disagree with the statement that the director didn't know how to end the movie. The ending the director chose was very powerful (in my opinion). He was personifying Sol's hypothesis about computers: when they begin to crash they go in a cycle, and eventually realize their destruction, and end up spitting out their "ingredients" and putting an end to themselves. Max is like a computer. He goes in these destructive cycles with his headaches and eventually starts hallucinating. Max eventually figures out the magic number, but ends up destroying it as well as "crashing" (or drilling out in this case) the part of him (his computer) that is causing him such turmoil. The last time we see Max is when he is in the park, looking at the leaves in a tree looking actually happy. He isn't being torn apart trying to figure out the mathematical reasons behind life. I think the director had every intention to portray that. It was a very powerful ending, and a very well done movie.
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An excellent mathematical sci-fi thriller.
Traska15 August 1998
I am generally wary of movie portrayals of scientists and people who are supposedly scientific geniuses. It seems that most movie-makers are not scientifically inclined and never manage to do a convincing job. Pi, however, is a very interesting movie and Sean Gullette does a reaonably good job of portraying a genius on the edge of insanity. My fears that this would be another typical bad science movie were quelled very quickly, never to return again. Of course, they didn't get all the details down pat, but most of it was believable (or close) and some of it was correct. Comments on science aside though, I think this was one of the more interesting, and certainly one of the most original, movies I have seen this year.There are provocative metaphors hidden (well, not very deeply) throughout the movie (esp. the bugs), and the subject is so completely novel that it is really worth seeing. In conclusion I would say that if you think a movie about number theory would be boring, in regard to this movie you would be wrong. If, like me, you think a movie about number theory would be exciting but probably done badly, then you will have to accept that this movie is not really about number theory, but about a number theorist. As far as the execution goes though, you needn't worry about it, it is a pleasant relief from the usual.
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quixoboy5 October 2003
I have yet to come even close to fully appreciating the sheer artistry and complexity of Darren Aronofsky's stunning mathematical/sci-fi thriller, "Pi". Watching this film, one can tell from the subdued effects, grainy black-and-white filter, and guerrilla-style filmmaking that this must be a low-budget independent film - NOT to try and downplay its impact, as many independent films can clearly surpass any typical Hollywood movie, in terms of style and subject matter.

"Pi" is a perfectly concrete example of how the relative absence of special effects, explosions, etc. can still help create an engaging, and thoroughly unique viewing experience. Overflowing with intensity and hyperkinetic camerawork, this is a frightening roller-coaster ride of a film; despite clocking in at less than 90 minutes, "Pi" is by no means short on resonance - but rather leaves a heavy feeling of exuberance and fascination with the material that lasts long after it's finished. At the same time, though, people who aren't as open-minded to more obscure, abstract films like this would be, I think, surprised. This is not as complicated or bewildering a film as I had expected. If one can be able to focus intently on the story, the result is rewarding, and doesn't provide for much head-scratching. Its style seems rather modern, rather hip...at times it reminded me of "The Matrix" (which, ironically, was released the FOLLOWING year) what with its slick techno musical score and its flashy opening credits.

