En un futuro no muy lejano, un policía encubierto comienza a perder su propia identidad a consecuencia de una peligrosa nueva droga.En un futuro no muy lejano, un policía encubierto comienza a perder su propia identidad a consecuencia de una peligrosa nueva droga.En un futuro no muy lejano, un policía encubierto comienza a perder su propia identidad a consecuencia de una peligrosa nueva droga.
- Premios
- 4 premios y 21 nominaciones en total
Natasha Janina Valdez
- Waitress
- (as Natasha Valdez)
Argumento
¿Sabías que...?
- CuriosidadesRobert Downey, Jr. wrote most of his lines down on post-it notes and scattered them around the set so he could read off them while filming a scene. The rotoscoping team simply animated over the notes to remove them from the film during post-production.
- PifiasWhile showing the monitoring equipment, Hank tells Fred that he could be anyone from Arctor's circle of friends, including Barris. This made sense in the book, however, by this time in the movie Hank has already seen Fred alongside Barris, so he could not possibly think they are the same person.
- Citas
Fred: [voiceover] What does a scanner see? Into the head? Down into the heart? Does it see into me? Into us? Clearly or darkly? I hope it sees clearly because I can't any longer see into myself. I see only murk. I hope for everyone's sake the scanners do better, because if the scanner sees only darkly the way I do, then I'm cursed and cursed again.
- Créditos adicionalesThe "Phil" mentioned in the "in memoriam" list as having permanent pancreatic damage is Philip K. Dick himself.
- Banda sonoraFog
Written by Thom Yorke (as Thomas Yorke), Phil Selway (as Philip Selway), Jonny Greenwood (as Jonathan Greenwood),
Colin Greenwood and Ed O'Brien (as Edward O'Brien)
Performed by Radiohead
Courtesy of Capitol Records
Under licence from EMI Film & Television Music
Reseña destacada
"Waking Life" was simply dumb, a collection of clever ideas or various forms ill handled. Though it was adventurous in a couple ways, it lacked the edge it could have had. So instead of changing the lives of a few people, it entertainingly mollified many.
This is much, much better. It attempts something that had structure and effect before it was a film. What it had going for it was Dick's (by now, finally) famous technique of layered observation, frangible motivation and passion. That passion was the most intense until "VALIS," and came from his own drugged life. It is a worthy book, possibly finding a new audience today with a new generation of thugs in government and drugs in life triggering newly emerging forms of paranoia.
What the film adds are some tricks that allow more literary internal dialog than is usual. I think it is simply because what we see is different enough that we allow the filmmaker more latitude than usual to extend conventional internal conventions: visions, dreams, metaphoric stories-within-stories and of course voice overs.
But there's more: It has some actors that understand the effects required. Robert Downey Jr in particular chills. This is his personal story as well. His own disaster was caused in large measure by our intrusion into his life, and having us literally watch him while the story is about being watched makes it more visceral and disturbing than the book could ever be.
The animation technique employed here works for me in all regards except one. That's because it is something still unfamiliar, between the abstraction of cartoon and the texture of "reality." The idea of pulling colors from the filmed palette is wise.
What fails for me is the cloaking device, which in the book is simply a blurring. Here what they try to do is serially overlay many visual personalities. I understand the practical reason; our eye needs to be kept busy. But it fights the terms of the alternative world they have created with the other elements of the technique, which have a calmness that we accept because it is closer to natural than artificial. It may be simply that the animators had to design roughly because of the number required, and these seem more cartoony than whatever else we see.
But all in all, I allow the deficiencies, and I suppose you will too.
Ted's Evaluation -- 3 of 3: Worth watching.
This is much, much better. It attempts something that had structure and effect before it was a film. What it had going for it was Dick's (by now, finally) famous technique of layered observation, frangible motivation and passion. That passion was the most intense until "VALIS," and came from his own drugged life. It is a worthy book, possibly finding a new audience today with a new generation of thugs in government and drugs in life triggering newly emerging forms of paranoia.
What the film adds are some tricks that allow more literary internal dialog than is usual. I think it is simply because what we see is different enough that we allow the filmmaker more latitude than usual to extend conventional internal conventions: visions, dreams, metaphoric stories-within-stories and of course voice overs.
But there's more: It has some actors that understand the effects required. Robert Downey Jr in particular chills. This is his personal story as well. His own disaster was caused in large measure by our intrusion into his life, and having us literally watch him while the story is about being watched makes it more visceral and disturbing than the book could ever be.
The animation technique employed here works for me in all regards except one. That's because it is something still unfamiliar, between the abstraction of cartoon and the texture of "reality." The idea of pulling colors from the filmed palette is wise.
What fails for me is the cloaking device, which in the book is simply a blurring. Here what they try to do is serially overlay many visual personalities. I understand the practical reason; our eye needs to be kept busy. But it fights the terms of the alternative world they have created with the other elements of the technique, which have a calmness that we accept because it is closer to natural than artificial. It may be simply that the animators had to design roughly because of the number required, and these seem more cartoony than whatever else we see.
But all in all, I allow the deficiencies, and I suppose you will too.
Ted's Evaluation -- 3 of 3: Worth watching.
- tedg
- 6 oct 2008
- Enlace permanente
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Everything New on Prime Video in December
Everything New on Prime Video in December
Your guide to all the new movies and shows streaming on Prime Video in the US this month.
Detalles
- Fecha de lanzamiento
- País de origen
- Sitio oficial
- Idioma
- Títulos en diferentes países
- Una mirada en la oscuridad
- Localizaciones del rodaje
- Empresas productoras
- Ver más compañías en los créditos en IMDbPro
Taquilla
- Presupuesto
- 8.700.000 US$ (estimación)
- Recaudación en Estados Unidos y Canadá
- 5.501.616 US$
- Fin de semana de estreno en EE. UU. y Canadá
- 391.672 US$
- 9 jul 2006
- Recaudación en todo el mundo
- 7.659.918 US$
- Duración1 hora 40 minutos
- Color
- Mezcla de sonido
- Relación de aspecto
- 1.85 : 1
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Principal laguna de datos
What is the Hindi language plot outline for A Scanner Darkly (2006)?
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