At this level in Andrew Niccol’s profession, audiences ought to be pretty clear on when they’re watching certainly one of his films, even when they miss the opening credit. Niccol makes a speciality of high-idea tales in regards to the methods technology affects society — sometimes radically, like in his science fiction movies Gattaca, In Time, and S1m0ne, and generally more subtly, as in his drone-warfare drama Good Kill or his arms vendor story Lord of War. He is a writer in addition to a director. He scripted Peter Weir’s The Truman Show, which stars Jim Carrey as a person raised in a bubble as a actuality-TELEVISION undertaking, and he was a writer on Steven Spielberg’s Tom Hanks automobile The Terminal.
However principally, Niccol writes and directs his own tasks, which he tends to give a cold, oppressive feel. His characters are often rigid and repressed, reflecting their worlds’ appreciable anxieties and frustrations. His newest movie, the Netflix release Anon, is one other case in point. The movie takes place in a dystopic future the place everybody has embedded technology that records their viewpoint from infancy onward. They see the world by an augmented reality lens that provides ads to the buildings, playback mode for their own endlessly recorded recollections, and a continuing stream of information about everybody round them. Clive Owen stars as Sal, a detective whose job is more or less like a file clerk’s: when a crime is committed, he shuffles through the folders of different individuals’s memories until he sees who’s guilty. But then corpses start showing up with their reminiscence feeds hacked, and no recorded evidence of the crime.
Two DIT researchers, Professor John D. Kelleher and Brendan Tierney, recently co-authored a brand new e book on Information Science published by MIT Press. Six DIT … Read More