Fred takes a powerful drug called Mercury and then strange things begin to happen to him: the present, the past and the future are intertwined, the guy just throws in time. But that’s not the worst part: Fred isn’t sure where reality is, but where it’s just memories or dreams of a future that didn’t happen. In an attempt to understand what happened on that fateful night, when he and his friends took Mercury, after which the mysterious girl Cindy disappeared, Fred mentally restores the course of events, but here he is - in the past. Or is it real? The last time Fred saw her was there. Cindy said something important on the roof. But Fred didn't get it. Now he must, must, understand.
Like The Matrix, you swallow red pills that reveal the truth about the nature of reality, but you won’t like the truth. Realizing the truth, Fred feels that reality literally begins to crumble before his eyes, and the young man begins to throw more and more in time. And you can take the “blue pill” and integrate into the matrix of the illusory world.
In this film, the viewer is trying to convey deep meanings through a hypnotic chaotic set of fragments of Fred’s nondescript life. A life in which there was only one bright event - a fateful meeting with the missing girl Cindy. Or was she not missing and Fred was missing? Falling down a rabbit hole? Does a man with horns on his head seem to hint?
This film incorporates a mix of different theories (or knowledge?), namely, I heard here about the multiverse theory (string theory, bubble theory) according to which there is an infinite number of alternate universes, and every choice that a person makes in his life creates a new universe of the first level with new outcomes of events. About something similar was previously made the film “Mr. Nobody”. The creators of this film went further, and now, you can hear about the phenomenon of wave-particle dualism (quantum physics), only not in scientific language, but on the example of the plot of the film.
Also, this film reminds me of Darren Aronofsky’s early creation “Pi”, only in place of the main character it is like the viewer himself, who is trying to solve the main mystery of the universe and not go crazy. Everything is written in plain text! Of the actors – Mike Monroe, previously seen in no less creepy original films, an excellent choice for the role of Cindy.
Yeah, it's heavy and weird. The film is not for everyone.
- Don't touch me. I'll leave. I'm not here. You know. I'm not here. . .
In this movie, details are everything. A young man tries to remember what happened to his girlfriend years ago. Is there anything wrong with taking illegal drugs? That's where change begins. Something doesn't fit in.
I suggest that some drugs may impair awareness of causal relationships. Therefore, memory gives an intricate disparate puzzle without distinguishing the past from the future. Our boy just lives a series of moments, and the viewer needs to recognize in all these details a simple solution to what happened.
Stop. Should I? Yes, "Mr. Nobody" and "Donnie Darko" are considered good tapes, but where is the creative identity? This low-budget independent film is technically well done. Staffing, installation, selection of plans. But there is dynamics, there is storytelling, intrigue - these elements I just did not notice. Perhaps, in addition to participating in this film Mikey Monroe, I was simply not interested in following the slow development of events.
So we have nothing more than a pretentious and heavy-handed experiment. A pen test and a training ground for directorial ambitions. No more
"Sorry doctor, I don't quite understand what all these wise words mean."
I don’t know what, I don’t know what, think about it.
It begins with the fact that the mother of the main character is not healthy and it is apparently not just upsetting, but leads to depression, this starts different thoughts, digging into the head, memory, in general in the head - a mess. The consequences seem to be reflected in periodic hallucinations, in other words, the roof seriously went to the man. How he will cope with this and will have to see about an hour and a half.
(This is an approximate version of the annotation for this film, which was actually implied there I could not comprehend)
I suspect that the project is close to someone from the authors and was made solely for themselves or for those who have some experience to understand it. The genre of fiction is indicated due to the supposedly fantastic effect of a drug called 'Mercury' from which the user begins to travel through time. (Here you can again see another advertisement for narcotic substances that can give people some qualities: slowing down time, gaining over the senses, or even superpowers, etc. in contrast to real life, where they do nothing but harm to a person.) /i>
I'm one of those people who remembers The Butterfly Effect when they saw it, but I've drawn more parallels with Nude Lunch. The films are not similar, of course, the main difference from The Butterfly Effect is that Frederick did not travel to the past where he could change it, but rather lived and evaluated his memories differently, or projected his possible future, or there were no such movements at all, and all this is the result of his damaged mind. Any episode or scene is not relevant to the integrity of the picture, nothing will be explained or given any answers. Who is this? Why did you do that? Why is that so? What did it affect? etc. Some scenes were included by the authors on the principle
Look how it all goes, now it's all gone.
- and it didn't happen, we'll wind it back, now look how it will actually be.
The atmosphere of the film catches, the director's moves are intriguing, some plans are enchanting, the music fuels, Dylan O, Brian is convincing, the secondary characters mostly organically fit in, there was not enough at least some clear plot.
