New York of the future has driven crime to an all-time low due to the introduction of a DNA-based network where any transaction, any interaction and any surface will log and track the DNA of that individual to start their car, enter their home, grant access to their workplace, buy a Coke, anything. However, something strange is happening – duplicates (or pluralities) of some people are start to show up in NYC. Under the guidance of the surveillance network of Director Pollard, Agent Jacob Foucault is out to hunt down the most recent example – journalist Anna Winston.
As many a Hollywood blockbuster can testify, you can get away with a lot if you hit the ground running and don't let up – many a thriller is full of plot holes and nonsense but the viewer never really has time to sit and question them because the film is carrying them along at a great pace and not giving them time. Plurality is at its best when it plays this card and for the first half of the film it does it extremely well. The world of the DNA grid is introduced with great effects and pace, so much so you never really stop to think that actually, while our DNA is unique for individuals, it isn't something that is impossible to get and actually we shed it everywhere we go. This is a flaw in the logic but it doesn't matter because we are in this world so therefore it must work and we are moving fast. Although we have no idea what it means, suddenly we have a plurality and supercool agent Foucault is off and literally running in a chase sequence that is not quite Bourne levels but still works as such.
It is when this is over that the film starts to wobble; the interview sequence requires a lot of dialogue and now suddenly the lack of a working bigger picture is a weakness and the lack of understanding of the "plurality" effect is also an issue. It is a shame because this section points to a bigger story to tell and I guess the hope is that someone with money would feel this way too and help make it happen, but the aims and methods of the time-travellers is not really introduced well. That said the film ends on another high – the new plurality and you know by the way it ends that the very next scene will be thrilling just like the opening ones. The delivery may ape Hollywood thrillers but it is effective and well done – it is a little limited perhaps but mostly when it is moving it is really good. In the performances it is the same – Nissani is great in the lead role, strong presence, cool delivery, but his dialogue not also so and his narration doesn't always work. Strelitz is more or less the same, best when moving, not so much when talking. Di Domenico's big gruff American director is a caricature but his delivery of his lines is part of the "thriller" delivery that works well.
Plurality is a mixed bag; it has weaknesses in the plot and particularly in the dialogue, but yet when it is moving it is working above its level with good effects and motion which is engaging and thrilling. The second half is weaker for sure but it ends on a promise and if this was a start of a Minority Report thriller with Nissani's Foucault in the lead, I'd be watching it.
As many a Hollywood blockbuster can testify, you can get away with a lot if you hit the ground running and don't let up – many a thriller is full of plot holes and nonsense but the viewer never really has time to sit and question them because the film is carrying them along at a great pace and not giving them time. Plurality is at its best when it plays this card and for the first half of the film it does it extremely well. The world of the DNA grid is introduced with great effects and pace, so much so you never really stop to think that actually, while our DNA is unique for individuals, it isn't something that is impossible to get and actually we shed it everywhere we go. This is a flaw in the logic but it doesn't matter because we are in this world so therefore it must work and we are moving fast. Although we have no idea what it means, suddenly we have a plurality and supercool agent Foucault is off and literally running in a chase sequence that is not quite Bourne levels but still works as such.
It is when this is over that the film starts to wobble; the interview sequence requires a lot of dialogue and now suddenly the lack of a working bigger picture is a weakness and the lack of understanding of the "plurality" effect is also an issue. It is a shame because this section points to a bigger story to tell and I guess the hope is that someone with money would feel this way too and help make it happen, but the aims and methods of the time-travellers is not really introduced well. That said the film ends on another high – the new plurality and you know by the way it ends that the very next scene will be thrilling just like the opening ones. The delivery may ape Hollywood thrillers but it is effective and well done – it is a little limited perhaps but mostly when it is moving it is really good. In the performances it is the same – Nissani is great in the lead role, strong presence, cool delivery, but his dialogue not also so and his narration doesn't always work. Strelitz is more or less the same, best when moving, not so much when talking. Di Domenico's big gruff American director is a caricature but his delivery of his lines is part of the "thriller" delivery that works well.
Plurality is a mixed bag; it has weaknesses in the plot and particularly in the dialogue, but yet when it is moving it is working above its level with good effects and motion which is engaging and thrilling. The second half is weaker for sure but it ends on a promise and if this was a start of a Minority Report thriller with Nissani's Foucault in the lead, I'd be watching it.