Uma mulher consegue o trabalho de seus sonhos numa empresa conhecida como o Círculo, só para descobrir que todo o que fazem coloca a humanidade em perigo.Uma mulher consegue o trabalho de seus sonhos numa empresa conhecida como o Círculo, só para descobrir que todo o que fazem coloca a humanidade em perigo.Uma mulher consegue o trabalho de seus sonhos numa empresa conhecida como o Círculo, só para descobrir que todo o que fazem coloca a humanidade em perigo.
- Prêmios
- 4 vitórias e 1 indicação no total
Nick Valensi
- Beck Bandmate
- (as Nicholas Valensi)
Julian von Nagel
- Julian
- (as Julian Von Nagel)
Amie McCarthy Winn
- Marion
- (as Amie McCarthy-Winn)
Enredo
Você sabia?
- CuriosidadesBill Paxton and Glenne Headly, who played the parents of Mae, both died the year of the film's release. Paxton died two months prior to the film's release on February 25 due to complications from heart surgery, and Headly died of a pulmonary embolism on June 8, less than two months after the film's release.
- Erros de gravaçãoWhen Mercer is being chased by the drone, there is a camera attached to both the driver and passenger window but in one shot on the bridge the driver-side window is rolled down.
- Citações
[from trailer]
Eamon Bailey: Knowing is good, but knowing everything is better.
- Cenas durante ou pós-créditosA dedication to Bill Paxton at the closing credits which reads: "For Bill".
- Trilhas sonorasMetal Guru
Written by Marc Bolan
Performed by T. Rex
Courtesy of Spirit Music Group o/b/o Spirit Services Holdings, S.A.R.L.
Avaliação em destaque
"Knowing is good, but knowing everything is better." Bailey (Tom Hanks)
How much information is too much? The Circle shows in a direct and melodramatic form that the saturation point is here. Mae (Emma Watson) is hired by a tech-centered firm, an amalgam of Apple, Facebook, and the CIA. Their inclusion-full-knowledge mantra culminates in Mae's agreeing to have complete transparency, a Truman Show for our time.
Bailey is the Steve-Jobs guru, whose weekly assembly for the campus is a model of group think and cultism, launching from the newest technology to the newest invasion of privacy. The willingness of the audience to embrace everything from the unethical farming of information to his obviously self-serving anecdotes suggests Jim-Jones cool-aid-audience imbibing.
The film is an attention-getting, absorbing object lesson in neglecting critical thinking.
The film's provocative theme about full disclosure includes the implied dialectic between the common good and privacy. Knowing where criminals are, such as in our sex-offender laws, is good in the case of creeps but scary when innocent citizens are the object.
Two incidents close to the protagonist illustrate the effects of private invasion, one for survival, the other for denying the efficacy. The former is about saving Mae from drowning because of surveillance and the other about the world seeing her aging parents having sex. No one could wish not to have life-saving surveillance; no one could want parental transparency 24/7.
The Circle is frequently simplistic, e.g., having records that allow automatic registration for voting but also require voting, ignores invasion of privacy and personal choice.
None of this polemic completely negates the efficacy of social media and constant contact. However, transparency, the film suggests, invades and makes circus-like a privacy our Constitution implies.
The camera spends too much time on Mae's bland, wondering stare and meaningless conversations that would be better spent arguing the mission of the Circle. At least it's a start toward better regulation of social information both public and private.
How much information is too much? The Circle shows in a direct and melodramatic form that the saturation point is here. Mae (Emma Watson) is hired by a tech-centered firm, an amalgam of Apple, Facebook, and the CIA. Their inclusion-full-knowledge mantra culminates in Mae's agreeing to have complete transparency, a Truman Show for our time.
Bailey is the Steve-Jobs guru, whose weekly assembly for the campus is a model of group think and cultism, launching from the newest technology to the newest invasion of privacy. The willingness of the audience to embrace everything from the unethical farming of information to his obviously self-serving anecdotes suggests Jim-Jones cool-aid-audience imbibing.
The film is an attention-getting, absorbing object lesson in neglecting critical thinking.
The film's provocative theme about full disclosure includes the implied dialectic between the common good and privacy. Knowing where criminals are, such as in our sex-offender laws, is good in the case of creeps but scary when innocent citizens are the object.
Two incidents close to the protagonist illustrate the effects of private invasion, one for survival, the other for denying the efficacy. The former is about saving Mae from drowning because of surveillance and the other about the world seeing her aging parents having sex. No one could wish not to have life-saving surveillance; no one could want parental transparency 24/7.
The Circle is frequently simplistic, e.g., having records that allow automatic registration for voting but also require voting, ignores invasion of privacy and personal choice.
None of this polemic completely negates the efficacy of social media and constant contact. However, transparency, the film suggests, invades and makes circus-like a privacy our Constitution implies.
The camera spends too much time on Mae's bland, wondering stare and meaningless conversations that would be better spent arguing the mission of the Circle. At least it's a start toward better regulation of social information both public and private.
- JohnDeSando
- 3 de mai. de 2017
- Link permanente
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- How long is The Circle?Fornecido pela Alexa
Detalhes
Bilheteria
- Orçamento
- US$ 18.000.000 (estimativa)
- Faturamento bruto nos EUA e Canadá
- US$ 20.497.844
- Fim de semana de estreia nos EUA e Canadá
- US$ 9.034.148
- 30 de abr. de 2017
- Faturamento bruto mundial
- US$ 40.656.399
- Tempo de duração1 hora 50 minutos
- Cor
- Mixagem de som
- Proporção
- 2.35 : 1
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