Naim's direction is as pedestrian as his screenplay, and his inexperience at working with actors surfaces in the one-note performances.
The Final Cut (2004)
Tomatometer
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Reviews Counted:74
Fresh:28
Rotten:46
Average Rating:5.4/10
Rated: PG-13 [See Full Rating] for mature thematic material, some violence, sexuality and language
Runtime: 1 hr 45 mins
Genre: Dramas
Theatrical Release:Oct 15, 2004 Limited
Box Office: $529,194
Synopsis: Omar Naim's futuristic science-fiction story generates many mysterious, alluring, and thought-provoking questions about memory, surveillance, and the ethics of personal privacy. Set in the future,... Omar Naim's futuristic science-fiction story generates many mysterious, alluring, and thought-provoking questions about memory, surveillance, and the ethics of personal privacy. Set in the future, THE FINAL CUT offers a vision of a world where soon-to-be parents agree to let doctors surgically implant memory chips into the brains of their unborn children. These memory chips are like video cameras with infinite tape stock that comprehensively record the lives of their hosts through the hosts' own eyes--for better or for worse. When a host dies, a "cutter"--played here by an eerily introspective Robin Williams--receives the memory chip footage from the deceased person's family in order to edit the memories for a palatable funereal screening, called a "rememory." But are memories public or private? Is it fair for a cutter to decide what comprises a host's life story? And do people behave differently knowing that someone will view their lives, even their most intimate and discreet moments, as a short film? THE FINAL CUT's use of sharp and furtive handheld camera footage to depict the perspective of memory, set in contrast with the evenly measured cinematography of the rest of the film, constantly foregrounds the medium of film as memory-capturing and memory-making device. With an understated politic and a tightly wound narrative, this film delivers an open-minded and sophisticated meditation on ethics and technology, guilt and redemption, and the property rights of one's own cerebral cortex. [More]
Starring: Robin Williams, Mira Sorvino, Mimi Kuzyk, Jim Caviezel
Starring: Robin Williams, Mira Sorvino, Mimi Kuzyk, Jim Caviezel, Thom Bishops, Stephanie Romanov, Vincent Gale
Director: Omar Naim
Director: Omar Naim
Screenwriter: Omar Naim
Composer: Brian Tyler
Studio: Lions Gate Films
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Reviews for The Final Cut
[The] details alone would have made a great movie. But Naïm goes the Hollywood route...
A movie that goes a long way on the strength of its unique premise, steady performances and impressive visual style.
Final Cut will burrow into your psyche and make you wonder. It's a smart, dark, glimpse into cerebral science's possible paths and the menacing state of civil rights' future.
It's a dark and thought-provoking exploration of where our strange marriage of voyeurism and self-absorption may lead us just a few years from now.
This premise sounds like the sort of a screwy, non-idea that a young film student might dream up while editing a documentary. And according to the press notes, that's just what happened.
What seems to keep you in your seat through this vacuum is wondering how far an incredible premise can be taken under the guise of Sci-Fi.
For a movie that often feels like it's cobbled together from pieces of Minority Report, Blade Runner and other futuristic odysseys, this one is weirdly engrossing.
I'm frankly amazed the foolish, cheap-looking thing didn't go straight to the Sci-Fi Channel.
Williams gives a performance that's honest and carefully wrought but on some level still a stunt.
For all its brain teasing, Final Cut is more a philosophical rumination than an engaging drama.
the plot creaks with wild coincidences, spotty writing, and twists that fail to thrill so much as make the audience groan in the face yet another cliché
Most significantly, the film underscores the fact that the meaning of our lives ultimately comes from somewhere outside of ourselves.
Everything of minor interest in the piece (and Williams' late career) is crystallized in the lyrics to the maudlin Pink Floyd song that bears this film's name.
Maybe this movie needed one more final cut to clean up the rough spots, but even with all its flaws it still has entertainment value.
Williams has extraordinary success in channeling this other person. How strange that the same actor can play some of the most uninhibited of all characters, and some of the most morose.
Striking visuals help, but pic won't make the cut with genre fans or the arthouse crowd.
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