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#1 of 11 OFFLINE   Matt Hough

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Posted January 16 2010 - 01:36 PM

Surrogates (Blu-ray)

Directed by Jonathan Mostow

Studio: Touchstone
Year: 2009
Aspect Ratio: 2.40:1   1080p   AVC codec
Running Time: 89 minutes
Rating: PG-13
Audio: DTS-HD Master Audio 5.1 English; Dolby Digital 5.1 Spanish, French
Subtitles: SDH, French, Spanish
Region: A
MSRP: $ 39.99

Release Date: January 26, 2010
Review Date: January 16, 2010
The Film
A sci-fi thriller with an interesting premise that does a pretty good job hiding its plot inconsistencies and believability stretches, Jonathan Mostow’s Surrogates is better than its middling box-office performance might lead you to believe. A top-flight production with excellent special effects and a nice acting challenge for Bruce Willis in two leading roles provides the film with a high degree of accessibility and some thoughtful musings on the value of the human touch.
In the not-so-distant future, human beings have chosen to live their lives through surrogates: perfect, youthful android-like mechanisms who are tied into their hosts’ thought processes in such as way that they are virtual extensions of the original live beings. With life-threatening dangers from urban living now a thing of the past (since the hosts “think” their robotic alter egos from the comfort of their own homes), crime rates have gone down, and life is good for most of the world. But there are factions of the civilized world who don’t like the idea of humans not living in the real world, and these protesters have gotten their hands on a machine gun-like weapon that not only destroys the androids but the hosts on the other end of the thought waves, too. Detectives Thomas Greer (Bruce Willis) and Jennifer Peters (Radha Mitchell) are hot on the trail of the destroyer weapon and the man (Jack Noseworthy) who’s firing it, but that information only leads to a more sinister conspiracy at higher levels of control both on the human anarchist side led by The Prophet (Ving Rhames) but also from the eccentric inventor (James Cromwell) of the surrogate technology whose son’s surrogate is among the first to be wiped out by this weapon of potential mass destruction.
After directing Terminator 3: Rise of the Machines, Jonathan Mostow now undertakes another doomsday thriller. Here, in a very compact eighty-nine minutes, he crams together two very well done chase scenes and a clock-ticking climax with literally the entire world on the brink of extinction. The premise of John Brancato and Michael Ferris’ interesting screenplay was taken from a graphic novel by Robert Venditti and Brett Weldele. The idea of a couch potato society operating through their brain waves using (often but not always) physically perfect specimens of the real humans is a very novel one (the film begins with an excellent sequence condensing fourteen years of scientific theory that leads us to the point of the start of the story), and for a change instead of the robots going awry, it’s actually human beings who are on the verge of annihilating their marvelous inventions along with the rest of the world as we know it. There are some missing links in the story construction which make the film noir-like mystery the detectives are trying to solve a little less than smoothly presented, but by the end of the movie, we understand the key heroes and villains and recognize the justifications behind their actions. But Bruce Willis’ real persona must survive a horrific car crash that surely would have killed any normal human being, and yet he walks away from it with only minor abrasions to his face. Leave your sense of disbelief at the door before watching this film.
Bruce Willis plays two roles in the film: his human counterpart and the idealized twenty-years-younger version of himself (achieved through very heavily applied CGI to erase age on his face), and he turns in another excellent dramatic turn as the human yearns for a return to a life with his real-life wife (not the surrogate she insists on using) and the android remains stoic in the face of overwhelming odds against him. James Cromwell gets some strong dramatic moments as the inventor who loses his son due to his own miraculous invention and then begins to wonder if the miracle isn’t actually a nightmare. Jack Noseworthy shows both contempt and panic as the assassin on the run while Ving Rhames makes his brief appearance as The Prophet, a strong advocate for a return to a totally human society free from any surrogates, register strongly. As for the other key players, since their characters are androids throughout the film, their most important job is to play the indifference of the machines as their primary emotion, and Radha Mitchell, Rosamund Pike (as Willis’ wife), and Boris Kodjoe (as Willis’ boss) all triumphantly succeed at burying their feelings behind these rigid CGI-erased face masks.
Video Quality
The film’s 2.40:1 theatrical aspect ratio is delivered in a very pristine 1080p transfer using the AVC codec. The image is as sharp as can be, but colors are a bit variable due to an occasional blue-green filter that’s sometimes applied to the daylight photography to simulate an alternate reality. Certainly, there are no quibbles with black levels, and shadow detail is unimpeachable. The film has been divided into 17 chapters.
Audio Quality
The DTS-HD Master Audio 5.1 sound mix does a first-rate job with the very active split surrounds which continually invade the soundfield. The LFE channel gets a very good workout from the frequent crashes and explosions, and only the slightest tendency to pull back on some instances where ambient sounds in the surround channels might have been advised prevent this from reaching reference level quality.
Special Features
The audio commentary by director Jonathan Mostow is a well spoken and interesting one. Though he’s usually screen specific with his comments, he never fails to venture away from the scene at hand to offer up anecdotes about the filming or the original book in discussing its transition to the screen.
All of the bonus feature material is presented in 1080p.
“A More Perfect You: The Science of Surrogates is a fascinating 14 ½-minute featurette illustrating the aspects of scientific technology we have today that are very close indeed to the science on display in the film. Scientists conjecture about the possibilities of the motifs in the film becoming part of reality some day.
“Breaking the Frame: A Graphic Novel Comes to Life” contains interviews with Robert Venditti and Brett Weldele who wrote and illustrated the original graphic novel The Surrogates about their conceptions for the story and illustrations and then screenwriters John Brancato and Michael Ferris and director Jonathan Mostow commenting on their vision of the material for the screen. This runs 6 ½ minutes.
There are four deleted scenes (actors playing surrogates in these scenes have not been digitally scrubbed so they do not look as they do in the finished film; it’s interesting to study the contrasts as before and after CGI) which may be played individually or in one 6-minute grouping.
“I Will Not Bow” music video featuring Breaking Benjamin incorporates clips from the film and runs 3 ¾ minutes.
The disc contains trailers for, among others, Tim Burton’s Alice in Wonderland, Lost University, and Everybody’s Fine. The trailer for Surrogates is not provided.
In Conclusion
3.5/5 (not an average)
Surrogates is an entertaining sci-fi film noir which combines action with some thoughtful questions about the value of human connection versus the possibilities of a perfect world without crime or violence. The Blu-ray release contains outstanding sound and picture and some bonus features not offered on the standard DVD of the film. Recommended!
Matt Hough
Charlotte, NC

