Kurt Wimmer
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What with all the ludicrous maxims (“Breath is a just a clock ticking”), “Justice League” infrastructure names (sense offenders are taken to the Hall of Justice before being burned in the Hall of Destruction) and buzz terms (“processing” and “execution”) Wimmer freely throws around, Equlibrium could pass for a 13-year-old’s book report on the totalitarian themes of 1984 and Farenheit 451.
For starters, the film retreads similar, over-reactionary themes found in other sci-fi works such as "1984" and "Fahrenheit 451."
Borrowing enough from the dystopian science-fiction visions of "1984," "Brave New World" and "Fahrenheit 451" to remind us how thought-provoking the genre can be in the hands of the masters, writer-director Kurt Wimmer's painfully unoriginal "Equilibrium" isn't likely to have the Big Brothers of the world shaking in their boots.
Havenâ??t these guys read Animal Farm, 1984 and Fahrenheit 451, and isnâ??t the point that the powers that be in Libria have rejected their ideas and now set out to crush them?
A student so inclined could have a fine, obsessive time linking images and action sequences to all the influences (including ''1984,'' ''Fahrenheit 451,'' and ''Brave New World'') that have been scooped up wholesale by writer-director Kurt Wimmer, stirred in an often violent frenzy, and microwaved for serving.
Writer/director Kurt Wimmer’s “Equilibrium” is a b-movie update of “Fahrenheit 451” and “1984,” with a hint of “The Matrix” thrown in for good measure.
The rebel group in "Equilibrium" preserves art and music (there is a touching scene where Preston listens to a jazz record), and we are reminded of Bradbury and Truffaut's "Fahrenheit 451," where book lovers committed banned volumes to memory.
You will not understand it only if you have not already encountered the not dissimilar cyberpunk futureworlds of Blade Runner, The Matrix and Aeon Flux, not to mention Jovovich's own The Fifth Element and Resident Evil - and if you have not, you are probably in the wrong target demographic for this film anyway.
But Wimmer kills off most of the interest by having no clue how to develop the theme, as evidenced in the film's opening narration when Ultaviolet (Milla Jovovich, Resident Evil) informs us, "I was born into a world you might not understand," a statement completely at odds with the movie's allegorical underpinnings.
Even “Resident Evil” took the time to develop the main character during the first half of the movie, so why does Wimmer sum up Violet’s entire back story with an opening voiceover that feels like it came from a previous film?
Milla Jovovich, whose played this same damn character in “The Fifth Element”, “Resident Evil”, and “Resident Evil: Apocalypse” (and seems to want to continue doing so) really should get a new agent.
As she's shown in the "Resident Evil" series, the former supermodel is game for just about anything.
But "Ultraviolet," hard as it may be to believe, has even less going for it than "Resident Evil: Apocalypse," that 2004 turkey in which Milla butt kicked her way through a lame sequel to 2002's "Resident Evil," in which Milla butt kicked her way through a tired treatise featuring secret experiments, deadly viruses, and fatal mistakes.
It reminded me of Kurt Wimmer’s infamous dystopian failure, Equilibrium.
But writer-director Andrew Niccol addresses it all with the overwrought grimness of Equilibrium or Minority Report , albeit with less visual flash.
Yes, the idea is so good, it's one you'll find various bits and pieces of in such earlier films as "Logan's Run," "Fahrenheit 451," "1984," "The Matrix" and "Pleasantville."
Then, once the premise is established, one quickly sees that the story is going to be heading down a similar route to that found in other sci-fi films such as "Logan's Run" and "Minority Report."
Equilibrium, the new movie being unceremoniously dumped into theaters by Miramax (anyone remember Below ?), fails as a dystopian movie, as a retooling of Fahrenheit 451, and even as a rip-off of The Matrix.
Its similarity to “The Matrix” is only in tone and resourcefulness, as there is, thankfully, no “wire-fu” in the film.
