Code 46 Movie
Storyline
TAGLINES
How do you solve a crime when the last thing you want to know is the truth?
Can you miss someone you don't remember?
Can a single moment ever disappear completely?
Code 46 is a love story set in a Brave New World-type near-future where cities are heavily controlled and only accessible through checkpoints. People cannot travel unless they have "papelles," a special travel permit issued by the totalitarianistic government, the "Sphinx". Outside these cities, the desert has taken over and shanty towns are jammed with non-citizens - people without papelles forced to live primitive lives. William is a family man who works as a government investigator. When he is sent to Shanghai to solve a case of fake papelles, he meets a woman named Maria. Although he realizes she is behind the forgeries, he cannot help but fall completely in love with her. He hides her crime and they have a wild, passionate affair that can only last as long as his papelles: 24 hours. Back home, William is obessed with the memory of Maria. When the original investigation is inevitably re-opened a week later and William is sent back to finish the work he started, he tracks her down, only to discover she has been accused of a Code 46 violation and any further relationship is impossible.
| Tim Robbins | William Geld |
| Samantha Morton | Maria Gonzales |
| Togo Igawa | Driver |
| Nabil Elouhabi | Vendor |
| Sarah Backhouse | Weather Girl |
| Jonathan Ibbotson | Boxer |
| Natalie Jackson Mendoza | Sphinx Receptionist |
| Om Puri | Bahkland |
| Emil Marwa | Mohan |
| Nina Fog | Wole |
| Bruno Lastra | Bikku |
| Christopher Simpson | Paul |
| Lien Nguyin | Singer in Nightclub |
| David Fahm | Damian Alekan |
| Mick Jones | Himself |
| Michael Winterbottom |
6.30 out of 10 (5449 votes)
Visitor Reviews
Code 46, Vibrant Feel, Hard to follow
posted on 28 Aug 2009The movie is set in the future. The world is separated in two. People who live inside certain cites and outside. The inside have a good life. The outside is a tough hard scrabble existence. The movie never goes into why this is like this, or how or who decides which persons get to live on the inside. Another key element of the movies is that people with genetic material that are close will not allowed to mate seemed interesting. This is called "Code 46". Also their are virus given to people that give them mental powers. Again this is never explained very well, and I was confused at first. The basic plot is that a government pass (called papelles) is needed to travel from city to city (thats if you live inside the designated city). Someone is giving out pass's to unauthorized people. A top detective is sent to Shangha to solve this. He quickly has a suspect, a single women, that works at the place the makes the government pass's. This detective has superior powers,which are enhanced by taking one of the virus's. Their are several types of virus's, which are taken by many to improve their mental ability. But as the story goes the detective falls in love with the suspect. The suspect knows she is talking to the detective, and seems to open up to him. She is a suspect in a crime, but seems unconcerned about being caught. The detective falling in love with the suspect of course this complicates everything, and he seems to have no concern about being caught. He goes out to diner with her, and to night clubs. Why this doesn't seem odd to others, I don't know.The film had a vibrant feel. The Shangha city was really nice. The idea that the future the language will be mostly English words, mixed with words from other languages; French, Spanish, was cute.But their seemed so many problems. This control of the cities, seemed lackluster. The gates and checkpoints seemed easy to get around. The airport their was just casual women workers as checkpoints. It seemed like a loser could sneak in an out. The detective knows almost instantly who is doing the illegal handing out of pass's (papelles). Its not explained how he figured this out so quickly. Then the detective falls in love with the suspect, in like 5 seconds, who is a very plain women. Why would the main suspect be so nice and open with the detective, that obviously might solve the crime, and cause her punishment. Then the whole issue of the detective falling love, their seemed no reason why she sparked his interest. The detective goes everywhere with the suspect, obviously showing almost a casual attitude. He, the detective seems unconcerned that his superiors might find out about this.The movie brings up that virus's people take to obtain strong mental powers, (the detective improves his ability to read peoples minds), was never explained. Is the virus injected or eaten. Is the detective mind reading powers just from the virus or is enhanced. I would have liked to know more about virus's, and how their used.One character obtains an illegal pass (papelles) to go to Deli (from Shanhga), and then dies in Deli. His death is considered a serious problem. It doesn't explain really what caused his death (something about bats, I am not sure) and why one death is so important.Too many questions, too much left out.
Thoughtfully Inspriring...!
posted on 31 Jul 2009Think this film is more than letting us see if we are willing to be slaves in a free society or to be an outcast in a free world. Or that there always be rules to control the chaotic nature of us humans. Or that we are merely programmed & pre-depositioned by our genes as individuals. The true questions is what path are we willing to make us human beings. Are we willing to follow our dreams, loves and desires? That's the true question William (Tim Robbins) and Maria (Samantha Morton) must confront in this film. Genetically they are so close, it's illegal even by today's standards. Love is not only the glue of their relationship, but the path to it's destruction. Though they are willing to take that chance no matter what the rules. Though I truly love this film for what it tackles and the questions it raises. I love the linguistics of English, Spanish, French, Mandarin, etc and it's acceptance of a multicultural world that we are fast becoming. But with new challenges, we must understand that we should never loose our own humanity & there is no gene to replace the human heart.
