Director:
Tarsem SinghCámara:
Brendan GalvinReparto:
Ryan Reynolds, Natalie Martinez, Matthew Goode, Ben Kingsley, Victor Garber, Derek Luke, Melora Hardin, Michelle Dockery, Sam Page, Griff Furst, Teri Wyble (más)Sinopsis(1)
Un rico empresario con cáncer terminal se somete a un procedimiento médico radical que consiste en transferir su conciencia a un cuerpo sano y joven. Todo va bien hasta que empieza a descubrir que el cuerpo que habita pertenecía a una persona que lo vendió a cambio de dinero para su familia. Con este descubrimiento pondrá su vida en peligro ya que en este lucrativo negocio no pueden quedar cabos sueltos. (DeAPlaneta)
(más)Reseñas (7)
Gran «pequeño» suspenso de primavera (Sin límites, Código fuente), estrenado infelizmente en la temporada de verano. Gran idea, sorprendentes giros, una dosis tolerable de clichés de género y sentimiento. El guión a veces simplifica rápidamente el impacto de los giros en las reacciones de los personajes, pero lo hace para mantener perfecta la dinámica de la narración. Escenas de acción inesperadamente emocionantes y duras. Por fin, la dirección exótica de Singh utilizada de forma efectiva en la corriente principal. Uno de los mejores papeles de Reynolds.
()
A very generic film with cheap visuals, slower pace, uninteresting action, boring actors, a great idea, but not fully exploited, and few nice twists and turns were nice, but had I seen it in the cinema, the rating would be lower. A weak thriller. 50%
()
Ben Kingsley is dead, long live Ryan Reynolds is definitely not happening. This mediocre exercise in transhumanism has a pleasing visual style, but it does little to open up the cerebral threads.
()
Loads of traditional Hollywood clichés starting with plot twists and ending with family values. But Singh's direction is brisk throughout (he's even got a sensible script) and the action is unexpectedly dynamic. Ryan Reynolds in another role where he puts clouds of energy. If Bay hadn't made a visual magnum opus on similar themes a few years ago, this might have been better, as it is, Self/Less looks like the little brother.
()
So, after Immortals and Mirror Mirror, Tarsem Singh made things right again with me. Self/less is a great film that combined sci-fi, drama and action in the way that Steven Spielberg's Minority Report did. Quite naturally. It looks great, and I (unlike The Fall) almost did not realize that it takes two hours, and the actors and actresses were a joy to watch. The finale similar to The Old Gun made me happy, and I don't consider it as theft, but rather as an accurate and equally impressive quote.
()
Hollywood's god of composition, Tarsem Singh, after earlier narrow escapes has been given the task of proving that he can make a standard underfunded sci-fi thriller that will show the big studios his subtlety and get him money for a big project, or a script for a comic book or something. You absolutely can't decipher his handwriting in this one, but the direction is the only thing that keeps this joke afloat. In the first half you can see it a lot in the dialogue scenes, which are stagy in a Singh way, cramming as much information as possible into one shot, but later on his eye only slips into a few sequences (btw can someone explain to me why they set the car on fire?). But where the whole film completely runs out of breath is with the script, which after the first reveal tiredly dissolves into a series of terribly boring monothematic dialogues and sad looks that don't manage much closure and are the only thing that moves the story forward. And that's bad.
()
Well, this was a pretty big disappointment. From Tarsem Singh, I expected at least an intriguing visual spectacle, but I didn't even fully get that. There are scenes here and there that catch your eye visually, but there are too few of them. Unfortunately, this sci-fi is so transparent that essentially after half an hour, you'll already know how it all ends. And the film is two hours long...
()
Anuncio