Although Strange Days is generally classified as a science fiction thriller, the film uses multiple dramatic and narrative elements, including film noir conventions like the femme fatale (Faith Justin). The terms "techno-thriller", "tech-noir", and "futuristic erotic thriller" have also been used. In 2001, cultural critic Steven Shaviro compared Strange Days to Cameron's earlier films, stating that the film "has characters that the viewer is supposed to identify with, and a plot full of thrills, exciting action sequences and unexpected twists. But at the same time, Strange Days is very much an experimental film, one that questions and inverts the traditional and Hollywood structures of identification and involvement, in ways that are consonant with the ideas that have been put forward by feminist film criticism over the last thirty years." The film's dystopian society and use of SQUID technology, which has been compared to the "simstim" technology in William Gibson's 1984 novel Neuromancer, were also considered cyberpunk concepts.
The film explores controversial themes such as racism, abuse of power, and rape. Voyeurism is also a major element due to the protagonist's extensive use of SQUID technology. The fact that the film was directed by a woman was even more controversial, with film critic Michael Mirasol noting that had Strange Days been directed by a man, these scenes would likely have been criticized as sexist and misogynistic. Nevertheless, Bigelow insisted that the film does not glorify violence and that it has a positive purpose. According to her, "I wanted to treat 'the system' fairly, because if it's the enemy, then we're the enemy, since by not changing it we're reproducing it... The film ends in a strong insistence on hope. Ultimately it's humanity - not technology - that takes us into the next century and the next millennium."
Mace was seen as a strong yet very feminine female character, as she often rescues Lenny in dire situations and shows maternal concern for him. Both characters represent a significant contrast: Mace is the film's hero and moral center, whereas Lenny is the antihero; Mace is black and Lenny is white; and finally, Mace represents the "hard-edged, reality-based" component, while Lenny is dominated by fantasies. This is especially notable when Mace yells to him, "This is your life! Right here! Right now! It's real time, you hear me? Real time, time to get real, not playback!" The film's white characters also tend to be nihilistically concerned with the present, while black characters are generally future revolutionaries. Bigelow considered Strange Days as her most personal film, claiming that "It's a synthesis of all the different tracks I've been exploring, either deliberately or unconsciously, ever since I started making art."
What a surprise doomsday never watches anything current
Justice league: 8/10
Much better than all the reviews and stories I heard that it was a disaster..
I was nervous after flashes first scene visiting his dad in prison, possibly the worst acting ever, but it picked up fast, actually had a story, build up the villain and for once in a dc movie superman wasn't a complete pus.sy and used his powers
Definitely worth a watch.
In the futuristic year of 2026, in the city of Metropolis, wealthy industrialists reign from high-rise towers, while underground-dwelling workers toil to operate the underground machines that power the city. Joh Fredersen is the city's master. His son Freder idles away his time in a pleasure garden, but is interrupted by the arrival of a young woman named Maria, who has brought a group of workers' children to witness the lifestyle of the rich. Maria and the children are ushered away, but Freder, fascinated, goes to the machine rooms to find her. Witnessing the explosion of a huge machine that kills and injures several workers, he also has a hallucination. The machine is Moloch and the workers are being fed, some naked, into the flames within Moloch. After the hallucination ends and he sees the dead workers being carried away on stretchers, he hurries to tell Fredersen about the accident. Grot, foreman of the Heart Machine, brings to Fredersen secret maps found on the dead workers. Fredersen, upset with his assistant, Josaphat, that he was informed about the explosion and plans from Freder and Grot and not from Josaphat, fires him. Freder secretly rebels against Fredersen by deciding to help the workers, after seeing his father's cold indifference towards the harsh conditions they face.
Fredersen takes the maps to the inventor Rotwang to learn their meaning. Rotwang had been in love with a woman named Hel, who left him to marry Fredersen and later died giving birth to Freder. Rotwang shows Fredersen a robot he has built to "resurrect" Hel. The maps show a network of catacombs beneath Metropolis, and the two men go to investigate. They eavesdrop on a gathering of workers, including Freder. Maria addresses them, prophesying the arrival of a mediator who can bring the working and ruling classes together. Freder believes that he could fill the role and declares his love for Maria. Fredersen orders Rotwang to give Maria's likeness to the robot so that it can ruin her reputation among the worker to prevent any rebellion. Unaware that Rotwang plans to use the robot to kill Freder and take over Metropolis. Rotwang kidnaps Maria, transfers her likeness to the robot and sends her to Fredersen. Freder finds the two embracing and, believing it is the real Maria, falls into a prolonged delirium. Intercut with his hallucinations, the false Maria unleashes chaos throughout Metropolis, driving men to murder and stirring dissent amongst the workers.
Freder recovers and returns to the catacombs. Finding the false Maria urging the workers to rise up and destroy the machines, Freder accuses her of not being the real Maria. The workers follow the false Maria from their city to the machine rooms, leaving their children behind. They destroy the Heart Machine, which causes the workers' city below to flood. The real Maria, having escaped from Rotwang's house, rescues the children with the help of Freder. Grot berates the celebrating workers for abandoning their children in the flooded city. Believing their children to be dead, the hysterical workers capture the false Maria and burn her at the stake. A horrified Freder watches, not understanding the deception until the fire reveals her to be a robot. Rotwang chases the real Maria to the roof of the cathedral, pursued by Freder, and the two men fight as Fredersen and the workers watch from the street. Rotwang falls to his death. Freder fulfills his role as mediator by linking the hands of Fredersen and Grot to bring them together.
Dooms you're supposed to RATE movies in here, maybe give a review as well. Movies you just got done seeing. That way other people can read and then decide if they want to see the movie. Like what coin24 and ROC just did. Now I know the new Blair Witch movie sucks. That's what people have been doing in here for years.
You're just posting random movies from the past, not even a review. What are people supposed to get out of all that?
ISH experienced a moment of Reckoning back in Nov of 2016.
Didn't you leave for awhile?
the place was dead if anybody remembers. 1150 pages in 8 years.
that's 143 pages per year. I filled up about 20-30 pages of my favorite films and scenes the past year. Where were all the other OTC movie reviewers during that time?
If I post a video to a movie, it's because not only is the movie a 10/10 masterpiece, but the scene is as well unless I indicate otherwise.
If other people would post... I wouldn't feel obligated to share my garbage.
kinda like how an AA meeting works at times. People show up to listen but nobody wants to speak. So I end up filling the entire hour with my war stories and nobody gets a positive message. Only Doom.