You really have to believe in the narrative thrust of your story to begin a movie with the conclusion. The ending in Transcendence is spoiled at the start by the screenwriter. Without the necessary suspense, everything leading up to that point had better be exceptional. Simply put, it isn’t. In the opening scene we’re presented with the aftermath of a catastrophe in which virtually all power has been lost throughout the entire world. No cell phones, computers or Internet. We meet a man named Max Waters (Paul Bettany) who remembers his friends Will and Evelyn Caster.
Johnny Depp and Rebecca Hall play a brilliant husband and wife team of researchers in the field of artificial intelligence. After Will is shot by a terrorist (Lukas Haas) from an anti-technology group called RIFT. Evelyn suggests they upload Will’s consciousness into the sentient supercomputer in their lab. Although Will’s body dies in the material sense, his mind is kept alive in the mainframe. Over time he connects himself to energy sources stretching around the country. He grows more powerful and omnipotent. Part of the problem of Transcendence is the tale is unnecessarily complicated. It’s patently ridiculous. That’s okay, but be cognizant of that absurdity. I mean there’s an inherent irony that RIFT’s attempted murder of Will is the very motivation for him to pursue “transcendence” via the computer. This was the precise activity they were trying to eradicate. The chronicle takes itself way too seriously. I mean they’ve even given the supercomputer a boring name: PINN (Physically Independent Neural Network). Wouldn’t it have been funnier if they named it GOD (Good Orderly Direction)? Well that was a wasted opportunity. <sigh> The dreary script just sucks the fun out of what should have been a whimsical concept.
Transcendence is a chore to watch. It’s an overly elaborate, unconvincing, joyless bore. A lot of really great actors are wasted by standing around not doing much of anything. Cillian Murphy, Kate Mara, Cole Hauser and Morgan Freeman are particularly useless. Not because they give bad performances but because they are given awful parts. All four could’ve been taken out of the story and it would’ve made matters much simpler and less convoluted. Rebecca Hall and Paul Bettany fare better. You’d think Wally Pfister, Christopher Nolan’s cinematographer (The Dark Knight, Inception), would at least have the presence of mind to create a visually impressive film. Unless you enjoy watching numerous scenes of electronically charged water droplets moving in slow-motion, it’s a downer there as well. At the core, the saga is merely a series of uninteresting standoffs between good vs. evil. Ultimately the drama’s big idea is: Technology Is Bad. At the end of this turgid ordeal, I wasn’t even convinced of that. But this movie sure is.