Eternal

Gran «pequeño» suspenso de primavera (Sin límites, Código fuente), estrenado infelizmente en la temporada de verano. Gran idea, sorprendentes giros, una dosis tolerable de clichés de género y sentimiento. El guión a veces simplifica rápidamente el impacto de los giros en las reacciones de los personajes, pero lo hace para mantener perfecta la dinámica de la narración. Escenas de acción inesperadamente emocionantes y duras. Por fin, la dirección exótica de Singh utilizada de forma efectiva en la corriente principal. Uno de los mejores papeles de Reynolds. (17.08.2015)

Loads of traditional Hollywood clichés starting with plot twists and ending with family values. But Singh's direction is brisk throughout (he's even got a sensible script) and the action is unexpectedly dynamic. Ryan Reynolds in another role where he puts clouds of energy. If Bay hadn't made a visual magnum opus on similar themes a few years ago, this might have been better, as it is, Self/Less looks like the little brother. (18.06.2016)

Well, this is quite a big disappointment. I expected at least an interesting visual spectacle from Tarsem Singh, but I didn't even get that fully. There are scenes here that catch your attention, visually speaking, but there are too few of them. Unfortunately, this sci-fi is so transparent that basically after half an hour, you will already see how it all ends. And the movie is supposed to be two hours long... (24.09.2015)

So, after Immortals and Mirror Mirror, Tarsem Singh made things right again with me. Self/less is a great film that combined sci-fi, drama and action in the way that Steven Spielberg's Minority Report did. Quite naturally. It looks great, and I (unlike The Fall) almost did not realize that it takes two hours, and the actors and actresses were a joy to watch. The finale similar to The Old Gun made me happy, and I don't consider it as theft, but rather as an accurate and equally impressive quote. (29.01.2017)

Hollywood's god of composition, Tarsem Singh, after earlier narrow escapes has been given the task of proving that he can make a standard underfunded sci-fi thriller that will show the big studios his subtlety and get him money for a big project, or a script for a comic book or something. You absolutely can't decipher his handwriting in this one, but the direction is the only thing that keeps this joke afloat. In the first half you can see it a lot in the dialogue scenes, which are stagy in a Singh way, cramming as much information as possible into one shot, but later on his eye only slips into a few sequences (btw can someone explain to me why they set the car on fire?). But where the whole film completely runs out of breath is with the script, which after the first reveal tiredly dissolves into a series of terribly boring monothematic dialogues and sad looks that don't manage much closure and are the only thing that moves the story forward. And that's bad. (24.11.2015)