To shy away from this film simply because of its math content is to be completely shallow and ignorant. The way it handles the material is a whole lot more interesting than you'd probably think. Like "A Beautiful Mind", "Pi" is an instant classic that serves to re-awaken my erratic interests in my poorest subject, mathematics. It's original, it's interesting, and above all - genius.
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Completely redefines the term "eerie"
B.Carter30 September 1999
Pi is one of those movies that thoroughly freaked me out. I spent the next several hours wandering around in a complete daze. Every aspect of the production lends itself to this. The grainy, B+W, unsteady camera work, the sound effects (esp. the pill popping), the crispness of the narrator and Max's character in general, even more so when compared to the characters around him (which are, for the most part, utterly normal). As a mathematician this movie was utterly intriguing, bringing up facinating points about the interrelations of Math, Nature, and everything in general. But the movie's 'voice' and feel are the true gold mines here.
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Great stuff!
smakawhat15 February 2003
Warning: Spoilers
Filmed in grainy black and white, we enter the world of recluse mathematician Max Cohen (Sean Gullete) who is working for a brokerage firm. Max is hired to find a way to predict the stock market. What's his theory??? All life in the universe is subjected to patterns, and that nothing is just random but based on a series of formulas, calculations, patterns, and that if this is true the market has one. However, the closer Max gets to finding answers, the more insane and mad he seems to be getting. An older mentor warns him that his obsession will kill him, but it looks like that might not be the only thing. Max ends up getting contacted by a Jewish Kabbalah sect who is trying to decode the Torah and can't help but see the similarities to his findings with that of their higher teachings. Also another brokerage firm is set on capturing his formula for their own greedy interests. Finally it seems the apex has hit when Max discovers that the pattern involves something more powerful and higher than he can imagine, and it may be an answer that could be bigger than life itself.

A low budget GREAT concept and PERFECTLY acted little film that will leave the viewer guessing of its outcome. Tense action a good simple thrill ride. Get a good story, good actors, and a good script and you can't fail no matter what the budget.

Rating 8 out of 10
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Senseless, surreal, making-a-fool-of-the-viewer movie.
maurya_1116 April 2005
Warning: Spoilers
First of all, this movie has absolutely nothing to do with mathematics or rationality except the Greek letter pi, which is the number 3,14159265358..., the formulas the main character wrote on a piece of paper in the underground-train and the few statements he cited from famous mathematicians. But relating the number pi with this Jewish religion-thing and with the stock-market is such an absurd idea, I just do not know what to say. No person who has some idea of mathematics would EVER make such abstruse connections.

The viewers, who are so enthused by this film, were only totally blinded by the main character's fits and the "super cool" pursuing-scenes, from which I only got a head-ache.

After a certain time, the movie was only about the sick fits of the main character and these pursuing-scenes, which are totally a pathetic and a desperate way of trying to make the movie fascinating for the viewer.

The movie-maker probably tried to make the movie totally spectacular with the schizophrenia, the fits of the main character, the sickness of the main character in general, the shaking of the camera in the pursuing-scenes, the black-and-white picture. But it did not impress me, it only made me almost throw up.

And by the way, if you bore with an electrical drill into your head, you die or you get totally disabled for life. You do not get away with only losing your intelligence like the main character in the movie.

The average viewer is totally made a fool of, because the movie makes him think that movie-plot is really "intelligent", which it is not, it is just all fictive, incoherent, disconnected and senseless.

And finally, the main character is another totally surreal and unrealistic product of the movie-maker's brain or society. There is always this "thin line" between genius and madness, but it is only cliché which is always applied to all fictive or non-fictive "genius" personalities, but I find this cliché totally ridiculous.
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visually interesting
sulu_993 December 1999
the best thing about this movie: lighting. the stark black and white contrast used worked excellently to illustrated the movie's theme mathematics and nature. the soundtrack worked well and the main drawback is the dialogue, which often came off as trite. the play "arcadia" by tom stoppard covered much of the same material with dialogue that was far superior, but "Pi" is a movie, and delivers what a movie should: compelling sight and sound.
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The descent into madness doesn't always end in chaos...
Mr. White12 November 1999
PI is unlike any film I have ever seen. Shot on a handheld camera in black and white, it has the jitters like a 14 year old wired on Espresso from Starbucks.

The visual style of this film sets it apart from the crowd at the first available moment. Shot in grainy black and white, the filmmaker achieved a dark, and moody atmosphere from which to view the workings of a genius mathematician. A solid choice in my mind, seeing only light and dark, id and ego, alpha and omega, without the clutter of color. His is the world of a mathematician bent on proving order, in a universe of apparent chaos.

The story - a mathematician is seeking order through mathmatics in a chaotic world, using a supercomputer that occupies a good portion of his small apartment. He is, as all good protagonists are, flawed. Max Cohen suffers from a childhood illness - causing him great pain. His search for order, brings him into close contact with a religious group obsessed with numerology, and a group of wall streeters - fighting for the rights to his abilities.

