"At the time, this cerebral and multilayered psychological drama was sympathetically received as Kathryn Bigelow's (possibly permanent) pivot to arthouse-type film-making and away from the high-impact action genre. Catherine McCormack plays a journalist researching the 19th-century murders of Norwegian immigrants, who notices an eerie parallel between a witness to these slayings and herself. An interesting, worthwhile film, though maybe a bit weighty and watery. Audiences would later come to see that, for Bigelow, action was the real artistry."
"This is a head-trippy dystopian thriller with a touch of modish millennial angst, co-written by Bigelow's formerpartner James Cameron; the elements of virtual reality chime with the industry's enduring reverence for Philip K Dick and the film arguably anticipates the debate on AI. In 1999, LA is a futuristic, lawless hellhole, and winsomely creepy Ralph Fiennes plays a black-marketeer whose immersive sensory tech allows his customers to experience other people's thrills, including those of violent crime. Bold and lively, technically sensational but maybe a bit overwrought and even clumsy."
A 1961-based Cold War nuclear submarine thriller stars Harrison Ford as an authoritarian Soviet commander and Liam Neeson as his resentful but ultimately respectful second-in-command, combining some clunky traditional moments with exciting sequences. A multilayered psychological drama features Catherine McCormack as a journalist researching 19th-century murders of Norwegian immigrants who notices an eerie parallel with a witness; the film leaned toward arthouse sensibilities while remaining weighty. Strange Days (1995) is a head-trippy dystopian thriller tied to virtual reality, millennial angst and early AI debate, with Ralph Fiennes as an immersive-sensory black-marketeer. Blue Steel (1990) centers on rookie cop Megan Turner and showcases a courageous female protagonist.
Read at www.theguardian.com
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