Pulling scenes entire from Blade Runner, Citizen Kane , and The Matrix while pulling philosophies entire from--yes, I was surprised, too--Gymkata, Equilibrium is another Dimension genre film made for no money that stinks a lot like Gary Fleder's excrescent Impostor from earlier this year, though it somehow manages to be considerably funnier.
Watching Equilibrium, you could be forgiven for thinking that writer-director Kurt Wimmer simply got fed up with waiting for the sequels to The Matrix (due May 15th and November 7th) and decided to make his own low-budget version.
Combining elements of "1984," "Fahrenheit 451" and "The Matrix," this ridiculous sci-fi mish-mash sounds appealing, but is nothing more than a poorly designed knockoff.
Yes, the idea is so good, it's one you'll find various bits and pieces of in such earlier films as "Logan's Run," "Fahrenheit 451," "1984," "The Matrix" and "Pleasantville."
It doesn’t help that in an era of grand set designs, the glimmers of the outer-scape feel cheap, plastic and uninspired – not in the cheesy, good way that “Logan’s Run” made so indelible, but more like the stagy street riots in David Cronenberg’s “Cosmopolis” (2012) or the Orwellian future-scape in “Equilibrium” from 2002, if you even remember that one.
Directed by Mark Tonderai ( House at the End of the Street ) from a script by Kurt Wimmer ( Equilibrium , Sphere ), Spell is clunky.
Writer-producer Wimmer, who over the last three decades has mixed variable originals (directorial projects “Ultraviolet” and “Equilibrium”), adaptations (“Street Kings,” “Sphere”) and remakes (“Point Break,” “Total Recall”), has the bones of an idiosyncratic supernatural tale here.
This tale of rural mayhem is an unexpected turn for scriptwriter Kurt Wimmer, who has previously mixed bizarro genre (Equilibrium, Ultraviolet) with studio action (Salt, The Thomas Crown Affair revamp).
Wimmer is a talented filmmaker in his own right having made the underappreciated sci-fi gem Equilibrium, but when it comes to the script he is clearly more in tune with fleshing out the spooky Hoodoo elements rather than the social dynamics.
Kurt Wimmer, whose best effort thus far has been the Orwellian sci-fi actioner Equilibrium, has crafted an extremely formulaic and generic script simply enamoured with ticking the boxes of every possible horror movie cliche imaginable.
With a dash of wit, Wimmer even gives John a cute puppy to contend with, not to mention Emily Watson (in what amounts to an extended cameo) as Mary, a "sense offender" whose Beethoven record touches John's underused soul, just like Alex in A Clockwork Orange.
Pulling scenes entire from Blade Runner, Citizen Kane , and The Matrix while pulling philosophies entire from--yes, I was surprised, too--Gymkata, Equilibrium is another Dimension genre film made for no money that stinks a lot like Gary Fleder's excrescent Impostor from earlier this year, though it somehow manages to be considerably funnier.
Statham was already attached to star in The Beekeeper when Ayer received the script by Kurt Wimmer (Expend4bles, Equilibrium); while Ayer’s no stranger to action thanks to projects like End of Watch and 2016’s Suicide Squad, The Beekeeper being very much a Jason Statham movie was something, Ayer feels, that made it “really different from anything I’ve ever done.”
Pulling scenes entire from Blade Runner, Citizen Kane , and The Matrix while pulling philosophies entire from--yes, I was surprised, too--Gymkata, Equilibrium is another Dimension genre film made for no money that stinks a lot like Gary Fleder's excrescent Impostor from earlier this year, though it somehow manages to be considerably funnier.
Although he's not present for long, Sean Bean ("The Lord of the Rings: The Fellowship of the Ring," "Don't Say a Word") appears as the original partner, while William Fichtner ("Black Hawk Down," "The Perfect Storm") plays a rebel leader.
It’s the Joffrey Ballet meets “Natural Born Killers.”