The movie is tough to encapsulate beyond that.

PI is a must see. It may not be your usual fare, but the powerful filming, editing, and offbeat scoring keep you involved throughout the 85 minute run time.

Darren Aronofsky has made a truly unique film, one that put me in quite the same mood as Eraserhead or Videodrome, which I think is more of a compliment to Lynch and Cronenberg given that PI was more riveting, and thought provoking than either of them.

8/10 - PI Will soon be added to my own collection...
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Low key thriller that is interesting rather than intense or gripping
bob the moo28 March 2002
Max Cohen is a mathematical and computer genius who seeks mathematical patterns in everything. However he also suffers from intense headaches, dellusions and some paranoia. He looks into patterns in the stock market only to find his ability sought by both a Wall Street trader, Marcy Dawson, and a Hasidic, Lenny Meyer, who both want the code for different reasons.

Before I saw this I must admit I heard a lot of hype but no actual details – so I was half-expecting an intense `Usual Suspects' thriller mixed with maths. So I was a little disappointed at first. However once over my preconceptions I was able to settle into this. That is, if you can `settle into' something like this. The story is clever it plays on paranoia and delusion – in fact it may or may not happen. Even at the end of the film I was left wondering if Max was a genius or if he was a nutter and all this was in his mind. The film uses this paranoia to create some good scenes and the thumping base music ups the ante a bit.

It's not an easy film to enjoy in the traditional sense, but it is an experience. The subject matter is different enough to be interesting and the telling is clever – I for one can't wait to see what the director does with Batman: year one, it certainly won't be a camp Joel Schumacher film anyway!

Gullette (who also co-wrote) is good in the lead and is totally convincing. Mark Margolis is also good and it's good to see him in different roles, I know him from his strong role in Oz although he's not as good here. The rest of the cast are good – but really the star here is the director as he manages to put us in Max's mind and involve us in the paranoia so thoroughly that we're not sure what is real and what isn't.

Overall this isn't as masterly as the hype suggests but it's different enough and compelling enough to be more than gripping for 90 minutes.
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Things With No Real Answer Should Never Be Questioned.
tfrizzell6 August 2002
Warning: Spoilers
Darren Aronofsky's directorial debut is a hypnotic film that is seemingly just as infinite as the mathematical formula it is based on. Tortured math freak Sean Gullette sits at home in a New York City apartment and tries to figure out a system to predict the stock market. He believes that Pi holds the answer to the otherwise impossible question. Gullette continues to consult number theorist Ben Shenkman, but the closer he gets to what he is looking for the more mysterious Shenkman becomes. Gullette keeps on running into Orthodox Jew Mark Margolis and a representative from a high-powered Wall Street firm (Pamela Hart). It appears that Gullette's work could lead to monetary success for some and the possibility of finding God for the Jewish community. The film is an intensely interesting production that toes the line of cinematic excellence. Made in a month on a miniscule shoe-string budget, "Pi" makes a real case for most memorable film of 1998. The film's huge success (considering the amount of time and money spent on it) would lead to more potent work from Darren Aronofsky ("Requiem for a Dream"). 4.5 out of 5 stars.
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Dark, Gripping, but Falls Slightly Short on Believability
Rob@home2 May 2000
Writers Aronofsky and Gullette have crafted a dark, psychological thriller that centers around, of all things, math and numbers. One would think that there was no way that this could hold anyone's interest, but they managed to pull it off. "Pi" reminds us that genius is just this side of madness, and that great intelligence is a burden as well as a gift.

Gullette plays Max Cohen, the brilliant and tortured mathematician, beautifully and without overacting. His mind seethes with the possibilities that lie waiting inside number systems. However, the strain that his talent places on him results in blinding, hallucinogenic migraines. The scenes where Max falls victim to his ailment are tense, well-directed, and have just the right amount of creepiness.