5 out of 10
Neo thought hard and chose another pill. On the other hand, it is frightening, perhaps, to break the days of the connecting thread? It's over there, Trinity is easy, she's a woman - she doesn't need any logic.
Frederick Fitzell seems to be doing well: arranged life, work in a large company, a beautiful house, a beautiful wife. But one day, he remembers a former classmate he had never heard of since school. Trying to find out what happened to her, the guy meets with school friends, and then something inexplicable begins to happen with space and time.
Frederick Fitzcell lives with a girl, gets a new job as an analyst, they move to a new apartment, and his hobby is painting portraits. Frederick ran away from ' former fantasies' into a measured and boring life. However, his mother is in the hospital with memory loss, and he unexpectedly meets old, school friends. The past seems gone, but ready to return at any moment. The present alternates with memories from the past (flashbacks) - studying at school and meeting a strange girl Cindy, the experience of taking the first pill - a strong drug & #39; Mercury' painful memories of a drug overdose, and warm memories from childhood.
Frederick Fitzell's Choice is a psychological thriller directed by Christopher McBride with actor ' Benefit' Dylan O, Brian with the notable work of Mikey Monroe. Before us is a psychological drama on an important and difficult topic, which could be ' lost' in its ' self-digging'. But the alternation of memories and fantasies in a beautiful editing, creates a dizzying sketch of the usual theme about the "Reflection" of the young man before an important life choice. There's just - Now and nothing else.
Overall impression: Time is an illusion. Is time an illusion? Time is an illusion! One sentence, but change the punctuation marks and the whole meaning changes.
Each of us makes a choice, but initially the choice is made for us, and for some this phenomenon persists in adulthood. In order to defend your point of view, as well as reasoned to express yourself, you need to make a choice yourself!
GG Frederick has a good job, a great home and a loving wife. But on the eve of an important presentation, he can not concentrate and for some reason remembers a former classmate, whom he had not heard from school. Trying to find out what happened to her, the guy meets with school friends, and then something inexplicable begins to happen with space and time. And now Fred lives in the past and in the present! Running through a temporary maze, the guy gradually goes crazy. Who decides for him? After all, Frederick is not quite sure that he makes a choice.
As it turned out, the fantastic drama is saturated with touching moments and with a philosophical background. Much seems to refer to actions with hallucinations, but they make a lot of sense, once you reach the end. By the way, you need to watch this film carefully, without distraction. You lose one thread and the movie will turn from a smart drama into drug nonsense.
I was pleased with Dylan O'Brien, sometimes his depressed face fit so clearly into the atmosphere of the picture that it became pity the guy. The actor juggles emotions, and accordingly fascinates. Dylan is very good!
I recommend watching the film for those who like to think about the meaning of life and fate. Good to see you!
The tale is about the little man Frederik, who lives his boring life in a complete routine and the feeling that he is not in his place. He has a good boring job, a bland and outstanding wife and a million gray everyday life. One day, Fred finds himself in the time space of his past and future, simultaneously living two lives: a young rebel from school times and a stuffy office plankton from the present. And only he will have to make a choice how to arrange his fate. . .
A sci-fi thriller with elements of a detective, offering interesting food for thought: we are the creators of our lives or all events are planned. There is a similarity here with the movie “The Butterfly Effect”.
Initially, the plot revolves around flashbacks from the past of the protagonist, where he tries to remember what happened to his classmate and where she disappeared without a trace. Over time, he connects his roots of youth to the search for truth, but the further the curious guys dig, the more confusing the story becomes. This is reinforced by Fred’s still crumbling mind, gradually losing the timeline between the past and the present.
To get a full picture of what is happening, you should watch the film to the very end, taking for granted the ongoing drug trips, glitches and mystical events scattered throughout the entire timekeeping. When it seems that the script comes to a dead end, hanging on a loop of delirium, comes the realization of everything for which this movie was made. A touching and sentimental denouement will brighten up all those moments that will remain incomprehensible.
Moral: If you suddenly have the ability to live in the past and the present, then rather run in the past to change rubles for euros, and in the present to live in a luxurious mansion in the Maldives.
As a result, a bold film with an interesting concept, which most likely will not be to everyone’s taste, but those who feel the taste of what they see will definitely be remembered for a long time.
7 out of 10
Watched to the middle, and no development of action. GG remembers some drug addict Sindia, who was nothing 13 years ago. She disappeared somewhere and didn't even get her high school diploma. An hour of repeating the same episodes. I didn't care what happened to her.
