Transcendence (2014)

Will Caster (Johnny Depp) has been developing a self-aware AI for many years, with the help of his wife Evelyn (Rebecca Hall). He has relied also on the groundbreaking work of several colleagues in the field, such as personal friends Max Waters (Paul Bettany) and Joseph Tagger (Morgan Freeman), among others.

When our story begins, Will is giving a presentation to potential investors about the future of AI, and how it can advance not only the human race, but also technology in general, and indeed the wider world.

However, there is also a vigilante group who have been targeting AI researchers across the country, and even around the world. One of the members of this group - present at the event - shoots Will in the foyer after the seminar.

Will is fortunate that the bullet merely grazed him, so at first it seems like he will be okay and make a full recovery. However, the bullet was laced with polonium, so slowly but surely, his internal organs and nervous system begin to shut down, and he is told he has only a few months left to live.

Will Caster (Johnny Depp), Evelyn Caster (Rebecca Hall) and Max Waters (Paul Bettany).

As he faces the end of his life, and Evelyn faces the rest of her life alone, they come up with a 'terrible' - at least it is terrible to everyone who knows them, the two of them see no issue with it - plan; that is, to upload Will's consciousness to the computer they have been developing the AI system on, so that he can not only continue to live on - in a digital form - but AI as a concept can continue to develop.

The vigilante group, however - led by a young intern named Bree (Kate Mara), who had worked with Max in the past - continue their campaign against all advancement of AI technology.

Their crimes - they have already killed a number of researchers - are investigated by FBI Agent Buchanan (Cillian Murphy), with assistance from Joseph Tagger.

I'll leave the plot description there for now, you can experience it for yourself if you so choose.

Joseph Tagger (Morgan Freeman).

The screenplay, by Jack Paglen, is clever enough. The characters are reasonably well-defined, and there are plenty of plot twists to keep you guessing and keep you interested until the film's conclusion. That being said, a lot of the plot points are relatively standard for a film in this genre, so there aren't a lot of surprises for anyone used to films of this nature, but it is still interesting enough to keep you watching.

Mychael Danna's score likewise is relatively standard for the genre. It's not bad, in fact, it's fine for what it is, but there isn't anything too adventurous or outlandish in the score or the instrumentation. The music is suited well to the film, however, with all the major significant emotional points highlighted well by the addition of music. The film doesn't feel overscored at any point, either, which is good.

The production design, by Chris Seagers, is excellent, transporting the viewer directly into the middle of the film's world and environment. From tech servers to a post-apocalyptic world, everything has been created to suit the film, and it does so to a tee.

Agent Buchanan (Cillian Murphy).

Cast performances are again standard for the genre. Johnny Depp is perhaps not as good in this film as he has been in others, then again, he doesn't have a lot of screen time, so it's harder to judge for certain. While there may not be a lot of emotion or rise and fall in his voice for most of the film, for most of the film, he is nothing more than an AI interface, so this actually works well.

Rebecca Hall gives an amazing performance as Evelyn, particularly in the more intense emotional moments, when one assumes she is delivering her performance to an empty room - without the benefit of another actor to 'bounce off' emotionally - which only adds to the impressiveness of what she can convey.

Director Wally Pfister has made a fairly standard science fiction thriller here, that is certainly enjoyable enough to warrant more than one viewing. I have seen this film a few times now, and it still affects me each time, so that must be saying something. If you haven't seen it, it is certainly worth a watch; there is plenty to think about and discuss afterwards.

7 out of 10.

The BFG (2016)

Based on the book by Roald Dahl, this film is a treat for audiences young and old.

Sophie (Ruby Barnhill) is a young orphan, living under quite oppressive rules in the orphanage. She struggles with insomnia, and while reading late one night, she hears a noise just outside her upstairs window.

Looking out the window, she sees a large figure in the darkness. When the figure spies her looking at it, it comes towards her and snatches her right out of her bed, carrying her away.

She finds herself whisked away to a faraway land filled with giants, including the giant who has snatched her. She begs the giant not to eat her, but he laughs at her, saying he has no intention of eating her - he isn't a "canny-bull" he tells her, and doesn't eat "human beans".

Sophie (Ruby Barnhill).

He is the BFG (Mark Rylance), or Big Friendly Giant. It is only the other giants, he tells her, who eat people. Giants with names like Fleshlumpeater (Jemaine Clement) and Bloodbottler (Bill Hader), who even terrorise him, as he is much smaller than they are. They call him the Runt, and pick on him on a daily basis.

His job - as he sees it - is to catch dreams, which look like coloured fireflies (that's the best description I can come up with for their appearance), and blow them into children's windows using his large trumpet. But now that Sophie has seen him, he can't let her go back home, for fear she will spill his secret.

Seeing that the BFG isn't truly happy where he is, being picked on by the bigger giants, Sophie comes up with a plan that has them appealing to the Queen of England (Penelope Wilton) to rid Giant Country of the giant bullies once and for all.

The BFG (Mark Rylance) and Sophie (Ruby Barnhill).

Melissa Mathison's screenplay - the last one she would write before tragically passing away - is based very closely on Dahl's book, a book I remember fondly from my childhood. Roald Dahl was certainly one of the greatest writers of childrens' books of his time, as he really had great insights into the way children think: their dreams, their fears, and he never talked down to them. Mathison has done a tremendous job of capturing the feel of the book, and bringing it to the screen.

As with the vast majority of Steven Spielberg's films, the score has been composed by John Williams. And as with the vast majority of Williams's scores, this one is absolutely brilliant. The use of leitmotifs and additionally developed themes is extremely clever, and ties the entire film together musically in a way that sets this score apart from one by a less experienced composer.

The production design by Rick Carter and Robert Stromberg is truly inspired. The set design - particularly that of the BFG's cave, where large sequences of the film take place - is beautiful. The other major sets used in the film are of course the interior rooms of Buckingham Palace and, while few people can be certain of exactly what these rooms look like, these rooms are as realistic as the film requires. There are also some stunning locations used for the scenes set in Giant Country, and these are just as 'realistic' as any of the constructed interior sets.

Fleshlumpeater (Jemaine Clement) and the other giants picking on the BFG
(Mark Rylance).

Without exception, the performances of the entire cast are near-perfect, with all the characters behaving and appearing as any fan of the original book might expect. Young Ruby Barnhill is fantastic as Sophie, and Mark Rylance - who previously worked with Spielberg on Bridge of Spies - though performing using motion-capture technology, brings a humanity and a tenderness to the BFG that brings real emotion through the screen and into audiences' hearts. Minor roles for seasoned actors Rebecca Hall and Rafe Spall as attendants to the Queen are well done, too.

Director Steven Spielberg has done it again, and given audiences for generations to come a truly beautiful film. This is definitely a film I will be watching again and again and, if you enjoyed Roald Dahl's book, I suggest you do the same.

8 out of 10.