This Review Reveals Minor Details About the Plot.
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Plot Overview
In
the 32nd century nature has been conquered and humans are not far
behind. The Scriptomatic 3.0 churns out corny, derivative
screenplays to be directed & acted by dedicated robots. Flashback
Studios merged with the soda company Nicofeine Corp. Then founder tycoon John B.
Flashback (Patrick Pieri) died. In the absence of any extant
copies of the contract, Nicofeine took over his end. After being sued
by a man whose son got stuck in movieland while using Interactive
Movie Technology (IMT,) Nicofeine is conducting audits to justify
closing down its movie subsidiary. But Lamar Garret (Will Phillips)
president of studio operations has other plans. Maynard his mad scientist
has invented a time machine to be used to retrieve authentic props,
costumes and personages from the past, and so save their bacon.
To ensure their deliverance
Lamar has set up a date for major studio investor Raul Burton (Raymond
Cardet) with comely starlet Tiffany Sloane (Alexa Cappiello) who's
to ply him with her charms. Meanwhile, an unnoticed studio—last
human—janitor Jack Taylor (Andrew Ramos) purloins a
“knockout can,” used to erase memories of people met in
time travel, to put Burton under while the former takes his place on the
date. The couple, albeit having their own hidden agendas, do seem to be
hitting it off in the back seat of the limo being chauffeured by the robot
J.R. (Chris Heidt) down a tree-lined lane—the only manifestation
of nature in the whole film—until the paparazzi give chase. Then
it's a “short date.”
Ideology
Conflict arises in the
vein of, (Prov. 30:33) “Surely
the churning of milk bringeth forth butter, and the wringing of the
nose bringeth forth blood: so the forcing of wrath bringeth forth
strife.” The idea in the
proverb is that a state of peace and conciliation can change
to one of war just as a liquid (milk) can change to solid (butter)
through constant agitation (churning.) Or hit a critical area (nose)
and it bleeds. There's an intrinsic illustration in the movie of a
changed status developing bit by bit until reaching a climax. Novelist Ethan
Canin had provided us a base line starting with, “One evening a girl
actually laughed at a point he'd made in earnest, that each generation
improved upon the mistakes of the last” (13). It was the Earl of
Sandwich in Jolly Olde England who invented a novel way to carry his lunch
on his fox hunts. In our times “a tourist joint” (91)
features “sandwiches named The Brooklyn Bridge (Wanna Buy
It?), The President Nixon (We Can Explain Everything), [and]
The Big Apple (But I Wouldn't Want To Live There)” (7). Forward
to the 33rd century, and the dating couple to avoid pretentious
restaurants settles on Chez Taco, food for regular people. Jack to
convince Tiff that he's not just another “shameless, corrupt
pig,” deconstructs the sandwich on a tray in her trailer: Tomatoes
represent corruption, and there aren't any on it. Furthermore,
“there may be some ham on the sandwich, but that doesn't mean I'm a
pig.” And, “it doesn't matter what kind of bread we have on the
outside; it's what we have on the inside.” He concedes that,
“I might be a little cheesy, though, so there's … some on the
wind.” She buys it and reclassifies him as trustworthy.
Garret puts up with a runaround from the Nicofeine board for a long time, until he reaches his limit and then he employs a terrorist response to take them out. No more Mr. Nice Guy.
In the melee a velociraptor escaped
from the Jurassic theme park and slashes Tiffany across the upper chest
leaving bloody claw marks right above her cleavage that attracts the eye. A
chance discovery of the missing contract would put the kibosh on Garret's
aspirations for control of the company, so he becomes murderous.
Production Values
“” (2011) was directed by Brendan Jackson Rogers. It was written by Brendan Jackson Rogers with story development by Will Phillips. It stars Andrew Ramos, Will Phillips and Alexa Cappiello. The acting was overshadowed by the intense plot, but Alexa was given a chance to shine and she renews hope that the future will still contain starlets of consummate talent. The cast breaks out into song on appropriate occasions.
This movie is Not Rated, but the language is presentable, the sexual innuendo
will go right over the kids' heads, and the violent action is at about
the same level of some video games. There's a Fun House containing
a sarcastic, racist display giving participants a chance to deplore
stereotypes that persist through the centuries
millennia. It contains a brief noose display—they've been forbidden
by my city council—of a benign nature. The dating scenes are
like an oasis in a world gone mad, which commends to us making dates
to sort out what's what. The sci-fi is interesting as is their bold
solution to time travel paradox. It's got killer humor in a plot that
twists around on itself. The special effects are primitive but effective.
Cartoonish backdrops are employed. Runtime is 1 hour, 40 minutes.
Review Conclusion w/a Christian's Recommendation
I'm sure some people will like it, but it may be too much for the average joe. It certainly was creative but by the same token not what we're used to. If you're up to the challenge—
Movie Ratings
Action factor: Edge of your seat action-packed fun. Suitability for children: Not rated, low risk. Special effects: Absolutely amazing special effects. Video Occasion: For special tastes. Suspense: Keeps you on the edge of your seat. Overall movie rating: Three stars out of five.
Works Cited
Scripture quoted from the King James Version. Pub. 1611, rev. 1769. Software.
Canin, Ethan. For Kings and Planets. Copyright © 1998 by Ethan Canin. New York: Random House. Print.
bibles.n7nz.org