This must be the only movie ever produced in which the hero is a Beverley Hills plastic surgeon. Albert Finney has had a few of his recent patients return for more alterations taken from a list, down to the millimeter. Then two or three of them die in disfiguring accidents.
Another of his patients, Susan Dey, who requires absolutely nothing in the way of renovation, sort of latches on to him as he tries to find out if there is some link to the recent deaths. The police are eyeing him as a suspect but his interests focus on some computer digitalizing outfit that, as it turns out, has discovered a way to replace human models in commercials with what we now call computer-generated images, or CGIs. It was a novel idea at the time.
Well -- "So what?", asks the sophisticated viewer. Is that all there is to it? No. The CGI corporation is run by the evil James Coburn. Not only does he now create commercials out of nothing but he has learned how to insert a hypnotic ray into the pupils of his CGIs. Bad enough when you're selling mouthwash. A disaster when you're producing political ads for a candidate who promises to rid us of inflated government and bureaucratic bloat and return to us the freedoms bestowed on the nation by the Founders. Oh, he's against pollution and big corporations too, so no need to read any messages into it, beyond those carried by any commercial production, including, "Spend money on this movie and make us famous and rich." There are multiple plot holes. I'll just mention two in passing and then give up. (1) It's never explained why those two or three suicides took place. (2) The cops switch from suspecting Finney to being convinced of Coburn's guilt for no particular reason.
The technology is kind of interesting, dated though it is, but a little confusing too. Evidently, in the course of developing the hypnotic eyeballs, Coburn and company stumbled onto the possibility of installing the ray into a handgun, through the kind of serendipity that Robert K. Merton wrote about.
Albert Finney makes for a clumsy action hero. He doesn't move very quickly or gracefully. There is a car chase of course, only the weapons are not machine guns or shotguns but those flash rays. And the final sneaking around, with Finney and a couple of villains creeping into commercials being shown to a select (and amused) audience of Big Wigs, is a little sluggish. The pace isn't helped by an ostinato in the musical score that goes on and on until -- until -- I woke up in a daze a week later and found myself in Cozumel. I was glad it happened -- GLAD! What with the pina colada and that bronzed babe.
Another of his patients, Susan Dey, who requires absolutely nothing in the way of renovation, sort of latches on to him as he tries to find out if there is some link to the recent deaths. The police are eyeing him as a suspect but his interests focus on some computer digitalizing outfit that, as it turns out, has discovered a way to replace human models in commercials with what we now call computer-generated images, or CGIs. It was a novel idea at the time.
Well -- "So what?", asks the sophisticated viewer. Is that all there is to it? No. The CGI corporation is run by the evil James Coburn. Not only does he now create commercials out of nothing but he has learned how to insert a hypnotic ray into the pupils of his CGIs. Bad enough when you're selling mouthwash. A disaster when you're producing political ads for a candidate who promises to rid us of inflated government and bureaucratic bloat and return to us the freedoms bestowed on the nation by the Founders. Oh, he's against pollution and big corporations too, so no need to read any messages into it, beyond those carried by any commercial production, including, "Spend money on this movie and make us famous and rich." There are multiple plot holes. I'll just mention two in passing and then give up. (1) It's never explained why those two or three suicides took place. (2) The cops switch from suspecting Finney to being convinced of Coburn's guilt for no particular reason.
The technology is kind of interesting, dated though it is, but a little confusing too. Evidently, in the course of developing the hypnotic eyeballs, Coburn and company stumbled onto the possibility of installing the ray into a handgun, through the kind of serendipity that Robert K. Merton wrote about.
Albert Finney makes for a clumsy action hero. He doesn't move very quickly or gracefully. There is a car chase of course, only the weapons are not machine guns or shotguns but those flash rays. And the final sneaking around, with Finney and a couple of villains creeping into commercials being shown to a select (and amused) audience of Big Wigs, is a little sluggish. The pace isn't helped by an ostinato in the musical score that goes on and on until -- until -- I woke up in a daze a week later and found myself in Cozumel. I was glad it happened -- GLAD! What with the pina colada and that bronzed babe.