No clever segue. I just feel like watching a movie that I haven’t seen. Getting used to watching Netflix shows and movies without the worry of transfer reviews anymore.

The story looks like it takes place in a future where people have computers in their heads that record everything, so there’s no anonymity of any kind. But it turns out that a hacker kills a dude and the hero is teamed up with a woman who has no identity and it soon becomes suspicious that she might be the killer, despite her saying that she’s not.

Here’s the cast. Starring, we have Clive Owen (VALERIAN [2017], and upcoming films THREE SECONDS [2018] and GEMINI MAN [2019]) and Amanda Seyfried (FIRST REFORMED [2018], LAST WORD [2017], TED 2 [2015], MAMMA MIA! [2008], and the upcoming MAMMA MIA! HERE WE GO AGAIN [2018]). In support, we have Sonya Walger (LOST [2004 – 2010], TERMINATOR: THE SARAH CONNOR CHRONICLES [2008 – 2009], and upcoming films DEPARTURES [2018] and BAD IMPULSE [2018]), and Alyson Bath (4 episodes of THE 100 [2014 – ongoing] and 3 episodes of LINGERIE [2009 – 2011]).

Now for the crew. Writing and directing, we have Andrew Niccol, known for THE HOST (2013), GATTACA (1997), and the upcoming GEMINI MAN. Composing the score is Christophe Beck, known for GRINGO (2018), AMERICAN MADE (2017), TROLLS (2016), THE PEANUTS MOVIE (2015), PITCH PERFECT (2012), and upcoming films ANT-MAN AND THE WASP (2018) and HOLMES AND WATSON (2019). The cinematographer is Amir Mokri, known for BIRTH OF THE DRAGON (2017), PIXELS (2015), and the upcoming SUPERFLY (2018). Finally, the editor is Alex Rodriguez, known for CHILDREN OF MEN (2006).

Overall, not exactly stoked for this, but it looks trippy enough for a single viewing.

This is my honest opinion of: ANON

 

(SUMMARY)

Set in the future. Most everyone has been cybernetically enhanced with what’s called “The Mind’s Eye,” essentially a networked computer in their brains that records and documents everything and everyone that we look at, leaving privacy all but extinct. However, this new way of life becomes threatened when Detective Sal Frieland (Clive Owen) investigates the murder of a man whose Mind’s Eye was hacked. Believing a woman that happened to walk by on the street (Amanda Seyfried), who was registered as an unknown, might be the culprit he’s looking for.

(REVIEW)

This has not been a great week in movie watching for me. Seemingly everything that I see is boring. Mmph… alright, let’s get to it.

The primary reason behind the boredom is the acting and possibly directing. There isn’t a single emotional line delivery. Everyone talks like a robot, speaking monotoned, and only one facial expression that suggests no one on set wanted to be there. I’m sure someone out there wants to say that’s the point of the story, that this is a society of robots and there’s a splinter faction of individuals who want to be separated from the system. Thing is, that group is represented by Seyfried’s character, who isn’t any more expressive or emotional than any other character in the movie, so it’s difficult to distinguish the contrast between points of view. And because everyone speaks so dulled, with no passion from the actors, no one in the story truly feels like they’re invested in anything. So if the characters or actors aren’t invested, how can the audience? During the first murder investigation scene, the hacked people are shown the POV of the murderer, not their own. Yet, they constantly turn around in circles and don’t ever resist their own murders in any way. They just scream, “What do you want?! Please don’t kill me!” So I was thinking maybe they weren’t actually seeing anything, they were somehow… blinded? I don’t know, it was never clearly defined. If they saw themselves through the killer’s eyes, why did no one attempt to fight back or anything? This happens to be the case later on when a character uses the killer’s POV to fight back. Unless it was a lucky shot, which I doubt, so this traces back all the way to beginning and we just see dumb-ass people letting themselves get killed.

We barely learn anything about the core characters. Sal’s a dedicated cop. Great. So? That describes nearly every protagonist cop in cop movies. Nothing makes him unique or all that interesting. Sure, we know he had a son who died, resulting in a divorce from his now ex-wife Kristen (Sonya Walger). But seriously, one could probably have removed all of those scenes and the movie would have progressed just fine. It’s not like looking back on these painful memories really sparks a damned emotion anyway. We also don’t learn anything about The Girl at all, other than she hates the networked system of no privacy. Seems pretty standard in a world like this, but the motivations are too generalized to garner any real sympathy or care. There’s not much else to say about it as there isn’t much revealed.

And here’s something that bothered me, the gratuitous nudity and sex scenes. Some of it weirdly makes sense in the context of the scenes they’re inserted it, particularly anything involving the high-end call girl Krystal (Alyson Bath). They certainly last a little longer than necessary, but what particularly strikes me as useless is anything involving Seyfried’s body. That’s about as gratuitous as it gets in this movie and we see a ton of recycled footage of her tits, and I won’t lie, I got a little uncomfortable, as these moments barely seem like they needed to be in the movie. Same with the sex scenes. This semi-quasi-romantic relationship between The Girl and Sal felt so forced and have almost zero chemistry.

There’s really not much to this sci-fi thriller. It doesn’t look like anything special, it’s boring on all accounts, and barely goes anywhere with its own ideas. As a recommendation, I say pass on this one, folks. It ain’t worth your time.

My honest rating for ANON: 2/5

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4 Replies to “Netflix review: ANON (2018)”

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