Réalisation:
Josef RusnakPhotographie:
Wedigo von SchultzendorffMusique:
Harald KloserActeurs·trices:
Craig Bierko, Gretchen Mol, Vincent D'Onofrio, Armin Mueller-Stahl, Dennis Haysbert, Jeremy Roberts, Leon Rippy, Janet MacLachlan, Shiri Appleby (plus)VOD (1)
Résumés(1)
Passionné de logiciels et des années trente, Hannon Fuller est parvenu à recréer l'époque qu'il affectionne, dans laquelle il peut se projeter. Au cours d'un de ses voyages virtuels, il fait une découverte aussi fascinante qu'effrayante, dont il cherche à faire part à son associé, Douglas Hall. Malheureusement, il est assassiné avant d'avoir pu communiquer son secret. Pour l'inspecteur McBrian, Douglas devient le suspect ideal. Pour prouver son innocence, Douglas décide de trouver l'assassin de son ami dans son passé virtuel. (texte officiel du distributeur)
(plus)Vidéo (1)
Critiques (4)
If I didn't know anything about the movie before watching it, I probably wouldn't have thought of any connection to The Matrix. But I did know something. Both films are based on a similar idea of a double world (I’d say more about it, but I don't want to spoil too much), which the protagonists explore. To get a story into the film, something inevitably has to go wrong, and then the director gets the space to play with the audience. It’s either a case of surprising the audience with an action avalanche or settling it with a clever and dense point. Unfortunately, The Thirteenth Floor lacks both. Well, unless we consider the revelation around two-thirds of the way through the film the point. The action, which some people might miss, would be absolutely meaningless here. Director Josef Rusnak sets the pace from the beginning, telling the story at a civilian tempo and initiating the film as a detective's search for possible reasons why the police are taking an increased interest in him. Craig Bierko is a completely unknown actor to me who really came through. He has charisma and you can see that he is comfortable in the role throughout the film. Harald Kloser's music is a very strong component, and sometimes in suspenseful scenes, it makes up for what the director can't handle. The Thirteenth Floor is a highly civilian sci-fi film that also takes place one-third in the 1930s, so don't expect action-packed sequences like in The Matrix but rather an intelligently conceived detective story where you need to leave minimal space for your brain, as you might figure everything out too soon and start getting bored. And I wouldn't wish that on you.
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It was pretty confusing at first, but as the film progressed, the puzzle pieces started to come together and I got a really great plot, with great inter-dimensional interludes and a touch of the 1930s. Overall, it's kind of a better average (65%), but I have to admit I was bored at times. I still recommend it, though.
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Undoubtedly, the interesting theme of artificial worlds is a little banalized in this film and presented in a rather ill-conceived state, but if I look at it as a low-budget project on the edge between A and B cinema, it is really very decent. It is difficult to expect from such a film any visual style and anything other than "light" special effects, but on the other hand, if the filmmakers had done more with the story (I guessed the point too soon and the ending was really stupid!), it could have been excellent science fiction.
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The Thirteenth Floor is a soberly crafted sci-fi film without pandering to pop culture or cheap effects; instead, it relies on a strong emotional story and quality acting. It stands out as one of the most intriguing pieces of its genre from the late 90s. In essence, it aligns much more with the cyberpunk subgenre than the much more famous Matrix trilogy or Johnny Mnemonic. A pleasant watch even for those not particularly fond of sci-fi. Overall impression: 90%. A film for the more thoughtful audience, unfazed by a slower pace of storytelling...
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Annonces