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.
WHAT’S IT ABOUT?
Cliff and Cydney are happy newlyweds headed to Hawaii for a quiet honeymoon on a remote portion of the island of Kauai. Their marital bliss is abruptly interrupted however when they receive word that just a few days prior a pair of newlyweds not unlike themselves were murdered on Maui and that the killers believed to be a man and a woman were still at large.
Dismayed by the unsettling news Cliff and Cydney nonetheless resolve to move forward with their honeymoon but start to become anxious when they encounter not one but two exceedingly strange couples each of whom seemingly fit the profile of the killers. Miles away from civilization unable to get a decent cell phone signal and seemingly surrounded by possible murderers they begin to wonder if they might be the next victims.
WHO’S IN IT?
Playing the part of Cliff is Steve Zahn a prolific character actor best known for supporting roles in films like Rescue Dawn and Sunshine Cleaning. As a jittery Hollywood screenwriter who too often lets his overactive imagination get the best of him Zahn’s performance is the most credible aspect of the movie. In the role of his wife Cydney is Resident Evil series star Milla Jovovich demonstrating how truly unremarkable she can be when not cast opposite expressionless zombies.
Despite being saddled with most of the film’s worst lines Hitman star Timothy Olyphant proves convincing as Nick a wild-eyed survivalist who claims to have served as an army special forces operative in Iraq. Laying it on a little too thick with the fake Southern accent is Kiele Sanchez who plays Nick’s equally suspicious girlfriend.
Director David Twohy (Pitch Black The Chronicles of Riddick) makes an earnest attempt at crafting a modern-day murder mystery and for the most part he does a commendable job of messing with audience expectations setting the stage for a major second-act plot twist that proves every bit as surprising as advertised.
Twohy is one of the more likable Hollywood directors and it’s good to see him back from the dead after the Riddick disaster set fire to his career. Unfortunately he falls headlong into the M. Night Shyamalan trap with A Perfect Getaway focusing too much on pulling off the big twist and forsaking just about every other element of the movie. To be fair Twohy’s film isn’t nearly as dreadful as Shyamalan’s recent Razzie-amassing efforts like The Happening and Lady in the Water but its deficiencies are similarly multifaceted. Awkward dialogue mediocre performances by Jovovich and Sanchez and an excessively aimless pre-twist plotline are just a few of the problems that plague the movie.
But my biggest gripe with A Perfect Getaway is that Twohy fills the story with so many seemingly important plot devices which end up going nowhere that the film could very well be re-titled Red Herring: The Movie. At a certain point you throw up your hands and ask “Well then is any of this s--t real?” And the answer is: No probably not. But isn’t Kauai beautiful?
Admittedly the twist is pretty darn clever. Too bad we have to wait over an hour to see it.
The climax features an excruciating scene in which a key character’s cell phone previously assumed to be out of service receives a sales call from an Indian-accented telemarketer. Rather than simply hang up and dial 911 the character pleads with the befuddled phone company rep to alert the police with predictable lack of success. All this while a deranged killer stalks the vicinity. Characters that stupid deserve to die.