Genetics Vs. Love in the Future
posted on 11 Jun 2009"Code 46" takes elements from many different sources -- the sci fi of genetic determinism explored in "Gattaca," the memory erasures mocked in "Men in Black" and fought in "Eternal Sunshine of the Spotless Mind," the manipulative interpretive underpinnings of futuristic society as shown in "Minority Report," etc. --to create a believable future of Orwellian global businesses and the haves vs. have-nots they promote. Michael Winterbottom takes this beyond the usual asexual 1950's sci fi by creating a full environment of compromised people trying to be real human beings as richly as he did in the very different period movie "The Claim." The settings created out of elements of today's world cities and extensions of today's technology create a much more realistic mise en scene than the casting does. Tim Robbins towers over the child-like Samantha Morton (what was the point of her having had a Brazilian wax job?), so that his feelings almost seem more protectively paternal than romantic as he risks all for her. Despite the breathy voice-overs, we are carried along for a futuristic "24 Hours From Tulsa"-love story, though their second love scene raises disturbing issues of what is a consenting adult with conflicting programmed mind vs. emotional responses, in uneasy comparison to the gentleness of their first encounter. Yeah it's a cute joke having Mick Jones do "Should I Stay or Should I Go?" in a karaoke bar, but the soundtrack selections and moody music by Joshua Hyams are much better than that humor.
a movie full of big ideas to be considered as a human being on earth
posted on 05 Jun 2009intuition is the key for true knowledge...code 46 is a story set in a post apocalyptic atmosphere in the near future.It is consisting of many levels, and one can analyze the story in terms of sociology, politics,naturalistic ideas and in terms of love. The story is about an "intuition man" looking for a "corrupt" worker of a company that provides pass for people.However, she is helping out people to achieve their dreams and the company is actually limiting the people in terms of the places they can go on earth.The intuition man finds out who provides pass for people "illegelly" but does not give her away. He falls in love with her and the story unfolds...The movie asks a lot of questions like "if you know the consequences of your actions, would you still do the same thing in the first place?" to be answered.At this point, the audience should consider the nature of the characters. One of them is the intuition man( according to Foucault, intuition is the key for true knowledge) the other is a girl having dreams (consider Freud) and there are several reflections on humanity that we are all interconnected...The search for spiritual freedom in the world is a dominant concept in the film.The course of life of the characters are proficiently reflected through out the movie. As a director, Michael Winterbottom puts out an excellent work of art. His visual style in reflecting the post-apocalyptic atmosphere is worth admiration. All in all, this is a movie to be watched again and again...
Pleasing lack of visual noise
posted on 05 Jun 2009I liked how the movie didn't scream at me, trying to deafen me with whatever kind of message the actors and director wanted to convey... I had to work a little bit to see what there was to be seen - which I like, and I found the lack of CGI and laser guns thoroughly refreshing. The pace was right, and the music fit the mood of the movie.The movie as a whole has a distinct human quality like I used to enjoy in those 50's sci-fi stories the way Philip K. Dick could write them. The same atmosphere that's usually gone in Dick's flashy Hollywood rewrites.The intercultural lingo is a lot of fun to listen to, it's not too tacky and not too overdone, it sounds almost natural to me.All in all a good 8 out of 10 stars from me. If there was more of a puzzle to be solved throughout the film (it does have you wonder where things are going in the beginning) I would have probably rated it even higher, because I like my stories a little mysterious and not too straightforward. I can imagine that some people find the acting slightly too bland for their tastes, but I feel it's far better to err on the side of caution than to produce another vehicle for overacting and improbable characters.
Taught sci-fi thriller with no real need for back-story
posted on 24 May 2009Only the best movies can survive on their own without the need for exposition. Code 46 is one of these pictures. It could've been served up with 50% of the story being told as, "How did society get to where it's at in this movie?" but there was really no need for the explanation because the story itself wraps you up; and if you didn't get it, watch it again.Code 46 reminds me a lot of Eternal Sunshine of the Spotless Mind, for obvious reasons, but folks, Code 46 is more coherent, better acted, doesn't intentionally try to confuse the audience (which has its rightful place in some movies), leaves one with stronger feelings when the movie's over, and I would say, is worth 2 points better on a scale from 1 to 10.9/10 period. This was a great movie, and I was surprised to find such a gem so close to the end of the year.