#2 of 11 OFFLINE   Ron-P



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Posted January 18 2010 - 04:36 AM

This is a blind buy for me, looks very entertaining and I'm a huge Bruce Willis fan.

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#3 of 11 OFFLINE   Matt Hough

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Posted January 20 2010 - 10:31 AM

I took part today in the second of three interview roundtables with Surrogates' director Jonathan Mostow. I thought those who enjoyed the movie or who are looking forward to the Blu-ray/DVD release next week would enjoy the questions and answers from my session:

Q: This isn't your first time dealing with a high concept of man versus machine. Can youtalk about why this concept intrigues you?
Jonathan Mostow: It's true that I've touched on this thematic material before -- in fact,I think all my films in some way have dealt with the relationship between man andtechnology, so apparently, it's an idea that fascinates me. I assume your questionimplies a relationship between the ideas in Terminator and Surrogates, so I'll answeraccordingly... Whereas T3 posed technology as a direct threat to mankind, I seeSurrogates more as a movie that poses a question about technology -- specifically, whatdoes it cost us -- in human terms -- to be able to have all this advanced technology inour lives. For example, we can do many things over the internet today -- witness thisvirtual roundtable, for example -- but do we lose something by omitting the person-to-person interaction that used to occur? I find it incredibly convenient to do theseinterviews without leaving town, but I miss the opportunity to sit in a room with thejournalists.
--------------------------------------------------------------------------------Q: Can you explain the casting choices in Surrogates? Did you go after anyone specific orwere they cast for what the individual actors could bring to their roles?
Jonathan Mostow: The interesting thing about casting this movie is that for thesurrogates, we needed terrific actors who also looked physically perfect. Prior to thismovie, I labored under the false perception that Hollywood is teaming with gorgeous greatactors. Not necessarily so. Yes, there are many wonderful actors. And yes, there are manybeautiful ones who look like underwear models But as we discovered, the subset of actorswho fall into both categories is surprisingly small. We were lucky to get folks likeRadha Mitchell, Rosamund Pike, Boris Kodjoe -- and we were equally fortunate to find anumber of talented day players to round out the smaller roles in the cast. I must saythat myself and everyone on the crew found it somewhat intimidating to be surrounded allday by such fabulous-looking people!
--------------------------------------------------------------------------------Q: You've worked with special effects a lot prior to Surrogates. Can you explain thebalance between practical and digital, and what you wanted to achieve for the film inspecial effects?
Jonathan Mostow: My goal for the effects in this film was to make them invisible. Thereare over 800 vfx shots in Surrogates, but hopefully you'll be able to identify only a fewof them. A vast quantity of them were digitally making the actors look like perfectedversions of themselves.
---------------------------------------------------------------------------------Q: One of the deleted scenes shows the surrogates' prejudice towards a human being amongthem. Why was this particular element cut?
Jonathan Mostow: The scene you reference (Bruce and Radha in a bar) was cut, but theunderlying idea is still in the movie -- although admittedly not as strongly as had wekept the scene. (There are references in the movie to "meatbags" and other moments thatindicate a hostility and prejudice toward those who reject the surrogate way of life.) Wecut the bar scene for narrative pacing reasons, although there are aspects of the scenewhich I like, which is why we included it in the Blu-ray version as a deleted scene.
----------------------------------------------------------------------------------Q: I found the distinction between the surrogates and their human hanldlers interesting.Can you expound upon why such a drastic difference?
Jonathan Mostow: The difference was logical. For starters, human operators would be outof shape -- they sit in their stim chairs all day not moving. They'd also appear kindashlumpy, since they don't need to leave their homes (much less shower or dress), so who'sgonna care if they stay in their pajamas all day. On the surrogate side of the equation,we imagined that based on human nature, in most cases, people would opt to operateidealized versions of themselves -- so if their surrogate looked in a mirror, forexample, they'd see this fantastic-looking version of themselves. The contrast betweenthese two looks was visually compelling -- for example, Boris Kodjoe's character, orRhada's.
----------------------------------------------------------------------------------Q: How do you approach the promotional campaign for a film and in what way do you enjoyparticipating most in promoting one of your films?
