Marjorie Prime

Being based on a play shouldn't be a detrimental factor in a movie but when it's played like a play, it kinda defeats the purpose of making a film. This one really had the feel of a stage play, done by a small theatre group in a suburban small town theatre company. It did impact a very interesting idea negatively. The film making process added very little to it to help give the story impact. There were some very interesting ideas raised in the film but they were almost lost in the flat delivery. people talking on a stage. undermines the show don't tell aspect of film.

This review of Marjorie Prime is spoiler free

**** (4/5)

WITH COMPUTERS ADVANCING, newer mobile devices being released at least three times a year and the chance of having a robot in our home quickly dawning. This brings the question; is the world of the sci-fi genre truly taking over the way people feel, with grief, love, humanity and memory? Well, with the latest instalments of sci-fi films such as Spike Jonze's 'Her', Alex Garland's 'Ex Machina' or perhaps as recent as this October with Denis Villeneuve's 'Blade Runner 2049' the possibility of a cerebral mind taking over the world could be sooner than once thought. Or it could even be happening right now - the fact is we just wouldn't know it.

Welcome Michael Almereyda's adaptation of Jordan Harrison's Pulitzer-nominated study of memory, grief and love Marjorie Prime. Set in a future when death doesn't have to be the end, an elderly woman named Marjorie (Lois Smith) spends her final, ailing days with a younger holographic projection of her late husband Walter (Jon Hamm), spending as much time as possible conversing about the complex structure of memory and how much it can affect us the older we get. On paper, the film's plot is simple weaving between the memories she had with her daughter (Geena Davis) who hates the holographic being of her father, her career as a violinist, to dealing with grief after the death of her husband. However, under the paper Almereyda keeps you thinking as he carefully constructs thought-provoking questions of memory, grief, family, humanity and loss. Much like 'Her', he spends his time delving deeper into the complexity of the human mind, digging it out piece by piece delivering every piece on a silver platter leaving you to think about the pieces he leaves behind.

Visual-wise, there's not much to look at aside from the holographic projection of Walter, it's not like 'Blade Runner 2049' where there's CG imagery popping out at every corner of the screen. Almereyda keeps it visually sparse keeping your eyes fixed on one special effect. And Sean Prince's stunningly serene airy cinematography is fluid and varied enough to enchant through minimalist yet stunning chamber rooms to prevent the stage bound feel. While Marjorie Prime is a slow-burning conversational piece and may not be to everyone's taste, it's an intelligent, powerfully quiet and soulful piece that will keep you asking in-depth questions about the fragile construction of the human mind playing on history, emotions and humanity it'll be almost too hard to forget.

VERDICT Hamm and Smith are stunning in an unforgettable quietly poignant sci-fi breathing in fresh thought-provoking questions about humanity and feelings.

The sci-fi context is irrelevant in this film. It's just an excuse to get people to talk, and see how they each process grief. How everyone deal with their own sadness and sorrow, and how they confront or do not confront them.

There is no plot, or big reveal, or secret that we uncover at the end. This is purely about human sentiment. It's as real as it gets. Simple, and painful.

I'm not sure if I was bored or fascinated during my viewing. The movie, if we pay attention to it and not to our phone, can strike a chord. I'd guess especially if you ever had to deal with life shattering grief at some point in your life.

This wonderful, slow and gentle film offers much more than mere words can say - it breathes and comes to life in the spaces between. Nothing happens and yet I couldn't take my eyes off the screen. An atmospheric, deeply felt reflection on memory, identity, ageing and loss - and a beautifully understated glimpse into what the future may hold.

Throughout the film a sense of longing and the difficulty of letting go. But perhaps also a film about healing.

Great performances all round (especially Lois Smith), seemingly simple and effortless but richly rewarding visuals and a perfect soundtrack.

Definitely not for the impatient or those seeking excitement. I came away from it breathing slower and deeper. A real gem.

Its a good concept that delivers an interesting movie about love, memories, regret and secrets. The film lives from its wonderful cast who are all very well picked and delivered good performance, however it suffers from its rather weak direction by Michael Amereyda who tried to make it too artsey for its own sake. Lois Smith delivers a great and charming performance. And I am glad she got some material to work with actually instead of just second hand supporting roles as usual. She really got talent and gave her role a lot of good and interesting facettes. Another great performance came from Geena Davis. One of her best recent performances. Davis really understood her role, which surely wasn't easy and the audience was easy to care for it, at least I did. Tim Robbins was also fine and did have some good and difficult moments. Also not a bad performance by Jon Hamm who might have had the most difficult role but mastered it well enough, even if he appeared a bit wooden, which was intentionally. But what was it with that annoying score/soundtrack? That really played the movie down which is a shame. It had a lot of potential but they tickled the wrong ankles at times. Too bad. Still worth to see for the performances.