A wonderful piece of cinematic beauty
posted on 10 May 2009This movie is highly recommended to anyone who can discover true beauty in a movie and can go beyond what they see. Amazing images, intriguing plot, great director's work, and of course incredible music. Coldplay fans - you have to see this. As far as I'm concerned, this movie contains the music video for "A Warning Sign" that many of us expected ;) But back to the movie... Certainly not for everyone. If you like sci-fi like that of Star Wars, stay home and don't bother, you will probably be disappointed as this movie requires a lot of thinking. If you enjoyed a movie like Solaris or The Matrix trilogy (its intellectual rather than special F/X side) - here's a pick for you. 10/10
no more of this CRAP!!
posted on 28 Apr 2009not much to say about this title, just rented the DVD:/ and this is my thoughts.biggest waste of my time and money since.... ever.one thing that got me pukein', was the Spanish-blended-English EVERYONE was talking, omg!!! OK i admit its futurely possible, but it was so F'in fake!.i'll sum it up with a few words.the story is BAD, the setting is the gayest ever!!!, the sex scenes are totally *pukes* unsexy?.PLEASE DON'T MAKE ANYMORE FUTURE-SET MOVIES WITHOUT A GOOD STORY. PLEASE GOD.
Great film, if you like pretentious, slow-moving and bad sci-fi.
posted on 12 Apr 2009There is nothing worse than science fiction crafted by folks who don't have a feel for it. Grasping at a concept which wouldn't be so terrible by itself (a future where cloning is common enough that it is necessary to make it a crime for you to breed with someone too close to you genetically) the screenwriter proceeded to allow his ill-suited imagination to run wild.When Tim Robbins' character was able to guess a security guard's computer password simply by getting her to tell him one thing about herself, I knew I was in for trouble. This ability was later revealed to be due to Robbins having taken an "empathy virus", viruses being used to grant instant (or nearly instant) skill upgrades to their users. Robbins' love interest complained about her own experience with such a virus -- a Mandarin Chinese language virus, which allowed her to speak Chinese, but as she complained, "she couldn't understand what she was saying." Okay, first off, empathy, no matter how intense, isn't ESP. Without incorporating some sort of true mind-reading aspect (like an empathy virus which actively releases virions into the vicinity, infects nearby people, picks up bits of their memory, then departs for the original host -- which is, as you can probably tell, a smidgeon on the impractical side) you can't justify being able to determine a specific detail like someone's password just by "listening to the things you didn't say". Nor can you acquire the ability to speak a language without understanding what you're saying -- the virus can't infect your vocal cords and translate for you on the fly, because a virus can't *think*. To give you the power to speak Chinese, such a learning virus would have to modify your brain. It would have to encode the knowledge among neurons, and once it's in there, it's *yours* -- you certainly understand what you're saying, because you have to. To use your own brain to perform a task, you must understand that task (for the most part). Unless, of course, they movie is suggesting that the virus was deliberately designed to put in place some bizarre multiple-personality mental schism where some sub-personae of yours functions as a built-in, one-way translator.The mélange of languages spoken by the characters is decent enough, although nowhere near remarkable enough to warrant all the love other reviewers have given. What's more, all the multicultural insertions in the world can't make up for a simple, frustrating fact: The dialog stinks! It's slow, it's plodding, and it's unnatural. Again, I'm sure adherents have convinced themselves that the dull strangeness is simply the result of an inspired genius creating a truly futuristic (and therefore subjected to linguistic drift) form of speech. I disagree. Good dialog is good dialog in any era -- and the same goes for tripe.Lastly, I'll revisit the central concept of the movie -- the banning of sex with yourself. Widespread cloning is a nice, classic sci-fi topic. So is global warming leading to ecological devastation (which Code 46 also incorporates). Unfortunately, the two don't go together! If you have an ecological disaster cutting down severely on the available living area, you don't run around cloning people! You have population problems enough as it is -- you don't add to them by cranking out re-issues. Regular, old-fashioned sex-and-birth provides all the population you need, and cloning of any sort would be ruthlessly suppressed.To be fair, the movie wasn't all bad. It had some nice cinematography. Perhaps if I had watched it muted, I could've enjoyed it.
