A Scanner Darkly

Let's start by saying that Scanner would be worth seeing just for the amazing visuals. The 3d graphic novel look of this movie is beautiful and original although unequal in terms of quality as if different teams worked on different parts (which is in fact the case). A very special mention has to be given to the totally incredible and unique scramble suit. The plot was quite interestingly complex yet felt disjointed at times. The dialogs which were supposed to be a highlight were sometimes suitably absurd yet not overly clever or memorable. Midway through I did feel a little bored and I had trouble caring for the druggies characters although it probably wasn't the point.

I never felt particularly emotionally involved, I felt detached (very much like the characters when you think about it). The first character you encounter (Freck) was played way too stereotypically in an exaggerated cartoony kind of way. He constantly annoyed me when he was on-screen. Fortunately, the other performances were better with the standout being the always good Robert Downey Jr. Even the usually wooden Keanu Reeves worked well in his role.

Rating: Visually, Scanner Darkly would be a 8/10, story wise it would be a 6/10 so let's average it to 7 out of 10

It's seven years in the future. The country is struggling with 20% of the population addicted to a new drug Substance D. In Anaheim, Bob Arctor (Keanu Reeves) is an undercover agent who wears a scramble suit which changes his appearance like a chameleon. The drug war is supported by private corporation New Path. Bob is himself addicted and starting to lose his mind.

This is an unique movie of an original style. The rotorscoping animation style is hypnotic. It's not for everybody. It can be maddening to watch as the madness of this world can infect the audience. It's a visually weird movie. It gets tiring to watch. It may be better as an animated short than a full-length feature. The talkative story can also wear out its welcome.

Like most works by the late Phillip K. Dick, "A Scanner Darkly" provides stinging social commentary embedded in a deeply disturbing vision of a dystopian future. Based on some of his own experiences with drug addiction and rehabilitation, Dick's 1977 novel tells the complex tale of a man who, through an illicit drug he is taking, becomes a split personality, with one half of him being an addict and the other half being a narc - but with neither half aware of the other half's existence. If that sounds like a bit of a "head trip," that is clearly Dick's intent here, for what better way to capture the dreamlike and hallucinatory nature of psychedelic, mind-altering drugs? And what better way for a filmmaker to reproduce that effect on film than through the technique known as "rotoscoping," in which live actors are filmed doing their scenes, then later drawn over and turned into seamlessly flowing animation? This is the style made famous in the 1980's with the A-Ha video "Take on Me" and Linklater's own full length feature in the '90's, "Waking Life." In the case of "A Scanner Darkly," especially, its use results in a perfect marriage of form and content.

In this prescient tale set in the "near future," Keanu Reeves plays the undercover cop, Agent Fred, who, under the pseudonym Bob Arctor, is sent to live in a home with several known drug addicts: Barris, played by Robert Downey Jr. and Luckman, played by Woody Harrelson. When Fred begins taking the newly fabricated drug known as "Substance D," which causes the two hemispheres of the brain to disconnect and go to war with one another, Fred/Arctor becomes essentially two distinctly separate persons, so that, in his capacity as an undercover agent, he is actually spying on himself without realizing it. Winona Ryder appears as Donna, the beautiful but sexually frigid coke addict who becomes Arctor's girlfriend.

"A Scanner Darkly" is an easy film for a viewer to get lost in, so it pays to know a little something about the story before heading into it. As a screenwriter, Linklater captures the woozy insubstantiality of the drug experience well enough but often at the expense of narrative consistency and coherence, especially for the uninitiated. I'm afraid lots of people may become frustrated and confused near the beginning and simply tune out. That would be a real shame because the movie turns into a darkly fascinating rumination on the effect drug use has on the mind, while at the same time raising the ethical issue of just how far the government should go in "sacrificing" innocent victims to achieve a desired, perhaps even laudable, end. At times the movie may seem to be playing both sides of the drug-war fence, yet the sophistication and complexity of Dick's vision keeps it from becoming either an anti-government screed or an anti-drug diatribe.