The one beef that I have with this picture pertains to the other characters who are meant to be the film's antagonists. Two parties - a Wall Street firm and a Hasidic Jewish sect are after Max for his abilities. Neither of these relationships are expanded on enough to make the viewer care about them. Of the two, the sect members are the most believable. However, the stockbrokers and Max's encounters with them scream "film school". The loud-mouthed and overbearing businesswoman is more a parody of "the suits", and doesn't fit in with the rest of the film. You are left thinking that the only reason these characters appeared at all was as a plot device to get Max the parts he needed.

A minor, but nagging point - are we really to believe, in this day and age where nearly everyone has seen the inside of a PC, that Max's super-processor is a black cube with four pins? I saw this film with a bunch of other techie-type folk, and our collective reaction was "he's going to run his calculations on a bridge rectifier?"

All in all, this film is entertaining for those who enjoy offbeat cinema. Those looking for "The Matrix" aren't going to be satisfied at all. Math, science, and computer geeks won't wince too much. Hollywood SFX blockbuster this isn't, but that's not a bad thing. Overall, a good film with a few minor drawbacks.
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The physical pain
haggar4 December 2001
I am sure not many real scientists have survived watching this movie. I personally felt the stupidity literally painful. It hurts even more because it's interspersed with interesting mathematical concepts. I am sad that a great opportunity has been completely obliterated. Certainly, a movie about patterns in Pi, about the Fibonacci numbers, the golden section and (not directly mentioned, but hinted at) fractals, has to be interesting. Right? Well, not really. This movie proves that if you have a certain quantity of daftness in, you can spoil it. "Pi" in particular, had way too much of it.

This movie resambled a highschool jock that read a few columns in a magazine, and is trying to impress the girls with it. Some of the girls will fall for it, no doubt.

To me, it was irritating and stupid.
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The Perfect Number
sol12184 October 2003
********SPOILERS******* Max Cohen, Sean Gullette, is obsessed with numbers. A mathematical genius who earned a PHD at the age of 16 has a theory about the universe and wants to prove it to his own satisfaction. 1. Math is the language of the universe. 2. Everything around us can be understood by numbers. 3. If you graph a number of any system patterns emerge, therefor patterns are everything in nature.

We're told by Max at the beginning of the movie that when he was a little boy his mother warned him not to stare into the sun because it would hurt his eyes, but Max did. He stared so long into the sun that he temporarily went blind. This may be the reason in the movie "Pi" why Max keeps getting terrible headaches and why he's constantly taking medication to relive them.

In his apartment in New York's Chinatown Max built Euclid a powerful computer that he feels can prove his theory. Using the stock market as a model Max tries to prove that even that can be deciphered by his calculations and feeds stock quotes into Euclid to prove his point by predicting their rising and falling in the future.

Patterns are everywhere in nature, Max says, even in the stock market. One afternoon when Max puts Euclid to it's final test to see if his theory is correct the computer crashes. Before it did it printed out a long string of numbers that seemed to make no sense at all to Max who threw it in the garbage.

Hurt that all that he did to prove his theory went up in smoke, Max goes to see his former mathematics and psychics professor Sol Robeson, Mark Margolis, to get some support and sympathy.

When Sol hears that Euclid printed a list of numbers before it crashed he gets very excited and asks Max how many numbers, 100, 1,000 216 how many? Max told Sol that it was all meaningless to him and that he threw it away. Later sitting in a diner Max runs into Lenny Meyer, Ben Shenkman, an Hasidic Jew who's also interested in numbers in the interpretation of the Kabbala. Lenny then tries to get Max interested in the mysteries of the Kabbala. Max doesn't realize at the time but later in the movie when he's saved from a gang of Wall Street goons by Lenny and his Hasidic friends that the number of God in the Talmud is exactly 216 digits! The number that he so foolishly discarded after Euclid crashed! The same number of digits that Sol gave him about how many numbers did his computer print out before it blew. Max, before he found out just what that number meant, starts to realize that there was something in what Euclid's last communication was but that he stupidly threw it away. Going back to the garbage where he threw the paper with the numbers away Max finds that it's long gone.

