Singh's questionable accomplishment is actually to generate more sympathy for the demented murderer than for the hero or heroine!
Frankly, I found the film lacking in everything that defines a good movie, except in the invention and projection of its imagery. If we look at it in terms of images alone, the picture excels in their eccentric use. If only the imagery meant something, that is. In the movie "2001" director Stanley Kubrick used imagery almost exclusively to tell a story that was not only fascinating to watch but stimulating to think about. Here, director Singh uses images only to try and amaze, startle, or revolt us. There is no build up of tension in the story, precious little suspense, and almost no development of character. We learn nothing about Ms. Deane, for instance, other than she is dedicated to her work. We learn little about Novak except that he tells us he became an FBI agent when he gave up practicing law. And we learn only a bit more about Stargher when we see him as the memory of himself as a child undergoing physical and mental abuse at the hands of his deranged father.
As for the poor lady locked in Stargher's cell waiting to die, we not only know nothing about her, we don't care. Singh's questionable accomplishment is actually to generate more sympathy for the demented murderer than for the hero or heroine!
Video:
Everything about the picture is either dark and murky or bright and showy. I wish I could say that New Line's video reproduction was up the task, but it's only good, not great. The main problem is that the picture is slightly grainy, minor grit showing up particularly in large blotches of solid color, of which the movie is full, while the picture also manifests a few shimmering, wavering lines. Still and all, the hues are rendered brightly, and the reds, especially, are intense without carrying over to faces or flesh tones, which remain natural. The screen size is a 2.13:1 ratio, enhanced for 16x9 televisions, so we miss little of the theatrical experience.
Audio:
I have no reservations about the Dolby Digital 5.1 audio. It's excellent by any standards and envelops the listener in its surround effects. Unfortunately, one of those effects is the inevitable helicopter fly-over, a seemingly inescapable aural event we have had to endure in every action movie since the invention of rear-channel sound. For surround effects, I preferred the clock scene.
Extras:
For this Platinum Series release, New Line provide a few extra goodies that should sweeten the pot. Among them are an audio commentary by director Tarsem Singh and another by members of the production team; eight deleted scenes that can be played with or without director commentary; an eleven-minute documentary, "Style As Substance"; a series of visual-effects vignettes; cast and crew information and filmographies; twenty-two scene selections; one widescreen domestic trailer; and one widescreen international teaser. Only English is offered as a spoken language, and only English is available for subtitles.
Parting Shots:
To sum up, I'm going to have to say I'm sorry, Roger, I'm closer to Bob's persuasion on this one. "The Cell" did not enlighten me, did not elevate me, did not impress me, did not even disgust me. In fact, it did not entertain me, and that's about the worst thing a movie can do. In spite of its spectacular visual images, "The Cell" mostly bored me. Unless you just feel like staring at fanciful and often repulsive pictures for an hour and forty-seven minutes, which may be enough, "The Cell" is a rental possibility at best.
As for the poor lady locked in Stargher's cell waiting to die, we not only know nothing about her, we don't care. Singh's questionable accomplishment is actually to generate more sympathy for the demented murderer than for the hero or heroine!
Video:
Everything about the picture is either dark and murky or bright and showy. I wish I could say that New Line's video reproduction was up the task, but it's only good, not great. The main problem is that the picture is slightly grainy, minor grit showing up particularly in large blotches of solid color, of which the movie is full, while the picture also manifests a few shimmering, wavering lines. Still and all, the hues are rendered brightly, and the reds, especially, are intense without carrying over to faces or flesh tones, which remain natural. The screen size is a 2.13:1 ratio, enhanced for 16x9 televisions, so we miss little of the theatrical experience.
Audio:
I have no reservations about the Dolby Digital 5.1 audio. It's excellent by any standards and envelops the listener in its surround effects. Unfortunately, one of those effects is the inevitable helicopter fly-over, a seemingly inescapable aural event we have had to endure in every action movie since the invention of rear-channel sound. For surround effects, I preferred the clock scene.
Extras:
For this Platinum Series release, New Line provide a few extra goodies that should sweeten the pot. Among them are an audio commentary by director Tarsem Singh and another by members of the production team; eight deleted scenes that can be played with or without director commentary; an eleven-minute documentary, "Style As Substance"; a series of visual-effects vignettes; cast and crew information and filmographies; twenty-two scene selections; one widescreen domestic trailer; and one widescreen international teaser. Only English is offered as a spoken language, and only English is available for subtitles.
Parting Shots:
To sum up, I'm going to have to say I'm sorry, Roger, I'm closer to Bob's persuasion on this one. "The Cell" did not enlighten me, did not elevate me, did not impress me, did not even disgust me. In fact, it did not entertain me, and that's about the worst thing a movie can do. In spite of its spectacular visual images, "The Cell" mostly bored me. Unless you just feel like staring at fanciful and often repulsive pictures for an hour and forty-seven minutes, which may be enough, "The Cell" is a rental possibility at best.
Average user rating (1-5):
[release]5890[/release]