Sci-fi effects extravaganzas are a dime a dozen, but bona-fide sci-fi films—that is, movies that exemplify the so-called literature of ideas and not just the sci-fi aesthetic—are rare. Marjorie Prime, the offbeat indie stalwart Michael Almereyda’s thoughtful adaptation of a Pulitzer-nominated play by Jordan Harrison, isn’t interested in futuristic, high-tech backdrops, even though it seems to be set sometime in the 2040s. The most stylish thing about it is the eerie original music by Mica Levi, the art-damaged noise-popster-turned-composer who previously scored Under The Skin and Jackie. But aside from that, the movie lacks ostentation; it appears so simple and unworldly and unhip that one wants to protect it. This is business as usual for Almereyda (Experimenter: The Stanley Milgram Story, Hamlet), a brainy misfit kind of filmmaker who works with that mostly forgotten credo that indie films should give viewers something that doesn’t...
- 8/17/2017
- by Ignatiy Vishnevetsky
- avclub.com
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