Jonathan Mostow: I greatly enjoy the press phase of the film -- but not for reasons youmight expect. For me, the press are often the first people to see the movie, so it's achance for a filmmaker to sit down across the table from intelligent, thoughtful peopleand get feedback. (Of course, this virtual roundtable kinda removes the face-to-faceelement!) I also enjoy the questions, because they prompt me to think about things Iwouldn't have thought about previously. For example, someone today asked about thethematic connections between T3 and Surrogates. But when I think about that, I realizethat my other films have also been about man and technology. Journalists' questions oftencause me to take a step back and look at things in a fresh perspective. Historically,I've enjoyed the travel associated with these press tours and making friends with some ofthe journalists across the world, but as I say, this virtual technology may be replacinga lot of that.
----------------------------------------------------------------------------------Q: I really enjoyed listening to your audio commentary on the DVD. Talk about yourapproach to it. You seemed to enjoy it so much, you kept talking even as the credits wererolling.
Jonathan Mostow: Thanks for the compliment. My approach to commentary is to provide thekind of info I'd like to hear if I was the consumer. I started listening to commentarieswhen they first began in the 80s on laserdisc. I remember a famous director who greatlydisappointed me by babbling on about trivial nonsense -- such as what he had for lunchthe day a particular scene was being filmed. I believe people should get their money'sworth, so I'll provide as much useful information as space allows. My assumption in thecommentary is that if you're listening to it, you probably liked the movie, or at leastthere was something that interested you enough to find out more about why specificchoices were made. So I try to tailor my comments for that audience. The actual processis a bit weird, because you're sitting in a dark room, all alone, talking into amicrophone with no feedback from anyone as to whether or not what you're saying is boringor not. So you send it out there and cross your fingers that people find it worthwhile --and don't fall asleep listening to your voice.
Q: How involved was KNB Effects? What did they bring, if anything, to the film's effectsdesigns?
Jonathan Mostow: KNB is a top-flight company that specializes in prosthetic devices formovies and creature design. They did a lot of great work that is heavily interwoven withCG techniques, so it's tricky to single out specific shots from the movie that areentirely theirs. They were great to work with.
-----------------------------------------------------------------------------------Q: Each of your films have boasted sound mixes that many have considered classic examplesof sound design. Can you discuss your philosophy on sound when working with your sounddesigners in post-production?
Jonathan Mostow: I really appreciate this question because sound is something I caredeeply about and I believe that mixers I've worked with will probably tell you that fewdirectors get as involved with sound as I do. Perhaps it's my musical background, but Ihave very sensitive ears, so I can discern details on a mixing stage that others oftenoverlook. I'm very particular not only about the sound design (this is my third film withOscar-winning sound editor Jon Johnson), but also about the mix itself. I think a goodsoundtrack helps immerse the audience in the movie. Ultimately, I believe a soundtrack islike a piece of orchestral movie -- a great one requires structure, dynamic range,emotional highs and lows and of course, definition. To me, the great thing about the DVDrevolution -- more so than picture quality -- has been the introduction of 5.1 surroundsound to the home.
------------------------------------------------------------------------------------Q: Was there ever a discussion to create a SURROGATES-themed video game? The plot lendsitself to a decent companion game.
Jonathan Mostow: There are no discussions that I know of, but I agree, it would make thebasis for a cool game.
-------------------------------------------------------------------------------------Q: Mr. Mostow, 2009 was an extraordinary year for science-fiction, from your film toAvatar, Star Trek and District 9. Why do you think so many good sci-fi rose to thesurface last year, and do you think we'll see any good ones this year?
Jonathan Mostow: First of all, thank you for mentioning our film in the same breath asthose other movies -- all of which I loved. I don't think it's a coincidence that 2009was a good year for sci-fi. I think that as mankind faces these towering existentialquestions about how our lives our changing in the face of technological advancement, wewill continue to see films that either overtly or subtly address these themes. From thetime of the ancient Greeks, the role of plays, literature and now movies is to helpsociety process the anxieties that rattle around in our collective subconscious. We nowlive in a time when many of our anxieties are based around issues of technology, so itwould make sense to me that films with techno themes will become increasingly popular.
