tabuno

Jamie Fox and Cameron Diaz have Fox in his White House Down (2013) and Diaz in her Charlie's Angels (2000) back in their spy motifs in this light spy genre Back In Action. While starting strong with an Arnold Schwarzenegger's True Lies (1994) as family plot addition, Back In Action seems to lose this rather intriguing twist becoming more a derivative and almost boring version of itself and the many other comedy spy movies while trying little tweaks that really don't add to the pacing nor appeal of the movie. The original Spy Kids (2001) has a much better balance of intrigue with all the family members getting into the act for a much more engrossing time. Even so the current popular appeal of this movie might be the need to distract people from the more serious political divide and drama occurring this year with a new change of government.

Dazzling in visual and sound effects, this animated adventure about a number of animals during a horrendous climatic surge offers vibrant and crisp immersive sensations. Nevertheless, the deft handling of a script that attempts to fuse the anthropomorphic story of cats, dogs, and various other animal species into a surreal adventure story is fraught with a number of challenges of which Flow doesn't quite succeed at its best. This movie without dialogue is primarily carried along literally by the amazing, animated synergy of sight and sound and music as these animals delight the audiences with the naturalistic animated movements and behaviors of real animals to their environment stimulated by potential threats to playful objects. We are swept away by floods of calamity and the various human-like traits that emerge to bring these characters together. Yet the compelling and appealing vision that captures the imagination is blurred by the introduction of human characteristics endowed into these animals in thought and action at various points that defy reality without the help of surrealistic fantasy elements allowing us to believe in this story. Unlike the classic animal survival story of more than a half century ago, The Incredible Journey (1963) of two dogs and a cat on a treacherous 200 mile journey which awes in its authentic, non-animated depiction of animals while at the other end the animated Best Oscar Animation's Wall*e (2008) or the French award winning animation Fantastic Planet (1973) or class Japanese animation and Best Animated Oscar's Spirited Away (2001) all have heavy science fiction or fantastic elements that allow its audience to truly believe in the action occurring on the screen. But it has a long time since animation has brilliantly brought together in the tradition of animated characters and scenes with such urgency and power along with the immersive quality of the heightened sense of animal sensations and feelings.

The first half of this movie showed great promise in the evolution of artificial intelligence interacting with a human but then descends inscrutably into the typical horror outcome along with the by now overused ending trope as result of lazy writing. A young female experiences a terrible accident and is placed in a newly designed home completely operated by an artificial intelligence. The first half of this movie is intriguing in that both the artificial intelligence named AIDA and Chloe, the young female, interact in a genuine and seemingly apparently authentic way, the seemingly inspiring way that AIDA learns from Chloe about humans. But suddenly a little more than half-way through the movie for obscure reasons, mostly because of the writer's intention not much to do with real technology (unfortunately unlike what the movie 2010 (1984) revealed about Hal 9000) and decided arbitrarily to move the movie into the typical horror genre, though the scene with the method of artificial intelligence technique to create a bizarre psycho-state was relatively bizarre but weirdly appealing and unfortunately without a more sensual seductive approach. For most of the rest of the movie, no new ground occurs and boringly ends with the usual end non-surprise but the surprising tries to offer a rather eerie last scene that mildly but unnecessarily demonstrates why this movie could have been much better if the writers had stayed consistent throughout the movie. Better Than Us (2018), a Russian television series is much more authentic with a gripping human emotional appeal or of course the classic 2001 A. I. Artificial Intelligence.