Asphinxiated Replicance
posted on 02 Apr 2009Folded self-reference set in a world of folded noir. What a sublime essay on cinema! We open with the written code.In communications code is a rule used to convert data from one form to another. Cinema is communication that attempts that very thing. The legal code shown on the screen breaks a rule of legal writing by referring to itself. Recursive logic, self-reference, a promise of things to come...A Sphinx that provides cover provided by a woman with a hairless kitty---a Sphynx. And recalling Greek myth, every Sphinx has its Oedipus who answers the Sphinx's self-referential riddle by referring to himself---man. Sphinx as mother---she cares for these humans in this world, protecting them from even unseen demise. Sphinx as woman answered by a man who loves his mother, does her work, and who loves the genetic clone of his mother, Mother Maria---folded archetypes. And our hairless Sphynx is both the source of men and the goal of men. Spirit mother (dead clone source), mechanical mother, human mother equals story/created reality/film---at least since Kubrick's 2001. We the audience are its child and the three mothers compete for our love. We survive, our memories altered by the crucible of the film that is now exiled into the desert of our own past.Cinema is created reality and is best folded when its characters are also creating reality. This story is one long flashback told by the exiled mother. We are watching a reality created both from her memories of the past and her dreams of the future---folding reality and time.These dualities continue into the juxtaposition of day and night, of the folded spaces of city and desert, folded states of covered and uncovered, choices and fates, etc.But perhaps as amazing as these intelligent structures is the way Winterbottom's camera pulls you into the spaces of the actors. He always seems to elicit vulnerable work from his players and then inhabits their space with his camera. ...An intimacy that lends power to the emotional aspect of the ostensible story---an empathy virus.Many have pointed out the political commentary of this film. This commentary is mere window-dressing in comparison to its greater themes---discussing cinema, created reality and their relationship to the audience and actual reality. Much more intelligent than any political bunting are the questions this film asks about noir and its nature.Noir requires two critical things to make it noir: a universe of capricious fate and the placing of the audience in the intimate space of the film so that we too are subjected to the same capricious fate. But is this a universe of capricious fate? The Sphinx is supposedly the exact opposite---a protector from such caprice. Yet she seems not to protect but to act arbitrarily---when the characters can't see the big picture! That is our world. This world of ours seems like a noir world because bad things happen without rhyme or reason, as do good things. But perhaps our view would be completely different if we could see the big picture---if we had the omniscience of the Almighty Mother. And so we have a folded universe of little picture and big picture, noir and anti-noir, that provides a verisimilitude through its abstract nature that cannot be matched by Naturalist film-makers.3 out of 3. Thanks Michael.
It makes you wonder where all the ordinary grown-ups come from.
posted on 03 Mar 2009Take moments of Blade Runner, the lost themes of Lost in Translation, and the haunting images of Gattaca and mix them all into a big bowl, your final product would look something like Code 46. Winterbottom's vivid imagination and intelligent storytelling is proved once again as he successfully builds another chapter into sci-fi's growing history. His ability to take a simple story about a forbidden love and transform it to a different time and culture was outstanding. His themes of love, laws, and family are so dominate that he is able to handle them with the greatest of ease and use them to even paint a bolder picture. Code 46 is an instant Winterbottom classic with the professionally superb acting by Robbins and Morton, the cinematic eye candy of our future, as well as a tight script that allows the viewer experience it over and over with new references every time. Winterbottom proves that no genre is too small for him to tackle.To begin, look at that chemistry between Robbins and Morton. The sparks were literally flying out of my television when they were together on-screen. Their presence together fueled this film to a new level by creating a truth to their relationship. We were rooting for something that was illegal in today's society as well as this fictitious futuristic one. That is a hard concept to grasp for most audiences, but with Winterbottom behind the camera guiding this masters through the motions, it came across as nothing more than pure art. Robbins has this ability to make every character he touches into this humanistic screen element of yourself. You see yourself in this man as he struggles with the truths that surround him. He isn't just having an affair, he is in love with someone that the law will not allow. That would be hard to pull off for any actor, but Robbins seems to hit his mark with ease. Morton is no different. She has proved time and time again that she can handle the intense films, and Code 46 is yet another demonstration. She handles herself so well, giving us so much from those big eyes that seem to speak for themselves. We sympathize with her dilemma and want her to continue so that Robbins and her can meet again and again. She is a very complex character with more layers that I could count, yet we see each and every one of them in Morton's role. She holds nothing back and honestly gives 100% throughout the entire film. That is hard for any actor to do, but Morton does it with the greatest