Ambitious directing début for Pfister, ‘Transcendence’ combines excellent acting from pretty much everyone involved, with a slightly hokey, clunky script and story, which aims for the stars (or the internet filled rain-clouds) and who cares if it falls slightly short of them when the intentions are so honourable? Tense, properly chilling in places, B-movie fare, with a touch of Wyndham’s ‘The Chrysalids’ (always a winner for me).
Far better than people will have told you, just don’t expect an excess of car-chases and explosions.
Funny, chocolate-box, doll-house con-fection/-coction hiding intellectual depth like stone-working tools inside the elaborate pastel-coloured sponge and frosting.
Alfred Hitchcock himself referred to the film as “just another manhunt wrapped up in pseudo-psychoanalysis.” Which plays well into the OLS framework. However, I prefer to include some paraphrasing of one of the film’s own lines for my One-Line Synopsis:
A noirish Hitchcock thriller (with dream-sequence imput from Dali and his beloved paranoic-critical method) in which a love-smitten analyst plays a dream-detective intent on proving the innocence of an unstable lover who reacts to lines on white in the way that (almost ten years later) Marnie reacts to red (but with more fainting and less thievery).
Sisters, suitors, songs (oh the songs!), Sven, a secret, and a summer-loving snowman.
Three boys, the woods, some stolen building materials, chicken and potato skins, a girl, a snake; broken/breaking/forged/strengthened relationships; coming of age.