Should have been re-titled Eye See You. Already taken, you say? Damn.
Dr. Ian Gray (Michael Pitt) is a man that feels slightly alone, as well as he should. He’s a scientist who takes up most of his day, not by hangin’ out, listening to rad music, sippin’ on brews and chillin’ with his boys, but instead, by testing to see if he can create a real life, fully-functioning eye, therefore, disproving God and all of the wonders of the world. Also, he takes pictures of eyes as a hobby. Does it sound like much fun? Nope, which is why when he has a chance encounter with a random spectator at a Halloween dress-up with a mysterious gal named Sofi (Astrid Berges-Frisbey), he can’t help but feel like it’s his one chance at love and therefore, his opportunity to make something more out of his life than just eyes. Eventually, the two start a relationship, but their conflicting-views on what life is really all about, get in the way and cause friction. Not to mention that it makes Gray want to find out more and more about his studying. And then, tragedy strikes.
Clearly there’s more to this premise than what I just laid-out, but let me just put it like this: You won’t want to hear what else I’ve got to say. Because, one of the key aspects about I Origins is in not knowing what to expect next. Which, of course, seems like something you look for in any movie, but there’s something much more interesting at work here. See, not only does writer/director Mike Cahill frame this story without us having any idea of what to expect from the studying of eyes, but he also gives us just enough to keep us satisfied on all fronts.
Does it really need to be said that you shouldn’t listen to those ads?
For instance, the movie never limits itself to one genre in particular. One part is a romance about two strangers who meet, hook up, connect and eventually fall in love; another part is a sci-fi drama about figuring out the mystery behind these eyes; another is a deep, dark and twisty psychological thriller that doesn’t always clue us in on what to expect next; and lastly, we have a discussion about whether or not we can fully trust science to determine the rest of our society. All of it put together is very interesting to watch, but it’s also quite messy and you can tell exactly when the film sort of stumbles over itself.
Which isn’t to say that this is a deeply-flawed film, it’s just that it takes so many falls here and there, that you wonder how much ground Cahill was wondering of covering, and how much of it actually made it into the final-product. Sure, he gets the romance right in that, despite them being the quintessential couple that first met and, seven minutes later, were already banging in a dirty bathroom, but the sci-fi stuff itself? Well, not so much.
And that doesn’t mean I have to be a science-major of any sorts to get what it is that they’re talking about here; in fact, nobody has to be. Cahill does a well enough job at laying down all that we need to know about the science of this movie, its meaning and why it is that it’s so important to the characters (they’re scientists, duh!). That’s done well, but when he starts to do a little bit of preaching, it ends up being something more than just a romance-tale centered around a whole bunch of science-y stuff – it ends up being a movie that’s used just so that the director can present problems he feels is current in today’s society. Which is fine, however, he never really follows through on them.
And though directors like PT Anderson, Martin Scorsese and even David Lynch to an extant, have all presented ideas and never really followed through perfectly on them, they’re at least skilled enough to get by. Cahill, on the other hand, feels like he has a little way to go before he’s fully blowing our mind with whatever gibber-gabber he has to present to everyday America. We get that it’s all supposed to be deeper than the surface it’s presented on, but what is there to this whole idea that really allows us to give our attentions for the next two-hours? Well, not much. All there is, really, is just a bunch of characters talking about science and explaining that eyes are what helps one peer into another person’s soul.
Wow. Truly something mind-boggling right there, people.
Yes, I am being a bit snarky here, but that’s only because most of the movie seems so up its own rump, that it made me annoyed and want to get up out of my seat, only to firmly take its head, or hand, out of their rear-end. It was getting quite annoying and also, not to mention the fact that the later-half of the movie can get a bit ridiculous. It’s still interesting and relatively unpredictable, but when you have a movie that’s willing to throw everything and anything at you to confuse you of what’s next, regardless of it works for the movie as a whole or not, then it’s kind of disappointing. Makes you wish everything was more thought-out and not in need of such a rush job.
Gettin’ her with the old “let me see your soul”-move. Oldest trick, man.
But where Cahill really gets this movie right is in the cast he’s assembled here, especially Michael Pitt in a leading-role that shows us all what he’s capable of: Being quiet, yet, always interesting. Pitt doesn’t really use his boy-ish good-looks to get by on a role that’s basically made for a nerd, but he does allow us to sympathize with a guy who has a nerdy occupation, a nerdy hobby, nerdy ideas about everything he sees, and yet, is still able to pull in ladies like he does so here. It’s a bit unbelievable, considering how much of a no-nonsense deuche he can sometimes be, but I guess because he’s Michael Pitt, it doesn’t matter if he’s a scientist, a firefighter, or a trained serial-killer; he’s cute, dammit!
Anyway, he’s great and even though his love-interest’s English may be a bit rusty, Astrid Berges-Frisbey is still charming enough to make you see why they’d be such a lovely couple together and are right for each other in the end. Brit Marling’s also here as the “new” scientist Gray gets stuck with, and although it’s clear she isn’t used much at first, later on, without saying much, she becomes a central part to this story and still makes you wish there was more of her to go around. “The more Brit Marling, the merrier”, nobody said.
Except for me. Just right there.
Consensus: Boasting an interesting premise that runs down many different roads, I Origins definitely is a bold piece of fiction, yet ultimately becomes something that’s less important and deep than it thinks it is.
6 / 10 = Rental!!
Just blink already!
Photo’s Credit to: IMDB, AceShowbiz