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Solaris
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A therapist travels to a distant space station to treat a group of astronauts traumatized by mysterious entities -- and ends up having to deal with an entity of his own -- in this second film version of Stanislaw Lem's philosophical sci-fi novel. Solaris stars George Clooney as Chris Kelvin, a psychologist still mourning the loss of his wife Rheya (Natascha McElhone) when he's implored by a colleague named Gibarian (Ulrich Tukur) to investigate the increasingly weird goings-on at the Prometheus space station. By the time Kelvin gets there, Gibarian has committed suicide, leaving only the cryptic, babbling Snow (Jeremy Davies) and the paranoid, guarded Gordon (Viola Davis), both of whom are holed up in their respective rooms. As Kelvin interrogates the skeleton crew, he learns that they've had unwanted "visitors," apparitions of long-dead friends, family, and loved ones who are apparently being generated by the interstellar energy source Solaris. The doctor is dubious of their claims until one night he, too, is greeted by his wife Rheya (Natascha McElhone), whose death still torments him. At first skeptical of the new Rheya, Kelvin gradually becomes obsessed with her -- and with the guilt that he feels over their troubled marriage -- to the point where the others begin to fear for his sanity. Produced by James Cameron, Solaris represented director Steven Soderbergh's first screenplay credit since the independently financed Schizopolis in 1996. ~ Michael Hastings, All Movie Guide
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CinemaRianCinemaRian Solaris (2002, USA, Steven Sode ...
by CinemaRian in CinemaRian Blog
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"Few movies are more inappropriate candidates for a remake than Andrei Tarkovsky's greatest achievement, one of the few truly great science fiction films the cinema has produced. Tarkovsky's masterpiece managed to be slow paced and atmospheric without descending into the boredom and pretentiousness that many of his other works succumbed to. The one-of-a-kind nature of Tarkovsky's Solaris would seem that it would be difficult for any other director to follow in his footsteps. Perhaps to avoid the inevitable comparison, Steven Soderbergh's version goes out of its way to market itself as another adaption of the Stanislaw Lem novel (which I have not read) on which both films are based as a opposed to a remake, but the Tarkovsky influence is clarly there. Soderbergh has followed his predecessor's lead with the scenes of empty passion played out in a sterile environment. Both films follow the same basic story, following a standard sci-fi theme- a place where your thoughts take on a ph ... " [More]
kristenkristen Solaris (2002) Steven Soderberg ...
by kristen in kristen Blog
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"The essence of this movie is captured in a comparison to a cologne commercial: it leaves a sweet fragrance but does not have much substance. Cut through the generic science fiction babble and you have a love story about second (or infinite) chances. The movie falls prey to some typical science fiction ideas that do not receive adequate exposition. For example, Solaris briefly touches on the concept of reality (are people just puppets?), has surface level discussions about God ("God exists because humans are conscious" "No he doesnt. We're a product of mathematics and time"), and worries about threats to humanity (Gordon tries to preserve humanity even above morality). The acting tends to be melodramatic and misses the mark. George Clooney gives a good performance, though, and for the most part and carries the other awful acting. The secondary characters, specifically the spaced out, confused dream instantiation named Snow, stumble through the same motions. S ... " [More]
tobensontobenson SUNSHINE
by tobenson in The Obenson Report
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"SUNSHINE is one of those films that had me hooked for most of its length, but then during the last act almost completely lost me; although not entirely in this case, thankfully. I was slightly disappointed that Danny Boyle, the director the film (also TRAINSPOTTING and 28 DAYS LATER), went for the conventional mainstream plot devices that he threw into the last act of film. I won’t say what they were… you’ll just have to see the film, and we can talk about it afterwards if anyone wants to… but anyway… I really liked the film overall – it’s one of those apocalyptic, end of the world scenarios that we’re presented with: in a nutshell, the sun is dying, and world governments assemble a team of scientists and astronauts to go on what is essentially on a suicide mission, into space, in a ship armed with a nuclear weapon meant to be launched into the sun’s core, where it will explode and reignite the sun… a scenario which we ... " [More]
mattdwmattdw Slow, ponderous, beautiful and ...
by mattdw in mattdw Blog
loved it.
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"I think this is my favourite movie ever… it's slow and thoughtful, full of deep, rich colours and an amazing ambient soundtrack. It'll leave you thinking for days afterwards, and it keeps its interest on second and third viewings. " [More]
Review by All Movie Guide
All Movie Guide
liked it.
Easily the strongest of the melancholic sci-fi studio pictures to arrive in post-millennium multiplexes (see also A.I., Vanilla Sky, and Minority Report), Solaris represents yet another curve ball from jack-of-all-trades director Steven Soderbergh: a minor-key space-travel lament told with deliberate echoes of 2001: A Space Odyssey. Rather than being a show-offy attempt at a genre he's never covered, however -- "look, ma -- sci-fi!" -- Soderbergh's adaptation of Stanislaw Lem's novel might be the filmmaker's most personal project. One could speculate that by shifting the focus of the source material from the mysteries of space and existence to the larger and perhaps more-baffling puzzle of love and devotion, Soderbergh is in some small way working through his own failed marriage. At the very least, it's his most passionate exploration of two pet themes that run through all of his films: memory and regret. Reigning in the potential for pop-psychological blather is George Clooney, whose passionate, carefully modulated performance requires him to call up not only his usual reserves of sex appeal and smirky charm, but also his heretofore unexploited paranoia and vulnerability. The project is a quantum leap for Soderbergh the cinematographer, too; the grungy, off-the-cuff stylist of Traffic and Full Frontal offers up a steely, black-and-blue vision of the future that's punctuated by red, hazy flashback sequences and deliberate, methodical long takes, all the while exhibiting his unerring sense of camera placement. Ponderous in the best sense of the word, the resolutely unsuspenseful project may not have served up the requisite thrills for genre fans, but that's to be expected -- Solaris has far more to say about universal human truths than it does science fiction. ~ Michael Hastings, All Movie Guide
 



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