I love this movie so much

Fanciful, disturbing, and wildly original, it announces the arrival of a fresh, bold voice in American cinema.

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

Story: It's very simple but honestly that is fine.

In this futuristic movie, the gender roles are relegated to the Neanderthal days. Women are either victims, who need to be saved by the hunky male lead, or are sex toys, who service said hunky male lead, or also service each other. It's like someone decided to stick a "porn" film in the middle of a "sci-fi" film. Now I can appreciate both, but mixing the two distracts from the more interesting ideas of the latter. The most annoying part however; is that the protagonist spends the whole movie hunting down a murdering female, who in the end turns out to just be another "damsel in distress", that he is obligated to save from the real killer, who of course is a male. You can see the "lovey-dovey" ending coming from the middle of the film. It's a like Disney film with a little "porn" thrown in. By the way, the "sci-fi" idea is quite interesting, but unfortunately gets buried in romantic cliche.

Anon features a world similar to ours, where personal information has become commodified, and everyone has an internet lens in their eyes, as well as processors in their mind, like the anime Ghost in the Shell. As technology becomes more and more advanced, it's hard not to believe that at some point tech won't merge with the human body in some way that seems scary to those of us who grew up before the internet. Anon features a great concept of hackers being able to manipulate people's personal tech, again, much like Ghost in the Shell, and commit various crimes by making themselves blind from the views of others. The way the technology and world is presented is very skillful, without tons of exposition, just allowing you the viewer to learn about the world shown in the way a movie should educate the viewer: by showing and not telling. Thankfully, there's no scene where some technician explains how the eye-lens and brain-tech works. Nobody in that world would look that up, how often do you look up how your microwave works? Do you even really know how it does, to an intimate level? Most sci-fi makes the mistake of having the characters explain things too much for the benefit of the audience in un-natural conversations. Anon's actual mystery component isn't stunning or extremely astounding, but it's worth a watch for the great performances, and how the future-tech intelligently figures into the story, and how it's presented. A solid watch.

When this film started out to be very obscure to pick up, I realized how good this film was. However as it developed I genuinely was disappointed. Onscreen video effects I found that very interesting and that was a big feature of your movie & why I would rate it quite high. A sound approach presented well I thought.I wouldn't say there is much wrong with this film other than it is very slow and dark so you have to enjoy that style to enjoy it or like some cool on screen effects.

Andrew Nikkol again returns to his favorite topic (about) social science fiction. This time his fantasy creates a world of a near future, in which there is no longer any concept of anonymity. All the basic data about each person are in the public domain, and it's enough just to look at the interlocutor to find out who he is and what he achieved in life. Also, each and every without exception there is a permanent visual recording of the events taking place with him, which is archived and located in the space of the Ether, from which the detectives of the special police apparatus have access to the memories. Every citizen now has become like an open book, which is easy to scan. This, of course, is for the benefit of society, reducing the number of crimes and finally reducing everyday life to the level of monotonous despondency. But what happens if someone can keep his anonymity? With such a problem and faces the protagonist of the film Saul Freeland, investigating a series of mysterious murders, in which the offender also forges inventive inventories of memories of his victims.Referring to the topics of online surveillance and shadow total data verification by certain government agencies, the New Zealand director, however, does not risk digging a little deeper than what is originally offered to the viewer. "Anon" comes out with such a great generalization, the world of dominant conventions, starting from an unnamed place of action and ending with key plot points and characters. Substitution of reality here takes place not only in the eyes of Freeland, but also in the viewer - Nikkol seems to be returning to the scenery from his "Time", only changes the basic concept, introduces new, albeit unremarkable characters. Divorced, middle-aged detective with a classic set of tragedies of the past, depression, reflection, fatigue and alcoholism and his main opponent - lonely girl-hacker, sociopath, despises open society to which the glass walls of the world without privacy pressuring other stronger. The remaining types of the at least the templates, as well as conservative construction of the plot itself, in which everything is moving along predefined routes - from exposure, acquainting the viewer with the peculiarities of the activities of the protagonist and ending isolation, designed to cast a shadow over all this seemingly harmonious ranked utopian society.Having on hand an excellent idea that could be developed well thanks to a fantastic assumption - around the clock functioning in the mind of each interface, Nikkol prefers to focus on things simpler. His "Anon" is basically a standard technotriller, in which the level of intrigue is reduced to a minimum, and to study the geometric proportions of the scenery is much more interesting than watching the actions of the characters. The film after the introductory first act is too quick to make a transition from words to deeds, with every step of starting to lose touch with their own reality. Technical details, if negotiated, are only casual, and the content side is gradually surrendered under the onslaught of minor, but more curious details. Study eclectic interior loft hacker opposed to the local geometry of the totalitarian urbanism, or notice how during a given scene the characters for various reasons, look away somewhere amusing, but this impression is not vyvezesh. Niccol brings his directing style - as if detached from the observation with the academic alignment staging diluted oblique angles and close-ups with a reduced degree of emotions only adds to the feeling of total emptiness of what is happening. Of course, "Anona" could save the final twist, which can turn the languidly lined intrigue into another optical illusion for the dejected viewer, but in this component the plot only finally recognizes its helplessness. The need to believe what they saw in order to protect the system from collapse here is simply a banal attempt to avoid compromise, and cause-and-effect relationships remain without due attention. Nikkol decides to play in symbolic postmodernism, completely guarding the viewer from any answers, but his thoughtful defaults look more like the lack of an ideological opportunity to develop his own concept or lead him to a logical collapse. Increasing paranoia stabilizes by itself, mysterious algorithms and databases remain in the form of graphical links of digital paths, and all motivation turns out to be an ordinary model. After all, maybe Nikkol is right - it's easier to get rid of the general in the finale and to impress the viewer that he already knows the answer, than to directly tell him the obvious conclusions. Accidents are nothing but whim, encryption of data is not reliable and it's much easier to permanently disable the interface and get rid of annoying advertisements and dice with useful information, because memories somehow always remain with us. To delete a record, according to the characters of the film, is much easier than to get rid of its contents, and at some point it seems that a little more, and the story will hit at least in the parable, but this information anti-utopia seems to be still unrevealed.