Tag: Wally Pfister

TRANSCENDENCE – The Review

TRANSCENDENCE

A couple of good ideas can go a long way. Other times they could be just that – ideas without a proper framework to support them. Wally Pfister’s directorial debut TRANSCENDENCE seems to struggle to find a purpose for the “high-concept” thoughts that seem to expand its own head rather than the audiences. In fact, some audiences might struggle to stay awake during this uncompelling and preachy bore.

After a minor flash-forward that unceremoniously lets you know what will eventually happen, the film opens with Dr. Will Caster (Johnny Depp) as he’s about to give a speech at a science conference. At his side is his loyal wife Evelyn played with heart and emotion by Rebecca Hall. Upon leaving the hall Will is confronted with a shooter who attempts to kill the scientist. This is only one action in what is soon revealed as a series of acts of violence committed by an anti-tech terrorist group; I thought for a second about how they might get in touch with new recruits and communicate with one another but quickly dismissed this logical thought. Even though Will survives the bullet, he cannot stop the poison that the bullet that hit him is laced with. A last ditch effort to save his mind is performed by Evelyn and fellow scientist Max (Paul Bettany) by placing all of Will’s thoughts and memories on several hardrives. This action allows Will and Evelyn to continue their research and to make technological leaps including building a huge underground laboratory where the duo begins to play God by combining the DNA of humans with Will’s computer code. As you can expect, negative repercussions ensue.

Like so many films that came before it, TRANSCENDENCE explores the idea of man’s connection with technology and his abuse of to science in order to play God. At times I began to feel that the film would fit nicely into the filmography of David Cronenberg. In the 80’s and into the 90’s the iconic director bridged the gap between the arthouse and the slaughterhouse with his bloody “body horror” explorations that also tapped into philosophical discussions about the relation between man and machine. He most famously did this in THE FLY and VIDEODROME and then a little bit later with the often overlooked gem EXISTENZ. All three films follow a protagonist who feels empowered by a new leap in technological advancement. TRANSCENDENCE continues this theme nicely, even though I’d argue it might be about ten years too late to the conversation. There’s not any new parts in this machine which makes all the gear spinning all the more tedious when there’s not more energy pushing them. Pfister obviously knows how to present a striking image – which he frequently does here as he previously did working with Christopher Nolan – but his images alone can’t elevate this vacant film. If only Cronenberg guided the film with his twisted mind than it might have had some more life to it.

There are moments where I could see what Jack Paglen was attempting to do with this limp story. What makes us human and whether or not the new “computer Will” really, truly is the human Will are questions that triggered enough of a curiosity in me that I didn’t fall asleep during the film. But I must admit that I was looking at my watch quite a few times. I never felt like I watching a character driven techno-thriller nor did I feel I was being forced to sit through a long-winded science lecture.

TRANSCENDENCE just feels stagnant. It exists and that’s barely an appropriate description of it. Even the actors on-screen acted as if they are there to just collect a paycheck. My iPhone’s Siri shows me more of a range of emotion than Johnny Depp. Morgan Freeman fills space in the handful of scenes he’s in occasionally mumbling some useless non-sense. The only actor that seems to care is Rebecca Hall, and in contrast with everyone else she seems like she’s auditioning for a Spanish soap-opera.

TRANSCENDENCE sets up a basic premise and doesn’t go anywhere with it; unless you count some lackluster CGI sequences that show what I can assume is computer code floating up into our atmosphere. At this point I didn’t even care enough to analyze the science behind it all, not because I’m particularly gifted in the subject (which I’m not), but because the film didn’t give me anything to care about. I felt nothing, and I don’t think “computerized Will” needs to do a full body scan to figure out how I feel about this one.

1.5 out of 5

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New Photos From Wally Pfister’s TRANSCENDENCE – Stars Johnny Depp

TRANSCENDENCE

Set in a not-too-distant future, TRANSCENDENCE explores the very real possibility that humans—in our attempts to create a better, more efficient, more self-sustaining world through technology—can go too far. For emotions are not always positive: doesn’t a machine that has the capacity for kindness also have the capacity for menace?

Wally Pfister, a renowned cinematographer making his feature directorial debut on the film, states, “I was struck by the power and the weight of the ideas in this story, which I think are very much on people’s minds right now.”

“Transcendence” proposes that we can achieve what’s been called singularity. Pfister comments, “As we define it for the film, singularity is basically the uploading of the human brain into a super computer: the duplication of every synapse, every neuron…every bit of activity in the brain goes into a machine, which then becomes sentient.”