Q: Do you supervise aspects (video transfer, extras or other elements) of the home video(DVD/Blu-Ray) release for your films?
Jonathan Mostow: Yes. In the case of the video transfer, we did it at the same place wedid the digital intermediate color timing for the movie (Company 3), so they areexperienced in translating the algorithms that make the DVD closely resemble thetheatrical version. I am deeply involved in that process, as is my cinematographer.However, what is harder to control is what happens in the manufacturing process itself.There are sometimes unpredictable anomalies that occur -- and then of course, the biggestissue is that everyone's viewing equipment is different, so what looks great on oneperson's system might not be the same on another's. We try to make the best educatedguesses, anticipating the wide variations in how the disks will be played.
------------------------------------------------------------------------------------Q: As far as I know in the movie there was some digital rejuvenation of Bruce Willis forhis role as a robot. How did you do it and what do you foresee for this technique? Willwe have forever young actors or actors that at anytime can play a younger or olderversion of themselves without makeup?
Jonathan Mostow: For Bruce, we approached his surrogate look with a combination oftraditional and digital techniques. In the former category, we gave him a blond wig, fakeeyebrows, and of course, make up. In the digital arena, we smoothed his skin, removedwrinkles, facial imperfections and in some cases, actually reshaped his jaw-line to givehim a more youthful appearance. Could this be done for other actors? Sure. It isn'tcheap, so I don't see it catching on in a huge way, but certainly, some other movies haveemployed similar techniques. Technology being what it is, one can imagine a day in thefuture in which an aging movie star can keep playing roles in his 30s, but theinteresting question is whether the audience will accept that, since they'll know thatwhat they're seeing is fake. In the case of Surrogates, we discovered with test audiencesthat if we went too far with Bruce's look, it was too distracting, so in certain cases,we had to pull back a bit.
-----------------------------------------------------------------------------------Q: I imagine that before writing and creating the world of Surrogates you studied thetopic. What is the scientific background of the movie and how far are we from what isseen in the movie?
Jonathan Mostow: I did a fair amount of research for the movie, but really, what Idiscovered is that the best research was simply being a member of society in 2009. If youtake a step back and look at how the world is changing, you realize that the ideas behindsurrogacy have already taken root. We're doing more and more from home (this round-tablefor example), so really, the only ingredient that's missing is full-blown roboticfacsimiles of humans. Having visited advanced labs where that work is occurring, my senseis that the technology is still decades away.
-----------------------------------------------------------------------------------Q: Boston's mix of old architecture and new, sleek buildings works wonderfully well for"Surrogates." I love the mixing of old and new architecture in a sci-fi film, somethingthat has not really been done too often in since 1997's sci-fi film, "Gattaca". Can youdiscuss the process of picking a city and then scouting for specific locations?
Jonathan Mostow: Thank you -- I talk about that in my DVD commentary. Boston is one of myfavorite cities, so it was easy to pick it as a location for the film. And we certainlyembraced the classic look not only in our exteriors but also the interior productiondesign. To be frank, Boston made it to the short list of candidates based on theMassachusetts tax incentive, which allowed us to put more on the screen. Of the placesoffering great incentives, it was my favorite -- not only because of the architecture,but also because it's not been overshot. Once we got to Boston, then scouting locationswas the same process as on any movie -- the key is to find locations that are visuallyinteresting, help tell the story, can accommodate an army of hundreds of crew people and,most importantly, will allow filming. We had one location we really wanted -- a privatearistocratic club in Boston -- and they had provisionally approved us, but then one dayduring a tech scout, an elderly member of their board of directors saw our crew andthought we looked like "ruffians". Our permission was revoked and we had to find anotherlocation. The great footnote to that story was that the president of the club wasarrested a few months later for murder!
----------------------------------------------------------------------------------Q: Do you have a preference in home audio: Dolby Digital or DTS? And are you pleased withBlu-ray's ability to have lossless audio?
