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Very very predictable, including the post credit scene !!!

If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

By the time the dramatic fireworks start popping off, each one feels earned.

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Movie Review: "Strange Days" (1995)An ultra-priced 42 Million-Dollar independent productions by James Cameron's renowned production company Lightstorm Entertainment, founded in 1990 for the production purposes of "Terminator 2: Judgement Day" starring Arnold Schwarzenegger, comes "True Lies" succeeding "Strange Days" directed into Cameron-favors by close-companion Kathryn Bigelow, who utilizes a multi-layered script primarly-conceived by James Cameron out of pain, gain, loss and hardship on the human condition, roaming out of society-tumbling Los Angeles, California of the mid-1990s due to an emerging visions of virtually-immersive experience of rebounding cerebral-cortex-initiated memories of the extreme, patched, saved and copied on mini-laser-discs to make the currency for another down-on-his-luck, but street-wisdom-striking main character of Lenny Nero, portrayed by kind of "tour-de-france" running actor Ralph Fiennes, staying even in close-to-near-future realities of a "war-zone" inhabited by the pushed, the drunk and the homeless, to come out clever-enough to keep gene-covering strings to supporting characters as uplifting limousine-driving black-star-indulging characters of motion picture reminiscence Lornette "Mace" Mason, performed by owning the ease Angela Bassett."Strange Days" becomes rigtht from the start a gut-mingling action-thriller fior the mature with ingredients of the science-fiction, which evolved cinematically to reality-losing leading characters of "Fight Club" directed by David Fincher as clean-cut between realities-intercepting "The Matrix" (1999) directed by The Wachowski Siblings over "Inception" (2010) directed by Christopher Nolan with subjective visions to make dreamscapes turn the tide of decision-making events to the now more closing-in "Ready Player One" (2018) directed by Steven Spielberg, where the immediate cross-cutting in already-released trailer takes place, when today's world has the "Avatar" at their fingertips.The editorial by Howard E. Smith in 140 minutes of pumping adrealin to a neglecting domestic as international audiences in season 1995/1996, making full use of stellar dark cinematography by Matthew F. Leonetti to highly-recommended rediscovering proportions not only due to a just seemingly extraordinary hopelessly-suspension directions by Kathryn Bigelow, especially with post-releases of recalling "The Crow" (1994) with ensemble cast surrounding Juliette Lewis, Michael Wincott and Tom Sizemore feasting on dark matter hyper-stylish cinematic gears. © 2018 Felix Alexander Dausend (Cinemajesty Entertainments LLC)

Probably one of the best big-budget sci-fi films to never reach a big audience. Written and produced by James Cameron and expertly directed by Kathryn Bigelow, this film is more noir than actual sci-fi - although the sci-fi elements are important. With a great cast and an amazing atmosphere throughout, this is one not to miss for fans of thrillers, film noir, sci-fi and especially the subgenre knwon as cyberbunk. 8 stars out of 10.In case you're interested in more underrated masterpieces, here's a list with some of my favorites:imdb.com/list/ls070242495

Bombastic assault on the senses disguised as a "brainy" sci-fi action film. Set in 1999, the film follows former cop turned fast-talking street hustler Ralph Fiennes, who specializes in selling disks containing the memories and emotions of people, which is apparently the drug du jour. When he stumbles on a disk containing the murder of a prostitute, he becomes embroiled in a police conspiracy, rape, murder and assorted sordid elements in order to rescue former girlfriend Juliette Lewis from peril.The premise for the film sounds a lot better than the execution and there is enough promise implicit in the material to give one the idea of what may have been if it had a director who could fashion a coherent narrative and sympathetic characters. As it stands, it is impossible to tell which element of the film eviscerates it first, or whether it is a cooperative effort. The film employs an ear-shattering soundtrack, chronic noise and flashing lights, and assorted irritating visual flourishes apparently believing that everyone in the audience suffers from ADHD.The storyline is convoluted to say the least and director Kathryn Bigelow seems to be on only a nodding acquaintance with it. Bigelow, whose entire directorial output could conceivably have been directed by a testicle in the throes of puberty, simply does not exist in the same zip code as logic or common sense, and often sacrifices it for the next big bang, which is never as exciting as she apparently believes it to be. She seems uncomfortable directing women and thus the misogyny is laid on with a trowel. The female characters in the film are on hand only to strip, be raped, be beaten or murdered. Even Angela Bassett's tough chauffeur/bodyguard is subjected to a graphic beating, which tastelessly draws parallels to the Rodney King beating of the era.The acting is a real mixed bag. Tom Sizemore and Vincent D'Onofrio trot out their stale sleazeball routines for another go-round. Fiennes, who seems to be jacked up on too much caffeine, has rarely been this aggravating on screen. Bassett fares best despite being badly directed, but still cannot make the last act attraction between her and Fiennes even remotely plausible. And just when you think things cannot get worse, Lewis comes on screen with a teeth-grindingly wretched performance that could single-handedly derail far better films.Bigelow and company try to tie up the film's voluminous loose ends in an unsuccessful final orgy of violence and exposition, but your patience will have long vanished before then. Despite attempts by Bigelow groupies to rehabilitate the film's image (it was both a critical and box office bust at the time), it still remains a shallow, unwatchable mess with entire passages so unappealing that your first instinct is to take a very hot shower and scrub away anything that might linger from having experienced it.

"Strange Days" is a movie that has a bit of everything and ends up being a terrific cinematic experience. Set in a near future, the story deals with classic themes like virtual reality, thought control or the share of memory, providing and exciting and engaging cyberpunk adventure. Director Kathryn Bigelow creates a futuristic LA that manages to be both sophisticated and believable, avoiding the over-the-top, Utopian and not very realistic depictions of future societies presented in other sci-fi films. Although "Strange Days" is basically a thriller, it is way above many run-of-the-mill movies of its genre, as it succeeds at combining its key elements perfectly. The direction is dynamic, unique and fast-paced, adding style and energy with an excellent sense of rhythm, flow and tension. The acting is also a plus, since Ralph Fiennes is unforgettable as the flawed anti-hero Lenny and Angela Basset shines as his sister-in-arms Mace. This duo makes for an odd, yet original and memorable couple, delivering some enticing and moving scenes. It's also interesting seeing the female character protecting the male for a change, making for a clever reverse of the predictable and typical scenario of most action flicks. Juliette Lewis is also convincing as the dark and feral femme-fatal, especially when she sings a P.J. Harvey song to perfection (one of the many excellent and remarkable moments of this movie).The only problem is the script, which in its determined liberalism (the LAPD isn't really rife with racism, oh no, it's just a couple of loose cannons here and there) is at odds with the basically scary premise. In the end, it relies on the concept of The Good Cop and Real Love Conquering All. I don't suppose it could've been any other way, but...really.Although I am a fan of thrillers and sci-fi, a good story (giving the viewer a range of feelings and emotions) regardless of the genre is what truly sells to a wide audience. I believe that Strange Days is a good story told extremely well by the director, Kate Bigelow, using film.Overall rating: 8 out of 10.