Earlier in the movie "Pi" we were introduced to an executive of a Wall Street firm Marcy Dawson, Pamela Hart, who was constantly pestering Max to lend his knowledge and services to her firm. Always ignoring and trying to avoid her things changed but after the crash of Max's computer Euclid. It's when Marcy offers Max something called a Ming Mecca chip, which is classified by the US government, Max suddenly becomes interested. Max needs that chip to restart his computer and find out what that important number that he so foolishly threw away was.

With everything set Max starts up Euclid and after some hesitation the elusive 216 digit number comes up on the screen but for some reason doesn't get printed so Max writes it down on a piece of paper and programs it back into the computer. With Euclid giving out information Max then sees that he can predict stock prices ahead of time. It's now that Max realizes that Sol has been keeping this information about a 216 digit number that can interpret all the patterns of the universe from him all these years.

Going to Sol's apartment to confront him about what he found out and why Sol tried to keep him from finding it out, Max is told by a nurse who answered the door that Sol passed away the day before. In Sol's apartment Max sees papers on which Sol wrote about what the same elusive number, God's number, was and what it meant and it seemed that the stress of all that work on Sol's part cause his death.

Max finally realized, what Sol did years ago, that there is some knowledge that is better kept to itself for it's too dangerous for anyone to pursue.

Very weird and at the same time interesting film by Darren Aronofsky about math and what math has to do with the working with the universe and how someone can become so obsessed with it that it can destroy him and everyone else that he comes in contact with.
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Overrated, silly sci-fi movie
funkyfry3 November 2002
I still can't believe all the people who tell me they love this movie. To me, it is the best possible example of style taking over a film, because this is a film with no real substance: instead of a plot, we are simply supposed to believe that this guy has gone insane because of math (with a bunch of pictures from some book to illustrate the possibility) and that he's being chased by mad yiddish people. This is so silly I don't even know how to say it. There are so many fevered dream type sequences that they lose any impact their dynamic visual style gives them by the end of the film.

I was not surprised to see that older voters on IMDB have not rated this film so highly -- they have seen enough movies with quality and substance to know when the director's just putting a mickey over on the audience. Most older people also appreciate it when a movie actually has a story. This movie was made to impress a bunch of people who never understood any math in the first place, but would love to believe they did. For those who have studied esoteric mathematics, this movie is an insult to our intelligence.

A java drama with no heart.
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ShadowKalypso21 April 2007
Warning: Spoilers
This movie honestly confused the hell out of me. Being someone fairly interested/talented in math and science, I was absolutely lost as to the entire mathematical/scientific storyline being completely bogus. After reading some reviews, people don't even seem to mind. 'It's fine the storyline makes no sense,' no, it's really not. That alone was enough to turn me off, but the bad sound (Was that what it was? The music and effects just really started to irritate me, who knows) and over-the-top acting just made it worse.

I'm all for independent cinema, in fact that's the career I'm seriously considering at the moment, but independent is NOT in any way, shape or form an excuse for bad. Writing a scientific, mathematically themed script with 100% bogus science and math is absolutely wrong. Film makers are expected to have done research and know what they are talking about. Pi simply fails, and takes too many cinematic risks that don't equate to a good movie, but rather a poorly thatched together piece. It just didn't work.

Lastly, the religion element was over the top and entirely un-necessary. Those scientifically and religiously minded are typically VERY averse to each other, even if it isn't always so you don't want to mix the two, and doing so in this movie I'm sure turned a lot of people off.
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A promising start for one of the most talented directors of our generation
pere-2536616 May 2019
Unsettling, creepy, tense, surreal. The film is quite similar to Eraserhead (1977), another feature debut of a director (David Lynch) whose surrealism and otherworldly visuals would become a massive trademark. It was a promising start for Aronofsky, who would go on to create many now iconic films that were incredibly unique in storytelling and visual imagery. Nice one 👍
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