by Foster Harlfinger, Contributing Writer
Reminiscence is the sort of movie you want to love. It has a neat science fiction premise, two engaging leads, and a never-ending supply of eye-catching visuals. Unfortunately, one can’t help but be reminded of all the similar, arguably more enjoyable films that have come before it. Blade Runner, 12 Monkeys, Strange Days, Dark City, Minority Report, and Looper are all great movies that play within the same science fiction, neo-noir playground. And although there is a lot to like about Reminiscence, it is difficult to justify recommending this film to most audience members when there is no shortage of rewarding entertainment options available at your disposal.
The film follows Nick Bannister (Hugh Jackman), a so-called “private investigator of the mind,” unable to keep his thoughts away from the too-good-to-be-true allure of his latest client, Mae (Rebecca Ferguson). After making use of Bannister’s memory-accessing technology, Mae mysteriously disappears, though Bannister’s memory of her proves harder to erase. What ensues is an often engaging search for any hint of Mae’s presence throughout a nearly unrecognizable Miami — now mostly submerged in water as a result of devastating warfare, though the setting is clearly meant to provide a shocking image of our not-too-distant future should certain climate change predictions come true.
Reminiscence is consistently on the verge of greatness, though it never quite hits the mark. The neo-noir dialogue — often delivered in the form of off-screen narration from a gruff Jackman — toes the line between being tonally appropriate and overdone. The sci-fi premise shows promise, though the film never quite realizes its potential in the way that a film like Eternal Sunshine of the Spotless Mind does so well. The central mystery, while initially captivating, ultimately fails to reach a satisfying conclusion.
In spite of its faults, Reminiscence is difficult to hate. Director Lisa Joy, fresh off her success from the hit show Westworld, clearly knows what she is doing behind the camera. The film looks and sounds fantastic. Paul Cameron’s cinematographic eye and the musical score from the always reliable Ramin Djawadi create a fairly unique vibe. Were this film to premiere in a year like 2019, where a new, top-tier film like Knives Out, Parasite, or Jojo Rabbit could be found nearly every week of the year, perhaps I would be a little tougher on Reminiscence. However, given the lack of big-budget original films this past year, I can’t help but admire its ambition and creativity. While I cannot wholeheartedly recommend that audience members go out of their way to see this film, there are a number of things to appreciate about Reminiscence, and there are certainly worse ways to spend your time.
Grade: C+
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