Too much of everything

To me, this movie is perfection.

Memorable, crazy movie

Easily the biggest piece of Right wing non sense propaganda I ever saw.

after gritting my teeth of why i should keep watching this movie all the way through it, when i got to the end all i could think to myself is 1. why would anybody make this pointless of a movie. 2. why did i keep watching this movie. 3. the clichés where terrible.they tried to make this movie artsy, but the conclusion of we don't know what lies ahead was over simplified, and never left me thinking about what it meant, because its just something that you already know and there wasn't any new dilemma added to make the idea more complex.If i were you, and you were thinking about renting this movie, don't. if they show it on TV for free, i'd go out side and do something more constructive with my time.

I've read the novel before knowing that it was already made into film. I was so glad actually. I was also shocked to learn that the plot was set in Thailand where in fact the novel's setting was in Manila, Philippines - that's why the names of some characters were Filipino (Rosa, Lita,...) I'm thinking now that the movie did not fully gave justice to the original novel. Was it because the director and producer were not Filipino or American? I know we've got the choice of selecting the location (just like the THE GREAT RAID movie) but to alter the content of the story is something not proper. What's your comment Mr. Garland? I don't know why you allow such changes? To those who just watched the movie, you may also opt to read the novel and find out the difference - there's got a lot of difference. Bet, you would say that you only wasted your money for the movie.

Alex Garland is an awesome writer. The Beach novel was great; the movie threw away everything good about it, including the essence of the main characters, and predictably sucked. 28 Days was pretty fun. Haven't read the Tesseract book, but this movie's pretty bad. Pacing's bad, acting's bad, script is bad.Some of the early visual sequences were done really well, but I hate it when directors use visual type camera effects and pulp-fiction or boomtown type chronology as their MAIN arsenal to grab people's attention, to try to make it look hip. Like another reviewer mentioned, it's not like these things weren't already used in several movies. Couldn't finish the movie. I wonder if Garland was happy that his novel was connected to this film?

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.