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Anon (2018)

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I can’t believe my eyes. In the near future, private memories are recorded as ‘Mind’s Eye’ and crime has almost ceased to exist. But in trying to solve a series of murders, troubled detective Sal Frieland (Clive Owen) stumbles upon a young woman known only as ‘The Girl’ (Amanda Seyfried). She has no identity, no history and is invisible to the cops,  a digital ghost. Sal realizes this may not be the end of crime, and it could be the beginning of it…  A Sky Cinema Original, you’ve got to admire any channel run by a megalomaniac that decides to fund films and one about mining personal data in a heavily surveilled state to boot. And then shoots an NYC-set movie elsewhere and camouflages it by grading it to grayscale. Owen is a limited actor at the best of times but he’s really phoning it in here albeit the writing is so ironically expository it’s understandable. None of the performers acquits themselves admirably including Seyfried and Colm Feore as another detective. Going where those lesser-known filmmakers Hitchcock and Spielberg have already been by implicating the voyeur in factual crimes, writer/director Andrew Niccol ponders point-of-view hacking in the realm of science fiction and dreams up a dreary monochromatic dud with a presumed first (I wouldn’t know) in non-porn cinema – the point of view of a man having anal sex with a woman: the come shot as it were. Painful. OMG.

About elainelennon

An occasional movie-watching diary.

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