of ease. It is obvious that she will continue to be a strong cinematic force in Hollywood.Second to the phenomenal acting, you have a brilliantly colorful future. While robots and genetics seem to be the dark horse of this civilization, it is a guiding light to see love emerge from it all. The beauty of the city only enhances this sensation even stronger. The contrast between the city and the desert looming outside shows no blurred lines. It helps us to see the symbolic references to our society and the lack of change to this new one. Winterbottom pulls no punches with his cinematography, taking ideas from Blade Runner and Gattaca, he thrives on the night and sunlight to show the horror and beauty of the surroundings. He does not color coat anything with fake CGI, but instead places you in this very realistic world that could eerily happen tomorrow (watch the current news and you will see the reference). Winterbottom does a great job of giving us both dimensions of this multi-faceted world.Finally, I have to applaud Winterbottom for the script that he chose. Frank Boyce clearly has done his homework in both the sci-fi genre as well as the love-interest films. He successfully combines the two into this brilliant display of both modern and post-modern culture. He clearly defines the emotion of love through our characters, then throws a big shock through the system halfway into this epic. What we know, or thought we knew about his world changes instantly, but in a very calm and crisp way. He also imaginatively creates this era where languages do not divide us, but instead is required to know throughout the world. I thoroughly loved the idea that everyone knows all languages. It broke the thought that this was going to be an American film. The concept of the virus was impeccable. While not much is said about this invention, the consequences that it has on the film continually keep us on our toes. The mind-shattering voice overs coupled with the actors struggle only proves that Code 46's entire team was dedicated to the project, and sometimes that is a rarity in Hollywood.Overall, I thought this was a welcomed change to the recycled love story syndrome that seems to plague our screens as well as a bold step in the sci-fi direction. Winterbottom continues to break new boundaries with his random choices of projects that impresses over and over and over again. For those of you that did not understand this film, I ask (wait, request) that you see it again. It cannot be enjoyed with just one viewing. Code 46 is a multi-view film that opens itself more and more to you the more often you watch it. This emotional film brought tears to my wife's eyes. Impressive and challenging! Thanks, Mr. Winterbottom! Grade: ***** out of *****
encompassing
posted on 01 Mar 2009This film was a warm surprise. I found it an intelligent and sensitive portrayal of what is commonly a tired Orwellian cliché.Tim Robbins delivers a clean and steady performance but in truth the movie is owned outright by the ethereal Samantha Morton.Somehow this young woman manages to become the character she is playing in such a way that if you had'not seen any of her past performances you would begin to wonder how she was transported back in time to play herself in this film. If that sounds a little confusing you only have to watch the movie to understand the depth of this woman's performance.She is at once both vulnerable and strong, controlled yet reckless. She manages to knit together the stark reality of isolation and aloneness that is the human condition with an intense empathy for life. Unlike the character she portray's this shockingly beautiful person will never have to share the same fate. She is the future of what good film will be, if you miss her, you've missed the boat!
A brief encounter against a backdrop of technocratic excess.
posted on 25 Feb 2009Code 46 is a dense and multi-layered film that certainly warrants multiple viewings, with director Michael Winterbottom creating a staggering mosaic of different cinematic, science-fiction ideologies, blended together with a central social debate that is all too relevant, and an emotional dilemma that seems to suggest a 21st century Brief Encounter. Here, both the story and Winterbottom's approach to the visualisation recall earlier hallmarks of the genre, for example, Wim Wender's similarly misunderstood Until the End of the World, Godard's celebrated Alphaville, and Chris Marker's groundbreaking short film La Jettée (the basis for Twelve Monkeys), with the filmmakers here establishing a similar juxtaposition of modernist architecture, cold philosophies and dystopian themes (all major factors in the films mentioned above), in relation to the idea of pure human emotion and the longing for true love.Obviously from this, we can detect the spirit of Orwell - which is hardly surprising given the influence of 1984 on everything from Alphaville, to Blade Runner and Gilliam's Brazil - with screenwriter Frank Cottrell Boyce playing with the idea of over-population, birth-control, all-seeing government establishments, and the notion of totalitarian segregation. This ideology lends it's self to some wonderful visual compositions from Winterbottom and his two highly-skilled cinematographers, Marcel Zyskind and Alwin H. Kuchler, who manage to juxtapose the cold and sterile world of the aptly-named Sphinx corporation - and the various hospitals, offices and laboratories - with the rough, ethnic vibrancy of the streets, bars and forgotten shanty-towns.There are more topical shades to the story too, with the idea of genetic engineering and the whole notion of cloning human embryos, as well as brining on board further issues like government surveillance and immigration... both of which can often be found between the pages of any broadsheet in these politically-charged times. These factors help to remove