It's sometime in the near future. Largely on affordability, one in twenty people have Zoe implants inserted at birth, they manufactured by EYE Tech. The implants record what the host sees over his entire life. It is the job of a cutter to edit the footage post-mortem into a rememory for loved ones, it the official record of only the good, editing out for posterity the bad, the ugly and especially the very ugly. Ethically, cutters cannot combine footage from more than one implant for a rememory, cannot sell footage, and cannot have an implant himself. Alan Hakman is known to be the best cutter in the business in his seeming detachment from his subject matter, especially in needing to view that very ugly without judgment. He is arguably able to do so in being a loner, he having a cordial enough business relationship with fellow cutters, with his current girlfriend, Delila, the only other person in his life with some meaning to him. His work and that of his fellow cutters is getting more...Written by
In this movie, Robin Williams is bound by the Three Codes from "The Cutter's Code." Five years before, the character he portrayed was bound by the Three Laws of Robotics in Bicentennial Man (1999). 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, or the camera was shooting from too low. See more »
"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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