Two strangers find their lives colliding in an impossible way. Alex is a methodical cargo thief working for a dangerous cartel. Sam is a determined paramedic trying to save the world while running from her past.
Two men are stranded at the bottom of a well. One, with a serious injury to his head, thinks his has fallen in is own back garden in present-day Britain. But the other tells him they are really prisoners in a medieval dungeon. Who is right, and where are they really?
Nathan Holmes and his girlfriend Ashlee have the perfect life together - a storybook romance - but Nathan is a man possessed by intense and disturbing dreams. His psychiatrist, Dr. Cameron ... See full summary »
Because of budget restraints, Frank's apartment, the hospital room and Fletcher's prison cell were all shot in the director's house. See more »
From the 6' mark forward, when Frank has his first conversation with Howard, one can see one or two persons moving behind him, in the dark reflection off the glass plate in front of Howard's camera lens. See more »
[upon waking up]
[voice coming from camera]
What is this?
How ya feeling?
Whoa, whoa, easy. Might want to give it a bit before going for a stroll.
You don't remember?
I was shot. In the back.
[...] See more »
"The Infinity Chamber" is a Kafkaesque mashup that borrows heavily from "The Trial," "Groundhog Day," "Edge of Tomorrow" and "2001: A Space Odyssey" in a not entirely coherent tale set partially in a dystopian future and partially in a coffee shop from the 1970s, then abruptly changes its premise regarding the innocence of a main character and the nature of society and devolves into an sophomoric allegory to Gitmo, or possibly an existential phenomenological statement on the nature of reality.
Along the way, it explores two B-stories, one concerning a romantic interest, the other some sort of guilt over the death of a parent, neither of which seems particularly compelling or relevant, although the love story provides some sort of anchor to an ever-shifting external reality.
The production was obviously accomplished on a limited budget, although they managed to use their resources effectively. There are only three main characters, one of whom is only heard. But the acting is capable and the dialogue is clever. Cinematography and production design are more than adequate, with a refreshing lack of the distracting jiggly-cam shots seen in many films. The main character has a monochromatic B&W wardrobe, which reflects the white of his memories and the black of his cell, although it would take a greater measure of perspicacity than I possess to understand why he wears one color or the other or layers them. The 1970s décor of the coffee shop seems calculated to reinforce the notion that he is somehow travelling back in time, possibly within some sort of alternative reality, as if rebooting a computer. The proprietor is a rather ordinary earth-mother stereotype, seemingly chosen to reinforce the notion that she represents reality, as contrasted to the surreal chamber.
In some regards, there seems to be a lot of thought given to the symbolism and underlying theme, but it all seems to have been abandoned in the last act. After a somewhat ponderous and often repetitive first and second act, all pretense at a loftier cerebral message seems to have been discarded in a last-ditch effort to reach closure and pick up the pace. Despite a promising beginning, it ends seeming sophomoric and pretentious. As a student film school production, it would undoubtedly receive top marks. As a commercial production, it seems disappointing.
16 of 37 people found this review helpful.
Was this review helpful to you?
| Report this