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Once the premise has lost its promise, and Fiennes's brave attempts at characterization are sacrificed to pseudo-dazzle, everything appears awfully humdrum and, yes, distinctly dated.
Undeniably thrilling and troubling.
Though the creators of Strange Days may well be interested in its dramatic and thematic elements, they do not have the same touch for these moments as they do for camera pyrotechnics.
Bigelow is so enamored of high-tech thrills, and so mesmerized by the violence she seeks to condemn, that her efforts at 11th-hour moralizing seem limp and halfhearted.
It's a wildly messed-up, unwieldy, 145-minute movie designed specifically for those audiences who the filmmakers believe haven't been brutalized or quite desensitized enough.
It's big, explosive entertainment and, although not directed by Cameron, is very much in the vein we've come to expect from him.
Not surprisingly, as time has caught up with the film's December 30-31, 1999-January 1, 2000 time frame, the film has grown in esteem with critics and audiences.
[Bigelow] with the help of her talented cast, constantly wrestles against the script, and for a great deal of time, she appears to be winning.
Set in LA at the end of the century, this morality tales showed again the main problem in the director's work: The great divide between simlistic plots and technical sophistication. Even so, it's one of a kind for its use of color, sound and motion
Engaging, genuinely thrilling sci-fi. Enough to make you wish Bigelow made a movie a year.
A thrilling and thought-provoking sci-fi mystery.
A premissa é bastante interessante, mas o roteiro se perde em meio a uma infinidade de subtramas dispensáveis.
An ambitious, unsettling, and effective work.
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