Jonathan Mostow: Personally, I prefer Dolby Digital, but only because my home theater isoptimized for it. Obviously DTS is also a great format. I am thrilled with all theadvances in Blu-ray audio.
-----------------------------------------------------------------------------------Q: On the movie's you've directed, you have done some rewrites. Was there anything inSurrogates you polished up on, or was it pretty much set by the time pre-production gotunder way?
Jonathan Mostow: In the past, I've typically written my movies (Breakdown and U-571 were"spec" screenplays I wrote on my own and then subsequently sold, and then brought incollaborators once the films headed toward production.) On T3 and Surrogates, I did notwork as a writer (both movies were written by the team of John Brancato and MichaelFerris). Surrogates was interesting in that the script was finished only one day beforethe Writers Guild strike of 2008, so by the time we started filming (which was shortlyafter the strike ended), there had been far less rewriting than would typically haveoccurred on a movie by that point.
-----------------------------------------------------------------------------------Q: The film does a magnificent job of portraying the difficulty and anxiety of charactersforced to reintroduce themselves to the outside world after their surrogates haveexperienced it for them, which is certainly relevant in an era where so many communicateso much online. Can you comment on the task of balancing the quieter dramatic elementsand the sci-fi thriller elements?
Jonathan Mostow: When I was answering a question earlier about sound, I spoke about"dynamic range", which is the measure of the difference between the loudest and quietestmoments. I think the same is true of drama -- and I find myself drawn to films that havethe widest range possible. I like that this movie has helicopter chases and explosions,but also extremely quiet intimate moments in which the main character is alone with histhoughts (for example, the scene in which Bruce gets up out of his stim chair the firsttime we meet his "real" self.) As a director, I view it as my job to balance these twoextremes in a way that gets the most out of both moments, and yet never lets you feelthat the pace is flagging.
-----------------------------------------------------------------------------------Q: What was the most difficult element of the grahic novel to translate to the film?
Jonathan Mostow: I'll give you a slightly different answer: The most difficult element totranslate successfully would have been the distant future, which is why we decided not todo it. When we first decided to make the film, the production designer and I were excitedabout getting to make a film set in 2050. We planned flying cars, futuristic skyscapes --the whole nine yards. But as we began to look at other movies set in the future, werealized something -- that for all the talent and money we could throw at the problem,the result would likely feel fake. Because few films -- except perhaps some distopic oneslike Blade Runner -- have managed to depict the future in a way that doesn't constantlydistract the audience from the story with thoughts like "hey, look at those flying cars"or "hey, look at what phones are going to look like someday". We wanted the audiencethinking only about our core idea -- which was robotic surrogates -- so we decided to setthe movie in a time that looked very much like our own, except for the presence of thesurrogate technology.
------------------------------------------------------------------------------------Q: Are any of the props from Surrogates currently on display in your house?
Jonathan Mostow: That question makes me chuckle, because to the chagrin of my family, I'ma bit of a pack rat and I like collecting junk from my films. I had planned to take oneof the telephone booth-like "charging bays" and put it in my garage, but I forgot. Thanksfor reminding me -- I'll see if it's still laying around someplace!
------------------------------------------------------------------------------------Q: What aspect of filmmaking process do You like the most? Directing the actors? Doingresearch? Editing?
Jonathan Mostow: Each phase has its appeal, but for me personally, I most enjoy post-production. For starters, the hours are civilized. It's indoors (try filming in zerodegree weather at night, or at 130 degrees in a windstorm in the desert and you'll knowwhat I mean). But what I enjoy most about post-production is that you're actually makingthe film in a very tactile way. You see, when you're finished shooting, you don't yethave the movie. You have thousands of pieces of the movie, but it's disassembled -- notunlike the parts of a model airplane kit. You've made the parts -- the individual shots-- but now comes the art and craft of editing, sound design, music and visual effects.Post-production is where you get to see the movie come together -- and it's amazing howmuch impact one can have in this phase -- because it's here that you're really focussedon telling the story -- pace, suspense, drama. To me, that's the essence of thefilmmaking experience.

