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Waste of time

Don't Believe the Hype

Although it has its amusing moments, in eneral the plot does not convince.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

I rather enjoyed the comments of people who didn't like, or didn't "get" The Tesseract and acted irritated as if someone forced them to watch it. From the introduction - the explanation of what a Tesseract is - and how it can devolve to simpler elements you know this will be a different movie. If you can't deal with a different type of movie - stick to the movies you like - the formula junk Hollywood cranks out.How different was The Tesseract? Enough. Not over the top as other people have suggested if they'd opened their minds to it and not become judgemental. The flexible time-line takes a bit of getting used to and that's OK - I got to learn about the characters by while figuring out the time-line. Jumping ahead, backward and sideways? Yes - it does - but it works wonderfully well once you simply flow with it.SPOILER..................... The essence of the movie *is* the simplification - the devolution of a Tesseract to a single-dimension item - a line if you will. All four major characters are as Saskia Reeves explained to Alexander Rendel "We are the same" - and in the end they were. Each was damaged in some way and destined for a bad end and in that the movie didn't disappoint at all.Fate played out - leaving the question if one thing happened differently - what would the ending be?I've got to watch it again. And not many movies get that treatment.

yeah, I guess this is not a movie for those who just need to chill out. In fact, this meets the mccluhan definition of cool media, i.e. one that requires you to work to interpret it. sort of like life. so, take a combination of rashomon, memento, and your favorite film noir set in southeast asia and there you have it. confusing at first, but you begin to follow it more as you accumulate information. there's a slight "twist ending" which isn't really necessary; besides, I saw it coming a mile away.btw: (possible spoiler):one of the possible signs of a good movie: you can't count on all the protagonists making it out alive.

Oxide Pang -- one-half the Pang Brothers -- directs THE TESSERACT, a stylish, hyper-kinetic tale of good folks gone bad -- kinda/sorta -- in this kinda/sorta good-to-great film thriller.By utilizing flashbacks, flashforwards, and ... erm ... flash-sidles (if there can be such a thing), Oxide Pangs crafts his film together more as an experiment in narrative voice, but he pretty much confides in this technique for the involved set-up of these four disparate folks: a drug dealer trying to score a big delivery; a comely psychologist trying to come to terms with the death of her young son; a professional assassin (can you ever have just one?!?!); and a thirteen-year-old thief who misunderstands the concepts of right and wrong. These four folks all converge on a hotel where their lives criss and cross as dramatically staged flybys and near-misses ... but, come the conclusion of the film, they collide with devastating results.In a style very reminiscent of their earlier work, BANGKOK DANGEROUS, half-a-Pang flashes quick visuals with unusual camera angles almost universally throughout TESSERACT. However, some of the visuals pull the viewer away from the story a bit much, so the effectiveness of the technique -- perhaps a further study in it so far as Oxide is concerned -- is arguably debatable ... but the film's atmosphere is not. You can almost smell the decay when you're drenched with the seedier parts of the city, finding yourself quite possibly as repulsed as you are captivated by the events. Think of Oxide Pang's work as very Spielbergian in terms of tone and lighting, but with healthy parts of Scorsese thrown in to propel the narration.Well-paced except for a few awkward moments early one where technique clearly outdistances the story, this slick glossy still makes for quality & interesting viewing ... but, as for shelf life, it might have a short life except for fans of the Pang Brothers and/or experimental films.

I thought this movie was a nice experiment. I liked the photography and the combination of B&W and colour in one shot, which makes the colour functional. I also loved the time-shifts and repetitions of shots from other angles. It gives the film its own identity. The general atmosphere of Bangkok as a setting seems quite successful to me. Saskia Reeves as Rosa and Alexander Rendel as Wit are very convincing, more than Jonathan Rhys-Meyers as Sean, who, I thought, has a tendency of over-acting. Of course paranoia is a most difficult role-aspect to act out. The initial scene, where Sean has a dream in which he's shot at, is too much a technical copy of typical Matrix-scenes. Even the sound effects seem to be an exact clone.