TRANSCENDENCE

The film seeks to exemplify the coercive nature of the machines we create and how they control us as a culture. It is a path one could argue we are already on, and the film endeavors to project where we could be in 10 or 20 years as revolutionary, exciting…and equally troubling.

Johnny Depp stars as the scientist who not only provides the breakthroughs to make singularity—transcendence—possible, but whose brain becomes its first test subject.

“What I really found intriguing about this story was the idea that one man with a brilliant mind, a simple guy who adores his wife and does the crossword puzzle every morning, is able to take his expertise to the point where ego, power and passion could ultimately evolve him into something of a mechanical god.”

TRANSCENDENCE

“Imagine your brain suddenly being able to connect to the Internet, to have access to every bit of information there—financial, medical, political…” Pfister posits. “What would you do with that kind of knowledge, that kind of ultimate power? Would you use it for the greater good, or your own gain, or something else entirely? This film gives moviegoers a chance to see the possibilities and wonder if it’s a choice they’ll ever have to face.”

The filmmakers and cast reflect that the movie poses some profound questions within its sci-fi storyline, and raises some thought-provoking scenarios about the effects that advancing, evolving technologies might have on our culture and on us as individuals.

“People have been fighting wars over ‘my god is better than your god’ for thousands of years,” Depp says. “In the 21st century, I think it’s appropriate to look at the way human beings worship technology and what that could mean for our future. Whether you’re on the side of technology or ecology, a pacifist or an extremist, most people have very definite opinions, and the question of how far we should allow our dependence on computers to go is a question that needs to be asked.”

Pfister summarizes, “According to the experts, artificial intelligence of the sort we present in ‘Transcendence’ is coming, like it or not. What I wanted to do with the film is give people a peek into one direction our world could take in the coming decades, and engage them in an emotional, moral and intellectual debate about this very timely topic in a way that is both thought-provoking and entertaining.”

TRANSCENDENCE

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Dr. Will Caster (Johnny Depp) is the foremost researcher in the field of Artificial Intelligence, working to create a sentient machine that combines the collective intelligence of everything ever known with the full range of human emotions. His highly controversial experiments have made him famous, but they have also made him the prime target of anti-technology extremists who will do whatever it takes to stop him.

However, in their attempt to destroy Will, they inadvertently become the catalyst for him to succeed—to be a participant in his own transcendence. For his wife Evelyn (Rebecca Hall) and best friend Max Waters (Paul Bettany), both fellow researchers, the question is not if they can…but if they should.

Their worst fears are realized as Will’s thirst for knowledge evolves into a seemingly omnipresent quest for power, to what end is unknown. The only thing that is becoming terrifyingly clear is there may be no way to stop him.

TRANSCENDENCE stars Oscar nominee Johnny Depp (“Finding Neverland,” the “Pirates of the Caribbean” films), Rebecca Hall (“The Town,” “The Prestige”), Paul Bettany (“The Da Vinci Code,” “A Beautiful Mind”), Cillian Murphy (“Inception,” “The Dark Knight Rises”), Kate Mara (“House of Cards,” “Shooter”), Cole Hauser (“Olympus Has Fallen”), Clifton Collins, Jr. (“Star Trek,” “Pacific Rim”) and Oscar winner Morgan Freeman (“Million Dollar Baby,” the “Dark Knight” movies).

TRANSCENDENCE opens in theaters April 18

http://www.transcendencemovie.com/
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Photos: © 2014 ALCON ENTERTAINMENT, LLC. ALL RIGHTS RESERVED

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New TRANSCENDENCE Photos Of Johnny Depp, Morgan Freeman And Cillian Murphy

TRANSCENDENCE

Johnny Depp stars as Will Caster in two new photos from Alcon Entertainment’s sci-fi thriller TRANSCENDENCE.

In theaters April 18, 2014, Depp plays Dr. Will Caster – the foremost researcher in the field of Artificial Intelligence, working to create a sentient machine that combines the collective intelligence of everything ever known with the full range of human emotions.

His highly controversial experiments have made him famous, but they have also made him the prime target of anti-technology extremists who will do whatever it takes to stop him.

However, in their attempt to destroy Will, they inadvertently become the catalyst for him to succeed—to be a participant in his own transcendence. For his wife Evelyn (Rebecca Hall) and best friend Max Waters (Paul Bettany), both fellow researchers, the question is not if they can…but if they should.

Their worst fears are realized as Will’s thirst for knowledge evolves into a seemingly omnipresent quest for power, to what end is unknown. The only thing that is becoming terrifyingly clear is there may be no way to stop him.