the film from the fantastical influence of Orwell, or the territory of similar sci-fi like Gattaca, and instead, more towards something with a cultural significance and a contemporary edge. To me, the depiction of the world of Code 46 is one of absolute plausibility... it's the natural conclusion of too much over-crowding, more government surveillance, and a more rigid stance on immigration. The idea of mixing the languages and cultural backgrounds of the characters is a nice touch also, offering us a depiction of a multi-cultural society that has led to an amalgamated language incorporating English, French, Cantonese, Spanish and so on. It ties in nicely with the film's bold use of locations, with Winterbottom constructing his future world from a number of 21st century cityscapes from around the globe, which furthers the notion of multi-cultural confusion and technocratic anonymity. There are times when the film becomes almost too beautiful, with Winterbottom and his cinematographers capturing this amalgamated future world with a roving curiosity and a degree of painterly perfection, which at times reminded me of the similar cinematic style employed on Wong Kar-Wai's masterpiece, In The Mood For Love... another film that presents a self-reflexive doomed love story, with a great deal of intelligence and depth.Despite some criticisms from other critics/viewers, I found the central relationship between the two central characters to be quite affecting... true, there are a few loose ends and perhaps some inconsistencies within the broader aspects of the plot, especially concerning the issues of 'code 46', but the actual base-relationship is actually quite simple, and plays off our own past memories and experiences of torturous, ephemeral love-affairs. Certainly, we're supposed to presume that much of the relationship is brought about by our male protagonist William's use of an "empathy virus" in order to aid his work as a corporate crime-detective, however this would belie the use of Maria as are principal narrator... and would also undermine the idea of the dream that Maria has on the morning of every birthday, which somehow points to her (perhaps?) fated relationship with William.Like a lot of prophetic science-fiction parables, the film has a sombre and alienated mood throughout, unfolding in very much the minor-key... whilst managing to strip away the usual reliance on forward-thinking technical-jargon and pointless CGI, which of course, makes up most of Hollywood's science-fiction out-put, to instead focus on these two characters and the ramifications of their affair. Tim Robbins as William gives a restrained performance, as the government agent tied between notions of his mind and his heart, managing to instil within the character this boyish innocence and sense of naivety, which ultimately, makes his central relationship with the youthful and free-spirited Maria, all the more plausible. Samantha Morton continues her androgynous "oracle of the story" archetype established in Spielberg's Minority Report, whilst also bringing shades of Morvan Caller, which helps her create a character that manages to be believable, in the human sense, but with something much more vague and possibly alien about her.Ultimately, there are still a number of slight-flaws in the film, with Code 46 really standing as a minor-masterpiece. The fact that the film attempts to do something different with a genre as over-populated as science-fiction should be commended, whilst the allusions to David Lean's perennial favourite Brief Encounter do add a further level of resonance to a story that could have quite easily become a cliché. Instead, the film is an interesting, original and beautifully filmed meditation on love with in a prophetic, science-fiction subtext. I suppose the film might be a little tiresome for viewers who expect sci-fi to be all about explosions and computer-generated aliens, but those who appreciate more personal and intelligent sci-fi, like Gattaca, Alphaville or Twelve Monkeys, are sure to enjoy this thematically bleak and visually beautiful minor-masterwork.
The future is now
posted on 11 Feb 2009Michael '24 Hour Party People' Winterbottom consolidates his position as one of this country's most interesting film-makers with this mood-driven science fiction.Strikingly shot in the surreal urban landscape of Shanghai, it can't help but recall the alienating dystopia of Blade Runner, while its storyline of genetic sex crimes in a world of haves and have-nots strikes chords with 1984 and Metropolis.Set in a near future of global warming, cloning and performance-enhancing viruses, William (Tim Robbins) is a detective sent to root out a black market trader in 'papelles', the papers every citizen needs to access the world's overpopulated but affluent cities.But when his trail leads him to free-spirited worker Maria (Samantha Morton), the empathy virus aiding his investigative abilities helps him lose his head and his heart to her.The plot line resonates strongly with many contemporary concerns and the aura of dreamy dislocation is enhanced by the sinuous ambient soundtrack but it's Winterbottom's attention to small detail that convinces, even if the downbeat ending hits an ambivalent note.
Shanghai, November 2019?
