Most drug movies glamorize the use and/or distribution of narcotics before telling the ugly truth about the addiction or jail time that follows and the shady figures that inhabit society’s underbelly. Taking characters from point A to point B and finally to their lowest point is a formulaic but effective storyline that shows how substance abuse destroys lives. It worked for Blow Scarface and The Basketball Diaries but in Limitless director Neil Burger ignores that successful blueprint and essentially says “Do drugs kids! They’ll help you! And don’t worry it’ll all work out in the end!”
Of course a more familiar narrative precedes this self-serving unorthodox conclusion and it could’ve worked if Burger navigated the story with more focus. The film begins when struggling novelist and all around slob Eddie Morra (Bradley Cooper) who has a permanent case of writer’s block runs into his drug-peddling-ex-brother-in-law in Manhattan (what are the odds?) This slimy fellow gives him an experimental pill called NZT that clears its users mind and helps them focus. When he ingests it his long-gestating novel is completed in a matter of hours and his grimy apartment is made-over to look like a room at the Ritz Carlton. The pace of the picture picks up quickly as Eddie climbs New York City’s social and corporate ladders acquiring wealth power women and the attention of greedy entrepreneurs ruthless gangsters and assassins who want the drug themselves.
The high-concept premise presented storytelling potential as expansive as the title suggests but Limitless is hampered by a series of discrepancies that render it silly and disjointed. Some of the smaller ones are relatively insignificant and won’t hinder the experience but others (such as the lethal effects of the drug which conveniently don’t apply to our protagonist) defy the internal logic that screenwriter Leslie Dixon sets up. It’s also hard to ignore how useless a handful of the sub-plots are. Abbie Cornish’s character starts out as motivation for Cooper’s but her relevance lessens as the stakes are raised and Eddie slips further into the worlds of finance and crime. The same can be said of the Russian gangster whose arc begins when he lends Eddie some capital for an investment and ends in a pulpy bloodbath. Burger leads you to believe that these side-stories will have greater impact on the bottom line but by the time the film wraps it becomes clear that they’ve collectively convoluted the plot.
It is however entirely possible that the filmmakers’ goal was to make a movie that mimics the incoherent mind-bending state that hallucinogens induce and in that sense Limitless works. Burger builds on that idea by visualizing the effects of NZT with unusual camera techniques including abrupt changes in color editing tricks that revisit the action in reverse (sort of) and a great time/spatial elapsing effect that literally pulls the viewer through Eddie’s lengthy drug coma. The dizzying display of surreal imagery is the films greatest gimmick designed to draw your attention away from its weaknesses.
At its core Limitless is about excess: excess of knowledge power money etc. and fittingly excess is one of its biggest problems. The filmmakers force too much upon their movie from unnecessary fight scenes to sexual encounters with metropolitan socialites that ironically water down its potency instead of giving it more edginess. Like any drug it starts out as something refreshing and stimulating but when you come down you’re stuck wondering where the last few hours went.
I say "creepy" because Untraceable’s theory could actually be a reality. The possibility of a tech-savvy psycho setting up a Web site that displays graphic murders could happen with the fate of each of the tormented captives left in the hands of the public: The more hits the site gets the faster the victims die--and in the case of Untraceable die in very gruesome ways. Of course Untraceable also gives us a peek at the good guys--the FBI division that is dedicated to investigating and prosecuting cybercriminals. Special Agent Jennifer Marsh (Diane Lane) is one such Internet expert who along with her co-worker (Colin Hanks) is stymied by KillWithMe.com’s untraceablity. But soon the movie turns predictable as the cat-and-mouse game gets personal and Marsh must race against the clock to stop the madman. Lane has certainly looked better in her past movies. For obvious effect they’ve made Agent Marsh rather worn-down with dark circles under her eyes and very little makeup as she sits in front of the computer hunting the bad guys all night on the late shift. The fact that she’s also a widow having lost her cop husband to the job and caregiver to her young daughter doesn’t help the woman get anymore rest. Then when the crap starts hitting the fan and people close to Marsh get hurt the actress really shows the pain on her already haggard face. Marsh even admits “I do a lot of things well but I don’t lose people well.” It’s a standard tough-FBI-agent role and Lane is very capable at it. Supporting her is Hanks (Orange County) as the resident comic relief (what little of it there is) as well as Billy Burke (Fracture) the local cop trying to help Marsh catch the psycho Internet killer. As for the killer himself the actor who portrays him (and I won’t give it away) is very effective in the role. There are a couple of other things Untraceable has going for it besides the chilling premise: director Gregory Hoblit who knows his way around a crime thriller having directed gems such as Primal Fear and Fracture and the dank Portland Oregon locale. Hoblit creates just the right amount of tension and dread as the clock ticks down and the race nears its end but something about an overcast rainy environ just lends itself to more doom and gloom doesn’t it? Of course there are also the torture scenes which add a certain level of Hostel-like horror. What Untraceable lacks is a compelling narrative. The bevy of writers involved (never the best of signs) tend to throw in too many conventional thriller plot points--like the red herrings on who the killer is before he’s revealed and explaining why the killer is doing what he’s doing. All these things dilute the film’s initial potential. Still let’s just hope this doesn’t spawn real-life copycats.