|2013||106 Min||Drama . Thriller|
An entry-level employee at a powerful corporation finds himself occupying a corner office, but at a dangerous price: he must spy on his boss's old mentor to secure for him a multi-billion dollar advantage.
|Actors:||Angela Sarafyan , Lucas Till , Julian McMahon , Richard Dreyfuss , Embeth Davidtz , Josh Holloway , Amber Heard , Gary Oldman , Harrison Ford , Liam Hemsworth|
Now it feels almost quaint, like a throwback. You watch it and, despite all the au courant techno geekery on display, you feel like you’ve stepped into a time capsule. It’s a nice feeling at first. If only the movie were better.
The only real reason Paranoia is even remotely worth watching is the chance to see Oldman and Ford go head-to-head like two vipers thrown into a potato sack.
The actors do their best. The problem here is simply a formulaic screenplay and less-than-inspired direction.
This one is essentially “The Firm” with smartphones.
There’s a scene in a members-only club where Wyatt and Goddard meet, giving the two veteran actors the chance to go eyeball to eyeball for a couple of minutes of barbed dialogue. It almost makes the movie worth it.
There’s tension to be wrung from the premise, but Luketic is content to telegraph his movie’s juiciest twists, concentrating instead on applying a sleek visual sheen usually reserved for shampoo commercials.
It plays more like a "21 Jump Street," full of pretty people and a thumping soundtrack but offering little in the way of something to say.
Hemsworth, who is Gale Hawthorne in "The Hunger Games" and the brother of the Hemsworth who stars as "Thor", has maybe one arrow in his acting quiver - he can look engaged.
Paranoia has a promising foundation — betrayal, danger and corporate espionage are solid building blocks of suspense. But the movie turns out to be more exasperating than exciting.
There's nothing wrong with Paranoia that a stronger director, livelier leading actors and several hundred fewer narrative conveniences wouldn't cure.
The filmmakers may have hoped to make a timely commentary on the amorality in our executive suites, but they end up merely restating the obvious. Maybe the whole thing would have played better as a corporate comedy, the kind that Doris Day and Rock Hudson made some 50 years ago.
Frankly, no one in this ensemble is done any favors by Jason Hall and Barry Levy’s screenplay, a “Duplicity” for dummies filled to the brim with double-crossing cliches.
The bland, boring Paranoia does little to distinguish itself and isn’t good (or even enjoyably bad enough) to be passable even as Saturday afternoon cable fodder.
The film works only, if at all, as an unofficial Air Force One reunion, with Ford stopping just short of bellowing “Get off my jock!” during a pair of gritted-teeth encounters with Oldman. Some pleasures never go out of fashion.
Even a cast boasting Oldman and Harrison Ford can't salvage his dreary, contrived corporate thriller.
Paranoia is ostensibly a thriller, but there’s nothing remotely thrilling about it. This slick, plodding bore is as exciting as watching somebody else tap out text messages.
Ford and Oldman’s scenes together are Paranoia’s sole redeeming facet.
Director Robert Luketic’s thriller Paranoia has a host of problems, but the biggest seems to be that no one in it is nearly paranoid enough.
However, once you realize there's no "pleasure" to be had from something this wantonly dumb and idiotically constructed, all that's left is "guilt" - guilt that you actually spent money to see this.
Robert Luketic's supposedly down-and-dirty corporate espionage thriller undercuts itself at nearly every turn by shunning any potential relevancy.
It is as slow, slick and superficial as the director of “21″ and “Killers” can make it.
I'm not going to get into the acting, because there's not much of it, frankly. No one is embarrassingly bad; no one is exceptionally good.
A ho-hum thriller about corporate spying in the high-tech world, comes off as a lot more preposterous than paranoid, and it takes no more than a few frames for the eye rolling to commence.
Although presumably meant to be a modern-day version of the classic conspiracy thriller "The Conversation," Paranoia is so vapid that it plays like "Antitrust" sans the food allergies.
It galls me that Hollywood thinks we're shallow enough to swallow this swill. Or am I just being paranoid?
You could drive an 18-wheeler through the substantial number of plot holes in Paranoia.
This is a film at odds with itself, wanting to be a 99 percenter rallying cry but wallowing in and fetishizing 1 percenter accoutrement at every turn.
The fact that Hemsworth is severely lacking in leading-man charisma also doesn’t help the pervasive overall incompetence of the film, which fixates on the perils and panic of our modern surveillance culture while itself proving to be borderline unwatchable.
Mr. Oldman and Mr. Ford are the only actors in the film, directed by Robert Luketic (“Legally Blonde”), skillful enough to navigate the yards of jargon-packed boilerplate in Jason Hall and Barry L. Levy’s thudding screenplay.
Paranoia’s twitchiness is like an actual twitch: it’s contrived and clunky, and you forget it in an instant.
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