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Strange Days
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Directed by Kathryn Bigelow.
Set in Los Angeles two days before the end of 1999, Strange Days introduces us to Lenny Nero (Ralph Fiennes), an ex-cop turned sleazy hustler who hawks the newest underground thrill on the black market: a "squid," a headpiece that allows one to transmit digital recordings of other people's thoughts, feelings, and memories into their brain; as Lenny describes it, "this is real life, pure and uncut, straight from the cerebral cortex." Lenny deals "clips" (the software) as well as "squids" (the hardware) for this new and illegal entertainment system, and while sex and violence are the most popular themes, Lenny refuses to deal in "blackjack" -- slang for snuff clips. Lenny is nursing a broken heart after his girlfriend, punk singer Faith Justin (Juliette Lewis), left him, and he spends a lot of time with clips he recorded when they were together. Faith is now involved with Philo Grant (Michael Wincott), a music business tycoon who once managed Jeriko One (Glenn Plummer), a hip-hop musician and political activist whose murder has sent L.A. into a state of chaos. When a clip emerges that shows that Jeriko was killed by L.A. police officers, Lenny finds his life in danger, and he tries to escape possible death on both sides of the law with the help of his friend Mace Mason (Angela Bassett). Strange Days was written by James Cameron in collaboration with former film critic Jay Cocks; Kathryn Bigelow directed. ~ Mark Deming, All Movie Guide
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leeroy711leeroy711 Re:"Movie" in 2525
by leeroy711 in Movie Games
lost interest.
"What did they call those things you strapped to your head in Strange Days? It was like extreme porn. " [More]
Review by All Movie Guide
All Movie Guide
is neutral about it.
Film buffs will want to see this stylish futuristic thriller for the opening sequence alone. Utilizing a specially designed subjective camera, director Kathryn Bigelow takes the viewer from a car into a building, up the stairs, across the roof, and over the edge in a single, astounding take. Without a cut. The scene is pure filmmaking at its most exuberant and sets the stage for this absorbing tale of virtual reality and brainwashing in a dynamic, breathtaking manner. The rest of the film is similarly flamboyant, and the climactic chase scenes through the crowds at the millennial New Year's celebration are wonderfully exciting. Bigelow, whose skill as a visual stylist was already well-evidenced by the cult favorite Near Dark (1987) and the underrated Blue Steel (1990), has outdone herself here, and the results are spectacular. ~ Robert Firsching, All Movie Guide
 



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