Juggling angry Russians, the British Mi5, and an international terrorist, debonair art dealer and part time rogue Charlie Mortdecai races to recover a stolen painting rumored to contain a code that leads to lost gold.
In a future where people stop aging at 25, but are engineered to live only one more year, having the means to buy your way out of the situation is a shot at immortal youth. Here, Will Salas finds himself accused of murder and on the run with a hostage - a connection that becomes an important part of the way against the system.
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. Written by
Continuing his outspoken advocacy for the use of film stock over digital formats, Cinematographer Wally Pfister not only chose to shoot the film in the anamorphic format on 35mm film instead of on a digital camera, but also finished the film photochemically, refusing to use a digital intermediate. See more »
When Will Caster is leaving the hospital and brought out in a wheelchair, he is wearing a hospital scrub for his shirt. This is highly unlikely because hospitals issue examination robes, not doctor's scrubs, to patients. Hospitals guard their supply of scrubs and keep them in doctor's changing rooms, not in the ER or patient rooms. See more »
They say there's power in Boston. Some phone service in Denver. But things are far from what they were. Maybe it was all invevitable. An unavoidable collision between mankind and technology. The Internet was meant to make the world a smaller place. But it actually feels smaller without it. I knew Will and Evelyn Caster better than anyone. I knew their brillance. Their dedication to what they believed in. And to what they loved.
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Exceptionally good at many things, superb at nothing
Critics and wannabe critics alike really lashed into this one. And I guess I have them to thank for me liking (not loving) this movie, as they lowered my standards significantly before I walked into the theater. Like them, my expectations were sky-high. I figured since Wally Pfister has been Christopher Nolan's cinematographer since 2000's Memento, maybe some sort of slow-release genius-osmosis had taken place, and Transcendence would be a stellar thriller/head- scratcher like we've come to expect from Nolan. Well, the cold hard fact is that it's not. But it sure isn't terrible.
As scientists are on the verge of a new breakthrough in A.I. technology, a rouge terrorist group known as RIFT begins knocking off labs around the country. One of their antics is the assassination, by radioactive poisoning, of scientist Dr. Will Caster. As his body slowly deteriorates, his wife and his partner work frantically work on a way to upload his mind to a computer, thus allowing him to continue his research. And as anyone could've guessed, the plan goes completely to hell.
Transcendence is not excellent, but it's also not the travesty that reviews from people more reputable than me are calling it. The main problem is the script. An excellent script can make you buy into even the most ridiculous of plots, but first-time-writer Jack Paglen's script never finds a constant tone, is unevenly paced, has underdeveloped side plots, and keeps you at arm's length from any connection with the characters and the story. In other words, it doesn't raise up any concerns or ideas we haven't already seen, and the shallowness of the script gives you plenty of time to question the incongruence of the story.
Other than that, Transcendence is pretty good. Pfister's direction is expedient, and he avoids the jumpy camera syndrome that typically plagues these kinds of movies. In fact I was even getting trappings of Chris Nolan's directing style at times (is it just me?). The ensemble performance from the cast is solid. The cast list may look like Nolan's leftovers, but they do an excellent job, and they make better use of the paltry script than I thought possible. Even though Pfister was behind the camera and not the cinematographer, you think he was going to let his baby look mundane? While not as gorgeous as, say Inception, Jess Hall hits it home and makes Transcendence look properly futuristic while still squeezing in some contrasting elements of nature in almost every frame.
Does 6 stars seem too high? I don't think so. In my mind, 10=revolutionary, 9=excellent, 8=very good, 7=pretty good and 6=jusk OK. An airtight script that rises up to the challenge was all that was needed to make Transcendence truly, um, transcendent. But it doesn't, and the lackluster script affects every other technical aspect of this film like a virus, and makes Transcendence a pretty- to-look-at popcorn movie. I know this is Wally Pfister's first time in the director's chair, but I still feel he was capable of making a film more nuanced than this.
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