The sheer absurdity of much of the film’s plot provides the bulk of the entertainment.
The anamorphic transfer is very pleasing, the crispness highlighting the visual felicities of Weir’s style, such as the subtle unreality of some of the images and the somewhat sinister sunniness of Seahaven.
Director Peter Weir and screenwriter Andrew Niccol merely settle for purveying unthreatening, self-satisfied cleverness.
The show is predicated on a concept, rather than a plot, that has never allowed a fully realized exploration of its many devices.
Ignore We Don’t Live Here Anymore‘s literary pretence and focus on its truly remarkable performances.