posted on 16 Jan 2009Through the wonders of genetics and in vitro conception, humanity has hurled itself into a potential inter-breeding fiasco, since in Code 46's near-future setting nobody really knows their biological parents anymore. To counter such disastrous problems, world authorities initiate extensive, Gattaca-esque DNA scans at regular intervals, and institute laws prohibiting intercourse among genetically similar individuals. The strictest of these regulations, Code 46, forbids DNA-related people from engaging in carnal knowledge, but then again, rules break more often than delicate porcelain at a crowded Ikea store on a busy weekend, so what the hey.However, more than mere concern for public health drives the ubiquitous Sphinx government. A new political order has evolved, one based on city-states where the privileged live and work, while hordes of disenfranchised low-levels forage in desertified wastelands beyond the glistening expressways. To maintain a power structure as skewed as this, genetics once again come into play, as those holding cover, or city-entry visas, have their makeup examined to allow free travel. Cover, issued by Sphinx government facilities, happens to be a thriving black market item, and subject to numerous counterfeiting efforts. Thus begins Code 46's story proper, with Tim Robbins playing William, an agent sent to investigate possible fraud at a Shanghai facility. In the movie's Buck Rogersy environment, William stumbles upon prime suspect Maria Gonzales (Samantha Morton, or the Precog from Minority Report), yet instead of closing the case and going back to his safe familial existence in Seattle, he falls for her quirky, free-roaming spirit and goes on to fabricate a cover up, eventually leading to a bit of an escapade as the two evade capture. Having said that, suspense doesn't number among Code 46's assets, as we never see anyone really attempting to catch the two, nor does the film incorporate significant action elements of any sort. We do witness the couple cavorting in the face of every rule declaring their relationship unlawful, resulting in Code 46 receiving an R rating for brief sexuality.This Micheal Winterbottom (24 Hour Party People, Wonderland) project, filmed around Asia and England on a tight budget, features some of the best futurism seen on the silver screen in many years. Via existing locations such as Shanghai, Hong Kong and Rajasthan, the film paints a believable picture of our world on the brink of one calamity or other. Why so authentic? Well, no crazily-designed buildings, weird costumes and wacky, impossible vehicles found here. Rather, Code 46 applies subtle effects like camera angles, audio atmospherics and editing to imbue its locales with an unreal, Noah's Arc feel highly reminiscent of all-time classic Blade Runner. It proves you don't need extensive sets or lavish computer graphics to make people think they're looking at something from a possible future their children will have to face. Therefore, and much akin to other films such as Alphaville and Fahrenheit 451, Code 46's greatest accomplishment lies in constructing a viable illusion, not necessarily in triumphant storytelling. Further nice touches and innovations include a deteriorating environment punishing the arrogant urbanites (they avoid going out during the day due to radiation scares, while in the wastelands it appears to be a non-issue), a clamorous global society where languages have intermingled to marry English with Chinese, Spanish, Hindi and French (a nod to Blade Runner's gibberish street dialect) and totally feasible technology projections. Code 46 remains free of the ludicrously tacky versions of the future we've seen beforehand, staying clear of hover cars and supercomputers as if they were the plague incarnate. Plus the ambient, indie rock soundtrack rules, further augmenting the film's tantalizing vision.Hard to get into and a tad disorienting thanks to its characters' multi-lingual vocabulary, the movie becomes truly engrossing once its many layers dawn on you. Additionally, it contains several excellent supporting roles rendering various everyday people and their interaction with the two leads. However, both Robbins and Morton leave viewers with a sense of lacking. The former conducts himself as an untouchable version of Harrison Ford's Rick Deckard (also from Blade Runner), and has you wondering if any of this really registers with him. The latter, just as in Minority Report, carries on her oddly inscrutable, aloof demeanor, making one wish for some bona-fide passion from their female protagonists. Consequently, both appearances fail to grip and captivate audiences, yet can't be written off as bad, not in the least. Synthetically cold, yes, but not bad.With its constant references to the building blocks of cyberpunk (down to once again dealing with memories as the constructs behind who we are), convincing plot and superb hypotheses, Code 46 arrives as a surprisingly gratifying sci-fi number worthy of closer examination.Rating: * * * *
Science fiction movie without especial effects
posted on 23 Dec 2008The film deals upon a agent(Tim Robbins) of a Corporation called sphinx who ought discover a forgery of a papers that serve to immigrants enter at civilized and developed zones .The suspicious is a girl( Samantha Morton)who falls in love with the starring infringing the code 46.In the film there are drama,suspense,love story but is a little slow moving and for that is a bit bored although the runtime is adjusted but the run is ninety minutes. The picture isn't an ordinary sci-fi movie but is a clever and thoughtful parable about the future . The pic has a certain resemblance with ¨Gattaca¨(Andrew Nicol) regarding that cold and utopian future. The motion picture is correctly directed by Michael Witterbotton who has been directing all the genres, thus:Drama(Wonderland),costume epoch(Jude),warlike(welcome to Sarajevo),Western(the claim),musical comedy(24 hours party),documentary fiction(In this world),erotic(9 songs) and now sci fi(code 46). Witterbotton said with this film wanted to make a remake of ¨Brief encounter¨(David Lean) set in the utopia of a near civilization . The picture achieved prize in Sitges's festival cine to better European film and to the music. However obtained limited success in the box office because is a few tired and complex. The yarn will like to intelligent science fiction movies fans
Romantic Chemistry versus Amores Geneticos?
