Skip to main content

A Non-Entity


So this is what the aftermath of The Circle would look like. Only the circles are replaced with squares. And it’s no less absurd here.
Anon is a new Netflix science-fiction movie from Gattaca director Andrew Niccol set in a world without privacy that thinks it’s saying something prophetic about the technological age, but is actually just regurgitating a theme we all know thanks to common sense. Clothed in this unsubtle text is a neo-noir thriller plot borrowed from a variety of better sources.
It’s a future of total transparency in an attempt to eliminate crime. A vast network exists on which everyone is connected through eye-pieces that allow them access to the personal information of everyone they come in contact with. This also means Big Brother levels of surveillance. A cop, Sal Frieland (Clive Owen), is put in charge of an investigation into a serial killer who’s managed to hack into other peoples’ eyepieces to keep their murders a secret. In this capacity he’s led to an anonymous girl (Amanda Seyfried) who’s managed to escape the system and is a hacker herself.
A big reason for this movies’ failure is also a reason for the failure of The Circle, which is the idea that people would willingly submit to such extreme levels of surveillance over every moment of their lives. Anon tries to present this as a realistic or foreboding future, but it just doesn’t hold water as there are countless reasons it couldn’t happen. Forced or secretive government invasion of privacy is believable, but the notion that we’d all agree to this intense a level of public scrutiny based just on the internet and social media of today is preposterous. So with the premise as logically flawed as it is, the plot itself has to make up the creativity and intrigue. Unfortunately the plot is dull as a brick, and just as painful. The mystery is never compelling, the relationship between the two leads contrived, and even where it incorporates the central conceit of this world it just seems to rely on plot devices from other movies. For instance, the way the police stop crime feels very reminiscent of Minority Report, and just like that film it uses the manipulation of its technology as a plot point to potentially frame its protagonist. There’s a frequently recurring visual that’s a reference to Hitchcock’s Spellbound, despite being somewhat inauthentic. As a singular homage it would be fine, but it appears statically way too often throughout.
Another way the movie loses your interest is in its characters. Sal is unlikeable, detached, and boring -a gruff “bad cop” character like any other. He’s got a tragic backstory, with an estranged wife and a deceased son to explain this behaviour, but it too is clichéd and completely superfluous. And I think Clive Owen is getting to that Pierce Brosnan stage of his career of not caring in thriller movies, because he is really bad. He saunters through the movie completely disinterested almost for the whole run-time, and in the instances where he does emote, it’s really disingenuous. This is also the fault of bad characterization and bad direction, but Owen is clearly not putting much effort in. It’s disappointing too, because I know Owen can play the jaded cynic well -Children of Men is one of my favourite movies (also a film where he has a dead kid). Amanda Seyfried isn’t a whole lot better, her character intentionally being vague. Aside from her enigmatic existence and being the only character with the sense to realize the dystopia, she’s not played with any conviction or real sense of personality. To Seyfried too it may as well be just a pay cheque. The only actor giving a half-decent performance is Colm Feore as Sal’s superior. But he’s held back as well by being under-written.
“I can’t believe my eyes is not an expression” is an actual line of dialogue from this movie, which gives you a taste of how badly written it is. Not all the lines are laughable, many are just stupid. Exchanges between Sal and his ex-wife or between Sal and other minor characters are awkwardly structured, and, to top it, Anon has the audacity to open with a Robert Browning quote. One more thing is that with a story about constant surveillance, obviously there’s some non-consensual watching of nudity (women of course). However it doesn’t come off as a commentary on voyeurism, it just comes off as voyeurism.
Anon is a clumsy premise with a story almost as lazy as its cast. It’s attempt at making a statement on technology and the liberties we could conceivably give up for it is hollow and futile; and everything apart from that is recycled banality. There are much better cautionary fables to merit your time than this nonsense.

Follow me on Twitter: https://twitter.com/Jordan_D_Bosch 

Popular posts from this blog

2001 at 50: What’s so Special about Kubrick’s Space Odyssey

“The cosmic ballet goes on.” These words were uttered by Leonard Nimoy in “Marge vs. the Monorail”, a 1993 episode of The Simpsons. Though intended as a joke, it's a quote that actually is relevant to the legacy and frequent re-evaluation of 2001: A Space Odyssey, fifty years after it’s original release in April of 1968. Indeed, many have rightly defined the moon docking sequence set to Johann Strauss’ Blue Danube as an elegant ballet in the stars. I’m far from the only movie enthusiast who considers Stanley Kubrick’s operatic masterpiece as the pinnacle of science-fiction film. If you look at any list or any book of the greatest movies, you’ll usually find 2001 at the top (alphabetically, but still). Spielberg called it the “Big Bang” of his filmmaking generation, Scorsese lists it among his favourite films, as did Federico Fellini; and directors like Ridley Scott, Alfonso Cuarón, William Friedkin, Terry Gilliam, James Cameron, David Lynch, Christopher Nolan, George Lucas, Darren A…

An Infinity in the Making

Avengers: Infinity War is the best definition of a movie event. No less than eighteen movies, five independent movie series have led up to it. It’s way more than your average summer blockbuster, it’s the climax of a vast interconnected universe that’s been running now for ten years. Marvel couldn’t have picked better people to helm this movie either, as Joe and Anthony Russo have already directed two of the best movies the MCU has offered. And in a number of ways this film meets expectations; in others though, it does fall short. The alien warlord Thanos (Josh Brolin) finally begins his quest for the Infinity Stones, powerful objects that together could cause destruction and manipulation on a galactic level. Adding them to his giant gauntlet, he scourges worlds and civilizations for them, coming into contact with the heroes both on Earth and elsewhere in the galaxy. So each of these heroes we’ve been introduced to over the last decade (minus Ant-Man) have to band together in an effort …

The Top Ten Best Dickens Movies

Today is the 206th birthday of Charles Dickens and I know you’re all celebrating; maybe not by reading one of his novels or stories (after all, they can be very long), but by watching one of the dozens of films made based on his works. So I decided to figure out which ones were the best; which films adapted their stories the most loyally, were closest in spirit, and were just the most skilfully made. It must be made clear though that many of the more well-known Dickens adaptations are miniseries, because the British love making miniseries’ out of every successful book in English literature. Thus you’ll find no mention of the acclaimed BBC versions of Nicholas Nickleby or Little Dorrit on here (though I will highly recommend 2005’s incredible Bleak House series). With that, here are the Top Ten Dickens Movies:
10.Oliver Twist (2005) -I’m not going to pretend that Roman Polanski’s 2005 rendition of the Parish Boy’s Progress isn’t riddled with problems -not the least of which is the fact …