Transcendence picks up a similar thread to The Lawnmower Man, following the trajectory of a man, whose meddling with computer science turns him into a god. The divide between humanity and technology is narrowing as artificial intelligence evolves. When will machines overtake humanity? It’s a recurring, thought-provoking and timely science-fiction theme that takes root in our collective consciousness.

What if we could preserve a brilliant mind in a digital form? Wally Pfister, best known for being Christopher Nolan’s long-running cinematographer, helms a sci-fi drama and thriller that explores the big “what if?”. Johnny Depp may be far removed from Stephen Hawking, but he’s a prolific actor, one whose acclaim and popularity have arguably conquered the digital world already.

Depp encounters a rather problematic role in Transcendence, playing a brilliant scientist and then the digital shadow of the man when he’s uploaded to a program. He’s naturally charming on-screen, but his role as Will Caster limits him to a colder, emotionless state that doesn’t play to his strengths. Having the actor framed by one screen and then another, makes his performance seem distant, when a computer-generated clone could have intensified the alienation.

This is one of Transcendence’s main drawbacks – while beautifully filmed, Pfister is unable to generate spark from his solid cast. Rebecca Hall and Paul Bettany are first-class actors and deliver adept performances. Hall plays Evelyn Caster, a pioneering wife and fellow scientist, trying to make moral sense of her bizarre new relationship. Bettany is the voice of reason as Max Waters, fighting an AI system he helped propagate. Unfortunately, with Depp as the numb middle man, the chemistry’s disappointing.

“Do you ever get the sneaky suspicion someone’s watching you?”

This is further exacerbated by the lack of dramatic tension. While the story has dangerous implications, the gravity of the situation isn’t fully realised. The possibilities are endless, yet the story seems trapped in a bubble, limiting its consequences and diminishing the suspense. We’re not emotionally invested in any of the characters and are only interested in their breaking news circumstances.

As expected, Pfister delivers a slick and beautiful finished product. The cinematography is crisp and while Pfister has created a stand-alone film, there are some definite synergies with Nolan’s work. The visual effects are understated, creating an environment like most contemporary superhero films, that seems real and not beyond the realm of physical science. This helps ground the story as Pfister tries to throw a net over the script’s exploration of economic, religious, technological and societal factors.

The first half of the film has some parallels with Tony Stark of Iron Man as a genius prepares to unleash a world-changing technology, using himself as the guinea pig. ThenTranscendence swings into the territory of The East, as the scientists go underground and an anti-tech terrorism group launches a series of subversive attacks on key tech companies. An unexplored subplot from the latest Captain America: The Winter Soldier is echoed in Caster’s transplant and ensuing digital existence.

Transcendence is a film many people had high hopes for, based on the talent and potential involved. While Pfister finds his feet and Depp schisms, there’s enough thought-provoking science-fiction on show to make this drama provocative and fascinating. While the apathy towards the lead characters could be explained away, it substitutes an emotional connection for an intellectual one.

The bottom line: Cerebral

Release date: 30th May, 2014
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