#4 of 11 OFFLINE   Michael Reuben

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Posted January 20 2010 - 10:50 AM

Thanks, Matt! That's a great interview. Were any of the questions yours?
COMPLETE list of my disc reviews.       HTF Rules / 200920102011 Film Lists

#5 of 11 OFFLINE   Matt Hough

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Posted January 20 2010 - 02:18 PM

Originally Posted by Michael Reuben 

Thanks, Matt! That's a great interview.

Were any of the questions yours?
No, none of my questions were chosen. I wasn't surprised since they were more about the film's failure to reach blockbuster status and their suppositions about that. I wondered if maybe more carefully placed humor might have helped.

#6 of 11 OFFLINE   Adam Gregorich

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Posted January 22 2010 - 07:30 AM

I wondered if maybe more carefully placed humor might have helped.
Probably not.  I don't think the studios find much humor in anything related to $$

#7 of 11 OFFLINE   Adam Gregorich

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Posted January 22 2010 - 07:31 AM

There were actually three sessions and I posted all three under Matts review here: http://www.hometheat...rogates-blu-ray

#8 of 11 OFFLINE   DaveF



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Posted January 22 2010 - 11:16 PM

I enjoyed Surrogates in the theater. (And the lack of great success seems likely because it was a middling sci-fi movie; nothing special.) Thanks for posting the Q&A; I look forward to reading more of that later.

#9 of 11 OFFLINE   David Deeb

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Posted January 30 2010 - 03:33 AM

This was a fun movie.  Surprised it hasn't gotten more attention.  The BD looks and sounds great.  Willis is excellent as ususal.  It's not a sci-fi classic, but it is a very enjoyable 90:00 minutes, despite a couple of minor problems.  

Off topic:  Like Patrick Stewart and Ian McKellen in some scenes in X3, the characters here receive a youthful makeover via CGI.  It's part of the story here and makes sense.  

However, as these type of effects improve & get cheaper (as all CGI tricks do), I fear an over-use of this effect simply to enhance real actors in any film, simply to make them look "better".  I hope not. 

#10 of 11 OFFLINE   George_W_K



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Posted January 30 2010 - 11:05 AM

Thanks for the review and for posting that interview session, some really interesting stuff.  I like Mostow's movies so I'm sure I'll like this one too.  I didn't go to the theater to see this simply because of its runtime, way too short for me to spend the admission price when I can spend less on a rental and enjoy it on my set-up.  Even if it were the best 89 minutes ever put to celluloid, it's a rule I follow so there ya go. 

Looking forward to checking this out!

#11 of 11 OFFLINE   Paul Arnette

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Posted January 31 2010 - 07:58 AM

I rented this from Netflix and watched it last night.  All in all, I'm glad I rented it.  I found it really fell apart in the third act.  After all, it is hard to create drama in front of a computer screen, or at least Ive always thought so.

Universal Blu-ray Discs I will not be buying while they're offered only as Blu-ray + DVD 'flipper' discs:

The Jackal
, Out of Africa, and Traffic.

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