As a long-time fan of sci-fi and thriller movies, I can confidently say that “Self/less” is a hidden gem that deserves more recognition. Having grown up watching classics like “Altered Carbon,” “Get Out,” and “Total Recall,” it was refreshing to see Tarsem Singh blend these elements into a unique narrative. The film’s premise, centered around the idea of transferring consciousness, is intriguing and thought-provoking, making it a must-watch for any sci-fi enthusiast.
A year prior to unleashing Deadpool on the silver screen and breaking the rules of comic book cinematography, I found myself as Ryan Reynolds, stealing the spotlight in the underappreciated sci-fi suspense flick, Self/less.
Currently available on Peacock, this film – masterfully blended aspects reminiscent of “Altered Carbon,” “Get Out,” and “Total Recall” – is directed by Tarsem Singh (from “The Fall”). It delivers an original story revolving around Damian Hale, a wealthy real estate magnate played by Academy Award-winning actor Sir Ben Kingsley. Intrigued by the prospect of immortality, he pays a large sum to undergo a groundbreaking procedure known as “shedding,” where his consciousness is transferred into a younger, more robust body.
According to humorous academic Albright (portrayed by Matthew Goode), the process is completely secure and poses no risk. Damian assumes that his new identity, Edward Kidner, was created in a lab; however, when he begins experiencing puzzling flashbacks resembling memories from another person’s life, he embarks on a journey to uncover the unsettling reality hidden within his supposed fountain-of-youth drink.
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Self/less director Tarsem Singh reveals what he’d change about Ryan Reynolds sci-fi thriller
In an interview with SYFY Wire via Zoom, Singh shared that his goal was to create a more traditional or “classical” style of thriller, as all the films he had worked on prior were fantastical.
Despite its futuristic backdrop that ignites the plot, Self/less offers a down-to-earth and unexpectedly heartfelt narrative revolving around a father who struggles but is given another opportunity to become the loving parent he aspires to be. “I was more intrigued by the human story rather than the scientific aspect,” Singh explains. “The technology serves as a catalyst, but if this brain-downloading process becomes feasible in the future, what challenges and learning experiences would it entail?”
It turns out that the bodies utilized in this procedure are not empty shells produced in labs, but individuals who voluntarily ended their lives to serve as vessels for the wealthy, influential, and intelligent. This revelation troubles Hale significantly, particularly when he discovers his donor – a brave Marine Corps veteran named Mark Bitwell – had a wife and child left behind.
Although Singh is generally content with the movie, he admits there’s one thing he would change – better setup for the major twist. He feels it was unveiled too late, around the 40-minute mark. “I wished I could have started the film with a powerful action scene that wouldn’t fully make sense until later,” he says, expressing his regret about not having this opportunity in the past.
The sequence would have involved a daring rescue mission that audiences would eventually connect back to Mark’s military service in the Middle East.
Singh added, “The melody I envisioned was from Rage Against the Machine. You see, during intense situations like torture or attacks, they’d often play loud music to confuse people. A helicopter would approach with blaring hardcore music, startling those holding hostages in buildings. Then another chopper would land, and a team would enter to rescue someone… This detail isn’t immediately clear in the film until you realize, ‘Ah, that must have been one of Mark’s missions.’ I regretted not pushing harder for it as it could have added depth to the story and kept viewers engaged. Instead of feeling sympathy for a dying character, they would have been curious about when Kingsley’s path would intersect with his.”
For Singh, it was disheartening not to capture Kingsley’s few scenes during the initial phase of filming due to scheduling conflicts. “It was a matter of timing,” he explains. “Had we managed to shoot Kingsley’s scenes first, Ryan could have convincingly imitate those performances as if they were from the same actor in different bodies. However, our schedules didn’t permit this arrangement… It was unfortunate because even Ryan expressed interest in filming his scenes in a reversed order.”
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2024-08-21 21:01