The Anomaly

Noel Clarke fancied himself as an action star. No worries, he also produces, directs and co-writes The Anomaly as well as starring in it.

This means we see him kick butt in some action scenes as well as showing of his muscular body in the nude.

The Anomaly is a low budget sci-fi action film set in the near future. Ryan Reeve (Noel Clarke) wakes up in a van to find himself trapped with a boy pursued by a man in a tweed suit. It looks like Reeve is the kidnapper.

Reeve is the victim of a mind control plot by a controversial doctor. Reeve has about 10 minutes to put things right. If he dies or goes over that time, the scenario resets.

The film is Jason Bourne meets Memento. It even has a prostitute with a heart.

The film has a confusing and unconvincing first half. It is a derivative movie that gets better in its second half.

As Clarke found fame in the relaunch of Doctor Who, he should had worked more on the sci-fi elements.

The Anomaly is basically a sci-fi film with only one point of view. It doesn't give much exposition to its questionable futuristic world, unless it has something to do with the main character's fight against his own odds. The plot is appropriately straightforward, even with its heavy ideas, it all consistently fits. However what isn't so clever is how it is put together. How the character picks up the pieces of information is drab and incoherent, that seems like the filmmakers doesn't care much of the mystery and instead focus more on its style. While those pretentious use of slow-motion and lens flares can be cool to look at, it also robs the potential of being at least a solid science fiction film. It's far from horrible as what many people have called it, but then it is also true at being a typical action film that you would watch when you are bored in an afternoon.

By looking at its aesthetics, people might be impressed, especially if you acknowledged its non-blockbuster budget. But it might as well gloss over to the fact that it is a vaguely defined future. We're not even sure if is this really the future or just an alternate universe. Nobody even mentions the year and some of its product placements are too modern (notice the poster of 2013's We're The Millers). A goof like this may be forgiven if the world itself isn't this charmless. The flavor it eagerly provides is the colorful lights. The weapons, the devices, etc. consist lights with certain types of color to undoubtedly match its lens flares. And there is no distinction either in every place they stop into. Whenever it passes from London to New York to wherever else, the additional objects we only see, to make sure that this isn't the same world we are living in right now, are holograms and blips that look exactly the same. And what these things showcase in their screens might indicate a commentary of having an overly commercialized society, but that only leaves to a theory.

The real pivotal hook here is the high-concept. It has to be simple, though the huge deficiency takes place at the first act when it introduces its concept by jumping into various time and countries to show off a set of stylish set pieces and visuals. It gets a lot interesting when the real questions finally unfolds, despite that it is usually tension free. Slick direction helps to keep the attention on, and it's probably too slick for its own good. It's still fine to follow the rest of this nonsense, even though it keeps reverting its potential darkness to silly moves and an unbelievably big deus ex machina. What people would likely complain the most are the often interrupting action scenes that seems to solely exist to look cool than to drive tension. Its trademark slow-mo fights have a groan-worthy welcome, though the extended choreography in the middle eventually becomes entertaining. We should admit that most of them are just unnecessary and difficult to take seriously, but sometimes there is an advantage to it since this is already a bland universe.

As for the acting: Ian Somerhalder could have been effective as the villain if he provides a sense of psychosis, but just like everyone else he is there to look cool. The lack of convincing his nefarious intentions sucks out the fun whenever he is around. The real pleasure is when (possibly spoilers) some of the characters become surrogates of Brian Cox. Cox himself is mostly there to be strapped on a machine and phone in to a footage, but when Clarke and Hemsworth do the impression for him, it becomes ludicrously entertaining.

There is a sense of competency to be found in The Anomaly that sort of glosses the fact that it is still a generic action, and as a directorial debut of its star, it must be a little surprise of not being a total disaster, but this is still not as smart neither as awesome as it wanted to be. With a little vibe of inspiration to The Matrix; single-word title, mind-blowing concept, with cool looking characters, and stylishly constructed slow-mo; the film just doesn't manage to make any of that great. But then there is an undeniable value (plus it is perfectly short), only when there is nothing else interesting around. Because generic action has become so generic, at least this one has an intriguing use of budget, fine to root for concept, a fun mimicry to its only veteran actor, and of course absurd amount of pretty lights.

Clever film but really novice fight scenes in slow motion

Set in the future, a traumatized ex-soldier discovers that he can only experience life as himself in nine minute bursts every few days or so. Consequently, he has no idea what he has been up to in between times but it appears in his other life he's clearly been up to no good. He tries to piece together what is causing this.

The Anomaly is a really good example of what can be achieved in a science fiction movie on a low budget. Actor/director Noel Clarke and writer Simon Lewis have put together a nicely ambitious genre flick that is structured in a really interesting way. Its technique is not dis-similar to the one used in Memento (2000) where we follow a protagonist who is consistently unsure of how he got where he is. It's a great idea and ensures that the story-line remains intriguing throughout. It also allows for the film to change gears suddenly and for us to be thrown into jarringly different scenarios as well as re-locating locations. The special effects are well used for the latter, where there are nice cityscapes of the likes of London and New York – very well rendered on a tight budget.

Clarke himself makes for a good central character. It's quite a physical role that calls also for a fair amount of action set-pieces, so we have lots of slow-motion fight scenes interspersed amongst the more cerebral sci-fi stuff. Ian Somerhalder makes a mark too as a dapper, enigmatic man who seems to be involved with Clarke in his unknown other life, while the rather gorgeous Alexis Knapp makes an impression as a girl who assists Clarke in finding out the truth. Brian Cox also stars but is restricted to a cameo role unfortunately. Overall, I was very impressed with this flick. While it does go down a sci-fi action route to an extent, and that's okay, it was the more mysterious sci-fi puzzle aspects that really made it tick. It's well worth seeking out and it should be supported simply on the basis that it shows a lot of ambition and good ideas, while never forgetting to remain entertaining.

I like Noel Clarke. His name alone catches my attention to a film, so I watched this one. Without a clue, which is why I could fully appreciate the mystery of the introduction. Clues about the main character's condition come by very slowly, while the story focuses on an ongoing conspiracy, and on fight scenes that do diminish the overall quality and Mr Clarke's credibility as an action hero.

I admit that, at some stage, I am ready to give up. Finally, if clumsily, come some revelations that not only reinvigorate the plot, but bring in an entire new spectrum of possibilities. Only a few will be exploited. The Anomaly will stay way underneath its potential, barely emerging from the colourful Tits & Kicks category it decided to nest into.

As a director, Noel Clarke does have something. Not sure what. As an actor, he is better when directed by someone else. I find obvious that he should stop directing himself. At least not in a main role, like he did in 4.3.2.1.

The Anomaly should have been more character driven and more psychological, with the costly fluff as a bonus instead of being the meat.