One reviewer suggests that when the lights come up, you might find yourself thinking about the true meaning of intelligence, yeah, but only as to whether all film criticism is the real answer to whether AI exists, that is, how to find meaning where none exists and no real character development has taken place, leaving the reviewer to conjure it artificially for the sake of his critique.
This movie had little plot, the twists were telegraphed-spoiler alert-you knew that young Caleb would not leave the lonely mountain range alive from the moment the helicopter landed there-and the music told you the rest. Thank god, because all the other stuff these reviewers imagined developed between these characters, the over achieving egoist, his pale techy antagonist and the cool and calculating female character, just didn’t happen.
The script leaped from one vague interaction to another with no connecting tissue, just some reviewer’s desire to find some kind of (well) hidden meaning in this otherwise useless exercise, ultimately, in the difficulty of designing the perfect woman who can be controlled absolutely. Fortunately, the filmmaker failed there too.
Desperate for some escapism last week, I had seen the Age of Adaline which was mostly forgettable. There were a couple of things to draw the attention and displeasure of any viewer with a passing acquaintance of San Francisco in the way that they flubbed many of the identifying scenes-like the address on 18th Street which resembles no corner or view of that street in the Mission/Castro and the lions at the main library, a scene most probably filmed in Manhattan.
But, if you went just for the popcorn, you might have enjoyed a couple of moments watching the aging but still romantic countenance of Harrison Ford at his most vulnerable since Regarding Henry, an emotionally manipulative movie which I can’t help watching whenever it reappears on television.
Here’s hoping for a better movie-watching experience next week!