Some of the dialogue comes off as corny and over earnest, but much of it is incisive and darkly humorous, with Barris and Larkman, in particular, hitting delicious comic heights in their paranoid/delusional ravings and interchanges.

Hollywood has tried so many times to capture the feel of Philip K. Dick terms of his style and writing. Films like Total Recall, Paycheck, Minority Report, all were playing to the lowest common denominator and really lost a lot of the feel that Dick conveys in his writing. Blade Runner came close, but it still missed the essential darkness that Dick brings to each and every one of his works.

Enter "A Scanner Darkly", aside from the Interpolative Rotoscoping that the film maker used to put the graphical images of this movie together and give it an amazing visual feel all its own, the vision and imagery conveyed by the film are as true to Dick's original as any movie has come. I left the theater feeling overwhelmed, touched, and changed, much the same way as when I'd finished the book. This is rare, and it is decidedly a beautiful thing.

Thanks to Rick Linklater and the Dick family for allowing a Scanner Darkly to re-envision Philip K. Dick's great novel without straying from its central themes and story line. Good film adaptations of literature are very often collaborative efforts between two or more artists - the writer and the director (and sometimes her/his production team). Make no mistake - A Scanner Darkly IS one of these collaborations - it is definitely a Linklater film - from the spare but very effective and hypnotic Graham Reynolds sound track to the disturbing but mesmerizing holosuit scenes and the pseudo-philosophical paranoiac banter between Harrelson and Downey's characters. In fact, I remember the last time I read Dick's novel - around the time I heard Linklater was directing this film - thinking that some of the scenes in the book could be lost in Linklater's wonderful film "Slacker".

Linklater and Dick are a perfect match.

The story is about a deep-cover narcotics officer (Reeves) who is in danger of becoming one of his own targets, since he has become addicted to a very popular and addictive hallucinogen - Substance D (AKA "Death") The cast is all very good, and extremely well suited for their characters. But here again, we are seeing Linklater's interpretation of the novel. He saw the comedic potential for the Barris character and played it up by giving the role to Downey and presenting Harrelson as a combination of loyal side-kick and straight-man to Downey's sometimes overpowering Barris.

What the story is really about is the culture of recreational drug use and addiction. Its portrayal of this is on target, and though the subject is treated with some sympathy, the contradictory messages, denials, and complex rationalizations permeating that culture also come through powerfully. In this manner, the film nails the book spot-on.

Reeves is perfectly cast as Arctur. His subtle and somewhat detached style is exactly what was needed for this complex and sympathetic character. And although some have stated that he was "blown off the screen by Downey and Harrelson" I couldn't agree less. Downey is louder and more domineering, yes, but Arctur is not a loud, ultra-dynamic, paranoid, and could not be played in a way which could compete with Downey's character.

Although I believe Winona Rider to be very talented, I had my doubts about her in the role of Donna - one of my favorite characters in Dick's novel. However, once again, Winona exceeded my expectations. I have never seen a bad performance out of her.

This is great casting, period.

While these are not criticisms, I feel obligated to make a couple of comments comparing the book and the film. First, the film is not really as dark and disturbing as the book. I can not explain why in this review - you will have to see it to understand why I say this. Second, I was very slightly disappointed by the reduced role of Donna in this film. Third - though some have commented that the film was hard to follow and that they felt they could only really get it if they read the book - I can only say that this is probably intentional. Yes, many of Linklater's films are non-linear and can be hard to follow for those who expect to have things explained to them. Linklater is, if nothing else, an artist and doesn't seem very interested in linearity or explanation. And the original work by Dick is no less ambiguous. In fact it is, in my opinion, more ambiguous.

This film does a great job of bringing to the screen one of the most intelligent and emotional works of science fiction ever written. My thanks to all involved.