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
In this feature, Robin Williams was bound by the Three Codes from "The Cutter's Code." Five years before, Robin also was bound by the Three Laws of Robotics in Bicentennial Man (1999). See more »
At the beginning of the film, a young Alan Hakman looks at the body of a boy who has fallen from a great height, lying in a puddle of blood. Later in the film, we revisit this scene in a flashback and learn that the puddle is actually a can of red paint that Hakman has knocked over. But in the first scene, the puddle is already there before Hakman approaches the body, and we never see him knock over the paint. See more »
It's the kind of film provoking many ethical questions about life, death, privacy and so on. Omar Naim's direction gives a glimpse into possible science discoveries and paths; its strong originality consists of showing how the state of civil rights could be threatened if these futuristic odyssey came true. The whole film is based on a steady premise, very solid performances and an impressive visual style, though special effects are not as special as one could think (given this title and this plot). Robin Williams is now accustomed to playing such frightening and alluring roles; after "Insomnia", "One hour photo" and this flick "Dead Poets Society" is now a far memory.
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