TRANSCENDENCE
(L-r) MORGAN FREEMAN as Joseph Tagger, CILLIAN MURPHY as Agent Anderson, JOHNNY DEPP as Will Caster (on monitors), and REBECCA HALL as Evelyn Caster

Alcon Entertainment presents TRANSCENDENCE, starring Oscar® nominee Johnny Depp (“Sweeney Todd: The Demon Barber of Fleet Street,” “Finding Neverland,” the “Pirates of the Caribbean” films), Paul Bettany (“The Da Vinci Code,” “A Beautiful Mind”), Rebecca Hall (“The Town,” “The Prestige”), Kate Mara (“House of Cards,” “Shooter”), Cillian Murphy (“Inception,” “The Dark Knight Rises”), Clifton Collins, Jr. (“Star Trek,” “Pacific Rim”) and Oscar® winner Morgan Freeman (“Million Dollar Baby,” the “Dark Knight” movies).

TRANSCENDENCE marks the feature film directorial debut of Oscar®-winning cinematographer Wally Pfister (“Inception,” the “Dark Knight” movies). Pfister directed the movie from a screenplay by Jack Paglen.

Oscar® nominees Andrew A. Kosove and Broderick Johnson (“The Blind Side”) are producing the film with Kate Cohen, Marisa Polvino, Annie Marter, David Valdes, and Aaron Ryder.

Pfister’s behind-the-scenes collaborators include director of photography Jess Hall (“Brideshead Revisited”), production designer Chris Seagers (“X-Men: First Class”), Oscar-nominated editor David Rosenbloom (“The Insider”), costume designer George L. Little (“Zero Dark Thirty”), and Oscar-nominated visual effects supervisor Nathan McGuinness (“Master and Commander”). The music is composed by Mychael Danna, who won an Oscar® for his score for “Life of Pi.”

http://www.transcendencemovie.com/

Photos: ©2013 Alcon Entertainment, LLC. All Rights Reserved. Photo Credit: Peter Mountain

THE DARK KNIGHT RISES – The Review

Whenever a fan-favorite franchise as popular, and with such history is undertaken by Hollywood, the primary question is always “Will it succeed, or will it get butchered?” The Batman property first took theatrical form in the capable, yet recently more volatile hands of Tim Burton, who delivered us two very stylized but still enjoyable versions of the Batman lore. I’ll refrain from commenting on the 3rd and 4th entries into the Batman filmography, which then brings us to the relatively young, but extraordinarily talented — perhaps even genius — vision of director Christopher Nolan. Now seven feature films into the DC Comics based franchise, the question must still remain on the fans’ tongues… “Does it work?”

In short, the answer is an emphatic, ecstatic yes, Yes, YES! Christopher Nolan has for some time now led us to believe this third installment of his Batman interpretation will be his last. Following BATMAN BEGINS and THE DARK KNIGHT, THE DARK KNIGHT RISES serves as a superbly well-rounded grand finale to the trilogy. Co-written with his brother Jonathan Nolan and the writer who really gets around, David S. Goyer, THE DARK KNIGHT RISES is highly effective at utilizing every last second of the 164 minute running time. The film picks up some time after the previous film. Harvey Dent is dead, but his legacy lives on through the Blackgate Prison, housing some 1000 of Gotham’s most dangerous and violent criminals, essentially rendering Gotham City nearly crime free. As we discover what the post-Joker Gotham City has become, we also discover that Batman has seemingly retired as Bruce Wayne is now a reclusive hermit with health problems.

On the surface, one would think Gotham City is turning around and all is safe, but we know better than this, do we not? Commissioner Jim Gordon (Gary Oldman) is the only man in Gotham still uneasy about the fate of his city, as the mayor and the rest of the police force have bought into the new peace, mocking Gordon in his skepticism. However, there is one cop who shares Gordon’s uneasiness and his name is John Blake (Joseph Gordon-Levitt). Gordon’s paranoia is not without reason, as THE DARK KNIGHT RISES is a slow burn mystery as the master plan in progress by this film’s villain gradually develops and unfolds like a fiendishly intricate piece of paper origami with a deadly surprise waiting at the center.

Enter Bane, to whom we are introduced at a very early stage in THE DARK KNIGHT RISES. We witness the transport of a mysterious criminal/terrorist by the CIA, a large man bound and blinded with a black hood loaded onto a plane. From the very beginning, something feels unavoidably tragic about this transaction. This scene spares no time in showcasing Bane (Tom Hardy) as a powerful, strong and intelligent enemy. Bane is a hulking, bald man who wears an ominous mask housing what appears to be a breathing apparatus of some sort. For those who are not familiar with the storyline from the comic books, this plays a significant role in the film, one which I will not spoil. You’re welcome.

