Limitless (2011)
Directed by Neil Burger
The life of an unsuccessful writer is transformed by a top-secret 'smart drug' that allows him to use 100% of his brain and become a perfect version of himself. His enhanced abilities soon attract shadowy forces that threaten his new life.
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What critics say influenced Limitless
A variation on a theme of the 1968 Academy Award winner “Charly,” “Limitless” asks us what we would do with superintelligence and then gives us the wrong answer, however stylishly.
This sort of mental rags-to-riches progression has inspired a lot of movies; ever see Cliff Robertson in “ Charly ” (1968)?
There’s a similar, but different enough, storyline between Neil Burger’s new film and 1969?s “Charly,” a multi-award winning feature starring Cliff Robertson—who won an Oscar for his performance as a shy, mentally challenged man turned massively intelligent savant via a drug-induced scientific experiment.
The creative visual effects combined with Bradley Cooper’s voice over had me thinking a lot about David Fincher’s Fight Club .
Morra’s out-of-body experiences have hints of “Fight Club” and “Requiem for a Dream,” but Burger’s camera work never entirely matches the coolness of the idea or his star.
Limitless doesn't add up terribly well, but director Neil Burger (The Illusionist) plunges into the material at such a headlong pace and with sufficient adrenalized style (Fight Club being an obvious narrative and visual touchstone) as to propel this essentially trashy thriller and distract from the abundant loose ends.
The film is imitating not just the drug-rush look of David Fincher's "Fight Club," but some of its giddy cynicism.
Pallidly aping the opening pre-climax and jaundiced first-person narration of David Fincher’s zeitgeisty black comedy Fight Club , Leslie Dixon’s screenplay instead displays a satirical aptitude on a par with her biggest hit, Mrs. Doubtfire .
While Dixon was neglecting her duties, director Burger saw fit to distract us with fancy visuals and a Fight Club -style framing device.
Morra’s out-of-body experiences have hints of “Fight Club” and “Requiem for a Dream,” but Burger’s camera work never entirely matches the coolness of the idea or his star.
Having not read the book it was based on, The Dark Fields, and gleaning on a mixed sense of what would occur in the film from trailers I wasn't sure if I was headed into something akin to a techno-thriller Requiem for a Dream or an drug covered The Fugitive.
Sketchy attempts at action?a chase through Central Park, a fight to the death in Eddie's high-rise condo?are interspersed between long sections that play like a wannabe " Wall Street " by way of "Requiem for a Dream" had that pitch-black Darren Aronofsky cautionary tale portrayed its drug-addled ensemble as getting by just fine hopped up on crack and diet pills, thank you very much.
It's like "Wall Street" crossed with "Rain Man" hopped up on "Requiem for a Dream".
"Limitless" will turn the genre-screw once more, to spike its climactic moments with a delicious homage to " Taxi Driver ."
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But neither he nor his director is interested in the potential horrors of his newfound ability (see Ray Milland in the profoundly scary 1963 B-movie classic “X: The Man With the X-Ray Eyes”), and the action is mostly unexciting, especially a foot chase in Central Park.
But this one takes the witty joy out of Eddie's exploration of his potential ? the first part of the movie has the zippy energy and humor of Jay McInerney's Bright Lights, Big City ?
Sketchy attempts at action?a chase through Central Park, a fight to the death in Eddie's high-rise condo?are interspersed between long sections that play like a wannabe " Wall Street " by way of "Requiem for a Dream" had that pitch-black Darren Aronofsky cautionary tale portrayed its drug-addled ensemble as getting by just fine hopped up on crack and diet pills, thank you very much.
The thrill-less "Limitless" offers zero unexpected wrinkles in its hero's "Wall Street"-like rise and fall, yet involves constant voiceover as if Eddie needs to explain what even sleeping viewers couldn't miss.
At times, Limitless comes across like a synthesis of Wall Street and a superhero movie on acid.
As the shady investment banker squeezing Morra's brain, Robert De Niro does his best Gordon Gekko from "Wall Street," except that when he tries to deliver monologues, "Limitless" turns off the volume.
It's like "Wall Street" crossed with "Rain Man" hopped up on "Requiem for a Dream".
Like Tom Tykwer's "Run Lola Run" or Christopher Nolan's "Memento", "Limitless" gives you the sense that Mr. Burger's career - if he picks his projects carefully - is what's truly limitless.
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The effects aspire to the surreal flavor of Scorsese 's bad night-town trip " After Hours ."
For the first time since getting stuck in Jennifer Garner’s friend zone on “Alias,” Cooper plays against his likable-asshole archetype, and he reasonably resembles John Cusack’s strung-out, stringy-haired schlub from “Being John Malkovich.”