BULLSEYE OR MISFIRE: Transcendence Reviews
By Dr. Know on April 18th, 2014
Critic Reviews for Transcendence
The directorial debut for ace cinematographer Wally Pfister is always watchable, but the narrative flaws and logical leaps sabotage sustained enjoyment. “Transcendence” looks and sounds like a Christopher Nolan film that got attacked by malware.
The question of whether we’re too tied to technology and when or if it will prove our downfall is undoubtedly important and probably somewhat pressing. It certainly deserves a better movie than “Transcendence.”
Soon the worlds of technology and humanity collide – super-medicine, super-intelligence, super-ecosystems, super-confusing!
Lost in the land of mind over matter, Transcendence is too much trance and not nearly enough dance.
Bold, beautiful, sometimes confounding flight of futuristic speculation firmly rooted in the potential of today’s technology.
An ambitious and provocative piece of work that is intriguingly balanced between being a warning and a celebration.
If Will’s goal was for PINN to also experience the full range of human emotions, he failed, for Depp’s performance here is cold and robotic.
The whole of “Transcendence” feels more in tune with computers than it does with people. It has some intelligence of the artificial kind, but it could have used some heart.
That the idea isn’t new – rather, a rite of passage for HAL-9000, Data and every droid since – may be a demerit, but at least there is an idea.
As a human tragedy of man and monster, of beauty and beast, it has just enough genuine pathos that you wish it were better.
Cinematographer Wally Pfister, making his directorial debut, shouldn’t quit his day job, especially after accepting this dreadfully dull script from Jack Paglen.
Pfister proves to be as clever a storyteller as he is a painter of moving pictures.
Depp appears mostly from the waist-up on a computer screen, mumbling in a monotone voice that would lull a cup of coffee to sleep.
…possesses a lot of the same handsome camera work that seamlessly melded with special-effects in Nolan’s “Inception” for which Pfister won the Oscar. It is the story and in particular the film’s closing act that lets the entire production down.
The Lawnmower Man, Max Headroom and Johnny Depp walk into a bar. They get drunk and decide to make a movie.
The picture doesn’t stake out any new genre territory, but it has a warm emotional core-it’s really a love story.
The only truly transcendent element of the film is how Johnny Depp, now 50 years old, transcends all signs of aging!
Doesn’t transcend the trappings and pitfalls of the genre.(Full Content Review for Parents also Available)