posted on 17 Dec 2008I think this film has an inherent flaw built into it, like a birth defect, but then that just may be what makes life and the cinematic display of it even more interesting?Some will call this sci-fi, feels more like speculative fiction to me. If you don't care to consider the distinctions, then skip this film. We get a projected future that apparently was captured not through CGI nor elaborate sets, but largely though filming in cities that are not just leaning towards the future, but flying full-speed towards it.Anyways, the film looks fantastic, and it comes with a polyglot argot : papelles, lo siento, chico/chica. The words are scrambled up slightly, it shouldn't be a problem for most English speakers to follow this as the future's lingua franca is American. The slang-bang is really a small foil for a greater big bang of ideas. The main tenet is laid down at the beginning of the film outlining the rules of Code 46, and its corollaries about intentionally or unintentionally violating genetic screening as you have undoubtedly read. But additionally we get other ideas, like the Sphinx as a central processing unit clearing the meetings and matings of people. There are controlled viruses to enable people with certain capabilities. There is talk of freckle porn (a nice touch for the importance of flaws in your breeding trees, as any good Mendellian would tell any bad Orwellian.)There is a cryptic dream sequence as well, Mick Jones doing karaoke (as well as a beautiful Vietnamese women with just perfect English, again accentuating the melting pots overall thoroughness.) There's a sense of the digital divide having been rent in two accelerated along the lines of eugenics.All of that and Samantha Morton ,who so far has been an excellent avatar on guiding me to fine films. Of course I've not seen all of her work (she was in something Lassie related, who knew?). But in this film you do see all of her (including her body double's genitalia in case that is a problem for you.)Of course it is not for me, but it does provide an opening to discuss my problem with this film...SPOILERS follow...The eeriest thing about this gaze into the future is that the overarching corporate-control via the Sphinx seems to be possibly doing things well? We are introduced to a friend of Morton's who needs fake papelles to pursue his dream, eventually we find out he dies as a result of a blood deficiency on his batty excursion. Big Brother knows best?And what about Mother? What does she know, and what should see? Any intuition in her is loaded in via a handy-dandy Sphinx virus.As Code 46 is laid down like a gun in the opening scene, you know it is going to go off, but the filmmakers give us no reason to see Tim Robbin's smirky work as anything but Oedipal. Whereas a typical film I think would pit the two lovers against the monolithic machine, and have the machine be wrong. ("Guess what, they got the body back from Delhi, and it turns out he was killed by a roving pack of hyperbred tigers.") Or perhaps Robbins' love for Morton could be less carnal, and more compassionate. Wanting to understand what his "family" is like, where he comes from...like an adoptive child seeking out his/her genetic parents?Perhaps those avenues seemed too hackneyed to Winterbottom and Boyce, I do like the comment by Ebert that these guys must have conversations like Charlie Rose has talk shows. That's a fine compliment, and a nice way to describe the engaging idea exchange here...but alas as a film, I feel like they may have lost their message in the details of this film's DNA.6/10-Thurston Hunger
Worth seeing, but not for everyone.
posted on 13 Dec 2008I just saw Code 46 and although I entered the cinema with the rather negative comments I had read on the press in mind, but I have got to say I appreciated it. The script is nothing new, but it is approached with a certain elegance, andvisually, the film is stunning. I don't mean it in a shiny, design-y, Gattaca-ish kind of way, but in a more modest, understated way. The future is not depicted as common mythologies want it to be, and indeed the setting is never openly said to be the future. Cars and ads are of the same kind that we see around today, technology is not shown as a way to ad credibility to the scenario, and the only things that suggest a progress is the language the characters use, a sort of esperanto, with lots of terms from different languages. The most futuristic parts of contemporary urban landscapes are more than enough to introduce the audience to a future which is merely suggested. The cinematography is beautiful, and Winterbottom sure knows how to put together a moving picture, while David Holmes and his Free Association provide the soundtrack to a future which seems more like a small step beside our own present. The plot is not what you should watch this film for, because if you do so, it will let you down. The images, though, have a strength that borders poetry.
Code 46
posted on 07 Dec 2008Recap: In a future society, totally controlled by a central government, you need their permission to date and marry (to avoid mixing of the same genetic material - cloning is common) and special time-limited passes to travel, called papel. In this world William Geld, an investigator with a special ability to sense other people thoughts (enhanced by viruses), get sent to Shanghai. Someone has printed and distributed false papels. He meets Maria Gonzales and directly senses that she is the culprit. But he doesn't turn her in...Comments: This is quite a interesting movie, mostly because of the future society that it shows and the (philosophical) questions it alludes to. Its problem is that it only alludes to them, never really approaching them or working with them. That leaves a lot of questions, both about the plot and about the vision unanswered and unclear. You don't really feel any wiser at the end. You only feel kind of lost.And the movie can't compensate with action or speed. It is not that kind of movie. That sort of thing was never the intention, and shouldn't be either.A final note: The movie features a very interesting way positioning and movement of the camera. It gives a very personal and intimate feeling, very much like the entire movie was shot as a home video.5/10
Absolutely the worst movie I have ever seen
posted on 30 Aug 2009I was initially excited about this movie and fully expected it to be a combination of Equilibruim and Farenheit 451. Unfortunately, I was continually disappointed in the lack of depth and interest of the plot and subplots. Midway through the movie, I divulged into poking fun at the characters and sets to avoid having to turn it off. I did enjoy the premise of a future with merged cultures and separation of the have's and have nots. What could have been an artful and intelligent look at the future is morphed into a plodding, semantic SciFi channel midnight flick with horrible acting, cheap sets and a final gratuitous shot of Tim Robbins vagina. Maybe he should stick to his socialist political ranting - it has all been downhill since Shawshank.