The Final Cut

The plot is timely and intriguing, providing lots of food for thought as to the perhaps not-too-far future prospects of technology and our own legacies.

I agree the relationship between Williams' character and his love interest was too sketchy. With a few extra minutes expanding on those two, the film might have been more fleshed out. Overall, I enjoyed the movie. It really gave us pause to reflect on the pros and cons of the "Zoe Implant" and "rememories." Appreciated the intense acting abilities of Williams and Caviezel; otherwise, the movie might have lagged even more.

I thought the angles of the camera shots were interesting.

Well, I just saw The Final Cut over the weekend and I am finding myself very disappointed in the movie. From the previews I had imagined something a little different with a lot more action that what took place. There were certain scenes that I felt were good and like them, but all in all I would rather have waited to just rent the movie than to have gone to see it in the theaters. It was a pretty slow moving movie when I was expecting more suspense and action. Robin Williams did a great job in the part, just to clarify. Once again, it was just my view of the movie as a whole that I did not like. The overall plot was good and the storyline had a great theme but as I watched, I just became more and more disappointed. Then at the end, it just kind of ended. To me, I was left with the feeling that there should have been more than just a sudden ending like it had.

"The Final Cut" is a dark cross between "Eternal Sunshine of the Spotless Mind", "One-Hour Photo" and "Citizen Kane."

While this is an original screenplay by writer/director Omar Naim, it is faithful to a Philip Dick-type imagining of a techno-world in the not-so-distant future, with the bleakness, of both the excellent production design, cinematography, music and the story, only briefly mitigated.

I like how gradually we see the explanations and issues of memories from many different view points and issues, while one lives and dreams and how one lives on in other people's memories, as a multiplier effect in touching other people and our own souls.

Just as the interviews of family recall the journalist trying to understand Kane, the fine scene is a nice visual play on his famous mystifying "Rosebud," ironically demonstrating that someone outside one's head can never understand what is significant and meaningful to an individual, what goes into making that unique personality.

While I'm not sure it's such a bombshell that eulogies --in this case as visually edited "re-memories" culled from brain implants--are whitewashes (as pointedly satirized by Tom Wolfe in "Bonfire of the Vanities") and the political protesters seemed almost to be satirically out of a T. C. Boyle novel, James Caviezel's seriousness keeps them out of Unabomber territory.

One awkward miscast is Mira Sorvino. As if it's not already obvious why a Robin Williams would be attracted to a blonde bombshell, another layer of motivation is added, but it just makes absolutely no sense why she was drawn to him. Not only does this seem yet another instance of film's older man/younger woman tendencies, the character would have made a lot more sense as an older woman with a past.

The effective multiple screens showing the editing of "re-memories" may be difficult to distinguish on the eventual DVD, but I wasn't sure if the blown-up look was from projection issues.

It's the kind of film provoking many ethical questions about life, death, privacy and so on. Omar Naim's direction gives a glimpse into possible science discoveries and paths; its strong originality consists of showing how the state of civil rights could be threatened if these futuristic odyssey came true. The whole film is based on a steady premise, very solid performances and an impressive visual style, though special effects are not as special as one could think (given this title and this plot). Robin Williams is now accustomed to playing such frightening and alluring roles; after "Insomnia", "One hour photo" and this flick "Dead Poets Society" is now a far memory.

Set in a world with memory implants, Robin Williams plays a cutter, someone with the power of final edit over people's recorded histories. His latest assignment is one that puts him in danger.

While this is an interesting science fiction universe in and of itself, it also has an interesting message on surveillance and Neo-Luddism. While the idea of having your life on film for future generations may sound pleasant (or horrible), it puts everyone in the path of a camera -- anyone who looks at you may be recording your every move.

This is an idea that is thoughtful and well-presented. Maybe they could have explored the theme more, and it might even be worth returning to this universe in a future film...