Transcendence

The dangers of an untethered reliance on artificial intelligence is at the heart of Transcendence, a muddled science-fiction drama that winds up feeling just artificial instead of intelligent.

The film is meant to be a provocative exploration of technology, yet fails to craft a scenario with any real-world grounding that would lend its cautionary tale much emotional resonance.

The story begins in a dystopian society lacking in technological basics before flashing back to let us know how we got there. That involves a scenario five years earlier when technology researcher Will (Johnny Depp) and his wife, Evelyn (Rebecca Hall), unveiled a computer that’s essentially smarter than any human on Earth, and has emotional capabilities to boot.

Some praise this as a breakthrough, such as Will’s mentor (Morgan Freeman), while others question his ethics, namely a group of radical terrorists who look to shut him down. Their violent protests draw the attention of an FBI agent (Cillian Murphy). From there, a tragedy tests the basis of Will’s theory, as well as his his relationship to Evelyn.

Transcendence squanders a confident directorial debut for veteran cinematographer Wally Pfister (The Dark Knight), a regular Christopher Nolan collaborator whose Oscar-winning work on Inception explored similar themes with more emotional resonance. Here, Pfister again creates an elaborate futuristic landscape by incorporating meticulously details sets and seamless visual effects.

However, the script by rookie screenwriter Jack Paglen drags its intriguing premise through a series of convoluted twists that drain much of the suspense in the third act, if viewers even remain emotionally engaged for that long.

For those seeking the latest vehicle for Depp, keep in mind that his screen time is limited, in part by plot developments, and that his voice is heard much more often than his face is seen. Yet his character remains front and center, as loyalties shift and motives become cloudy for those around him.

Despite some powerful imagery, the film never really succeeds as an atmospheric head trip, or as an ill-fated romance, or as a conventional sci-fi saga, despite attempts in each direction.

There’s an ambitious concept buried beneath all the mumbo-jumbo about bodies, minds and souls. But what sociopolitical message is it trying to deliver – that technology should be embraced or avoided, or some combination of the two? More likely, it’s just preying upon public fear in order to generate cheap thrills.

Rated PG-13, 119 minutes.