Cypher (2002)

User Rating:

7.1/10   

Director:

Vincenzo Natali

Writer (WGA):

Brian King (written by)

Release Date:

18 January 2003 (Japan)

Genre:

Mystery | Sci-Fi | Thriller

Tagline:

Never forget who you are.

Plot:

An unsuspecting, disenchanted man finds himself working as a spy in the dangerous, high-stakes world of corporate espionage. Quickly getting way over-his-head, he teams up with a mysterious femme fatale.

Plot Keywords:

Spy | Brainwashing | Future | New Identity | Corporate Espionage

Awards:

5 wins & 3 nominations

Cast

Jeremy Northam	...	Morgan Sullivan
Lucy Liu	...	Rita Foster
Nigel Bennett	...	Finster
Timothy Webber	...	Callaway
David Hewlett	...	Virgil C. Dunn
Kari Matchett	...	Diane
Kristina Nicoll	...	Amy
Joseph Scoren	...	Digicorp Technician #1
Stephen Brown	...	Digicorp Technician #2
Arnold Pinnock	...	Pilot In Mensroom
Jocelyn Snowdon	...	Stewardess to Buffalo
Boyd Banks	...	Fred Garfield
Steve Jackson	...	Waiter Buffalo
Dan Duran	...	Buffalo Speaker #1
Valerie Buhagiar	...	Buffalo Speaker #2

Also Known As:

Brainstorm (International: English title)
Company Man (USA) (working title)

MPAA:

Rated R for some language.

Runtime:

95 min

Country:

USA

Language:

English

Color:

Color

Aspect Ratio:

1.85 : 1

Sound Mix:

DTS | Dolby Digital

Certification:

Iceland:16 | Netherlands:12 | Australia:M | Finland:K-11 | France:U | Germany:12 | Ireland:15 | Singapore:PG | UK:15 | Portugal:M/16 | Italy:T | USA:R

Filming Locations:

Toronto, Ontario, Canada

Company:

Pandora Cinema

Trivia:

The phone number encoded using Job 13:17 is 436-726-3993, which uses the apparently unused area code 436, and does not comply with the convention to use 555 as a prefix for fictional phone numbers.

Goofs:

Factual errors: When Morgan is given his fake California ID, it shows a Blue and a Red Bar below the name and address. The Blue line is to denote a provisional license for those under 18 at the time of issuance, and the red bar is to denote what year the ID holder turns 21. Morgan is appears to be in his 30's, so there would be no colored bars on his ID.

Movie Connections:

References Johnny Mnemonic (1995)

Some great visuals embedded in corporate cyber-spy silliness, but entertaining anyway

Cypher is an entertaining but irritating film. Nothing in the film is exactly as it appears, and the film reads a lot like a Dean Koontz novel . It's premise is ridiculous, and none of the characters are particularly believable, but you still feel compelled to go on because you sense that something clever is afoot. Indeed, something clever is going on here, but most alert and intelligent viewers will see each plot twist coming, and will feel (at least through most of the film) that they have seen it all before. In my opinion, Cypher is worth watching anyway - if not simply for its occasionally gorgeous photography then for its original and interesting finish.

In fact, nothing about the film itself is really what it appears. It poses as an independent project but obviously sported a sizable budget, and drew the backing of some attention of some big names. It appears to be a sci-fi film, but it's really just a pedestrian spy thriller with a few sci-fi elements tossed in to differentiate it slightly from the dozens of similar films that have been made in this popular genre.

Likable Lucy Liu plays her usual role - an ambiguous heroine who could be a savior or a slayer for Jeremy Northam - a man who has been reprogrammed, brainwashed, and seems on his way to hell with a one way ticket. Northam plays a man without a fixed identity . He is a corporate spy who has been so badly used that he no longer knows who he is and who he is working for. Yet the film only superficially resembles The Bourne Identity. To its credit, Cypher offers some amusing parodies of itself and its ilk very early on. Northam makes the film with an evolving, highly dynamic, and often annoying performance - playing a character who is, in fact, at least three different characters.

Though Cypher is somewhat predictable in terms of action and events, it is never exactly made clear what is motivating everything until the very end. And, in the end, the payoff is worth the sometimes aggravating pace and superficiality of the film.