Story of a man who simply wants to eat breakfast.
On second viewing I’m still confused as to the repair workers’ murderous motivations, or how Timlin heard the conversation about tattooing anchors and “mother” and snuck inside that kid. If the cop is lying about everything that could explain it. On third viewing I’ve decided the movie’s double-agent loyalties and its inconsistency about scar tissue are nothing to fret about.
Scott Speedman costarred with Kate Beckinsale in the Underworld series, which have Resident Evil-ish posters, which makes me tempted to watch them. Ah no, I guess not.
Best movie I’ve seen in a while. Some hits from the sites:
There are factions in ideological conflict over questions of authenticity, but instead of Phildickian Big Question #1 (What is reality?) this is more about Phildickian Big Question #2 (What is a human being?). Evolution seems to be getting out of hand… is this a good thing or a bad thing?
Kristen Stewart in Vulture:
Itâ€™s really fun to have three scenes. If you donâ€™t nail it, youâ€™re wallpaper. Timlin is so locked up, self-oppressed, wants to be good at her job, and totally represents the rigidity of the government that they live under. And she experiences an awakening in a split second … Iâ€™m very rarely asked to play weird little characters like that.
Vadim Rizov in Filmmaker:
No lines are overtly comic in the sense of being meant as funny by those delivering them, but the audience always knows when to laugh at a particularly weird exchange even as Shoreâ€™s score keeps a straight face … A lot of the dialogue is unapologetically Big Picture thematics, repeatedly drawing links between suffering and its ability to generate art while wondering if the two are really inextricable. But this thematic flexing, which is simultaneously direct and vague (and hence seemingly infinitely suggestive without actually committing to anything), is less absorbing than Cronenbergâ€™s style, a finely honed, mysterious ability to make medium-shot coverage of characters talking on chiaroscuro-shaded stage builds weirdly entrancing.
Amy Taubin and David Cronenberg:
AT: I laughed throughout.
DC: You are the right audience.
AT: And I cried a lot.
DC: And thatâ€™s even better.