Tom Hardy (WARRIOR) truly captures the essence of Bane, the comic book villain that has become known as Batman’s greatest foe, even over his age-old arch-nemesis The Joker. What truly stands out about Hardy, aside from the shear bulk he developed for the role, is that he portrays the character so well with a performance that is solely physical in nature. As Bane must wear the mask at all times, Hardy is unable to use his voice, and is limited with his facial gestures, forcing him to convey every nuance and emotion through his body. It’s quite remarkable to watch, but I feel a second viewing is necessary to truly appreciate this, as the film is so fully engrossing that it’s quite difficult to focus on any one single element during the initial viewing.

Months ago, a talking point hit the Internet about Bane’s voice. The issue revolved around the audience’s ability to easily understand Bane’s dialogue given that Hardy was forced to speak through the mask apparatus the entire film. This was arguably an issue, and in the end, the film does prove to have employed ADR — Automated Dialogue Replacement, or looping — which allows the filmmaker to go back after filming has completed and replace the existing dialogue with that of a different or better quality. This was a smart decision, as many viewers would have likely found themselves distracted by a struggle to hear the character and understand the story. On the other hand, I do have one… let’s call this a curious observation, as it’s not really a complain, but, I found that Bane sounds surprisingly like Sean Connery. There is no evidence that he provided the new dialogue, but it sure sounds similar and I found myself minimally distracted, but curiously entertained by this notion.

There are those who had their doubts about Anne Hathaway being cast in THE DARK KNIGHT RISES, but I was not amongst their ranks. I’ve held an appreciation bordering on respect for her talent for some time, so finding her cast as Selena Kyle — known in the DC Comics Universe as Catwoman — has my interest peaked. As it turns out, Hathaway (LOVE & OTHER DRUGS) delivers a low-key performance with the appropriate sarcastic humor and sharp wit without over-reaching in her role. With the help of a very well written character, Hathaway captures the physicality, sexiness and personality of Selena Kyle with astonishing accuracy, ranking her above Michelle Pfeiffer, in my book.

THE DARK KNIGHT RISES does an exceptional job at staying relatively true to the source material, an area in which I could spend endless and lengthy words, going into great detail elaborating and analyzing, but that wouldn’t do you — the reader — any justice whatsoever. IF you’re a reader of the comic books, little of the story itself will be of much surprise, but the film itself will be a highly rewarding experience to accompany your existing knowledge. For those unfamiliar with the comic books, SEE THE MOVIE FIRST! Why? This film is so well done, and serves as such a solid introduction, it will be best to delve into the comic books after seeing the film to fill in all the details and texture of the monumental Batman story arc.

Director Christopher Nolan continues to prove he is a force to be aware of in Hollywood, rapidly becoming the most powerful filmmaker in Tinsletown. To our great benefit, he has developed a strong, ongoing relationship with cinematographer Wally Pfister and composer Hans Zimmer. Thank God, because this has led to a trilogy of films that look and sound absolutely breathtaking. Batman demands the criminal’s attention, so it’s fitting that this trio of creative artists render the Batman lore as equally demanding of the viewer’s attention. Christian Bale continues to deliver as Bruce Wayne/Batman, still growling at the bad guys, but slightly less so as to water down the excess and becoming less of a distraction.

Viewers prepare yourselves. Get ready to rumble and relish in Batman’s action-packed swan song, or is it? I’ll say no more, but I will merely point out that this film has plenty of surprises, suspense, incredibly choreographed fights between Batman and Bane, and even some bad-ass, long-legged butt-kicking by Anne Hathaway. As usual, there are plenty of cool toys featured in the film, a couple of distinctly hilarious tongue-in-cheek moments, one of which is a humorous epiphany delivered by Batman himself. THE DARK KNIGHT RISES also delivers on the heart strings, featuring one specifically tear-inducing moment between Alfred (Michael Caine) and Bruce Wayne. Marion Cotillard rounds out the cast, playing fellow philanthropist Miranda Tate, along with return performances from Morgan Freeman as Lucius Fox and a cameo appearance from a previously featured villain.

While THE DARK KNIGHT RISES serves as the perfect finale for an incredible three chapter story, it also raises many questions for the audience, especially fans, while not leaving any significant loose ends. If your cinematic experience with THE DARK KNIGHT RISES is anything like mine, you’ll leave the theater energized, excited and fulfilled, while also desperately desiring more from the new master of “the caped crusader.” Personally, I feel privileged to have been exposed to Batman in such light, but also feel like the cinematic legacy of The Dark Knight has only just begun to tap it’s true potential.

Overall Rating: 4.5 out of 5 stars