Frederick had just landed a coveted, boring job as an analyst, when a sudden street meeting led him to recall the strange events of his final exams, after which the girl disappeared. Deciding to untangle the ball, Frederick is faced not only with strange drugs, but also with some anomalous temporal-spatial devil, which these drugs arrange.
Scary to think, but ' The Butterfly Effect' was released as early as 2003, 16 years before ' Frederick's Choice' (by the way, one of the rare cases where the localization of the title is much more adequate to convey the essence of the film than the original title). So once every 15 years, you can probably make a film about a young man trying to correct the mistakes of his youth. But completely cloned ' The Butterfly Effect' to call this film the language does not turn - the picture has many original interesting solutions, unusual transitions and flirtations with reality.
If you dig in, you can find here ' The Butterfly Effect', along with 'Dark Areas' and 'Bliss' (maybe a little bit - with 'Vanilla Sky'), maybe even 'Mr. Nobody' stayed on the side there, and even 'The Traveler's Wife in Time', plus some admixture of occult thrillers, but in them I can not highlight specific examples. I mean, you can't say it's a clone at all. If there are so many movies that pop up, the most you can show is secondary, but surprisingly, it didn’t have a place here. All these films are mentioned in the context of the atmosphere rather than borrowing.
In general, this is an interestingly edited and shot film, in which there are quite a lot of deliberate assumptions, the adoption of which will directly affect whether you like the film or not. If you are an adept of the fact that you always know how to work better than the filmmakers, then you better not approach this film on a cannon shot, otherwise you will thunder. The ending is quite atypical, it can also burn a little, but overall I would say that this is one of the few films that really stirred up some interest in what is happening on the screen. But that wasn’t enough to jump the seven-point bar on which I can recommend the film to everyone.
Come with me, run with me,
Come with me, come with me.
Take a risk, buddy, let the raven karkal.
Hell with him.
Forget the past, I see spring,
We go to them.
Night trail, meeting the dawn,
Swimming in the clouds. . .
Road fork. How often do we go out in our lives? Every day. Every hour. Every minute. The problem of choice is always before us. Go or stay where you are? Take a step or wait a moment or two? Life, destiny, is coming at this moment. The future, the spiral of events. And the direction? Which one to choose? There? Here? Know in advance what the choice is. After all, in Russian folk tales it sounded - "Go left - you will find your wife, go right - lose your horse, and go straight - fold your head." So maybe we shouldn't move. Or turn back altogether? But there, again and again, the same fork in the road with a constant zigzag of events ... wife, horse, head ... That's a trick. Not without it. Nothing at all!
When you don’t know where and how, you can rely on intuition. She'll give herself up. Give it to her. If there is a confident guide nearby, calling on the road, extending a hand, you can rely on him. Together, it's much easier. And more confidence. It is more pleasant if the companion, the one who has awakened the charm in you from contact in communication, is ready to share this burden. At times like this, you don't think. At times like this, you agree.
'Frederic Fitzell's Choice' is a glide in multidimensionality of multiple variants of the same key life events. The future of the individual is determined. Frozen, stuck, and get a bagel hole tomorrow. He stirred himself up, gathered himself - and the wave of success saddled, laying the foundation.
A constant return on the same day, to the same huts is prepared by the director for the main character. It's such a mess, such a mess, it's hard to figure out where the obvious ends and fiction begins. Where the hallucinations are, where the memories are, and where the real, living guy is. The atmosphere of understanding is aggravated by the narcotic drugs taken by the four to spur the psyche.
. I don’t know, but I’m burning down.
In the fire,
Towards the sun, throw in the wells.
Darkness, fear.
I'm saying goodbye to the blizzards.
Come with me, come with me!
And she keeps pulling and pulling him. She's so beautiful. She's so magical. Come with me, come with me. Her eyes are captivating lakes of temptation. She's in dreams, she's in mirages. She, she, she... And in the hallways of the school, and behind the desk in the classroom. Says enslaving. She, she, she... And then she was gone. Where are you? Answer me. She just walked out of his life? She slipped out? Choice? Whose? Her? His?
. I choose the path to May.
During the cold days.
Let the snow shine,
There's a stream in me.
I breathe in spring, come with me.
Hurry. Come on!
Fantastic drama is hard to solve. The puzzle stretched for an hour and a half. A visual series of stunning plans of a person lost in himself. The director is probably just a genius to create such a creation. Words are not enough to convey the emotional shock of the hit, the nakaut. I want to talk, but I need to wake up after watching. Cool down mal-mal.
. Come with me, come with me, come with me.
Come with me, come with me.
Take a risk, buddy, let the raven karkal -
Damn it.
I hear birds, I see birds.
We're here for them!
Yeah, yeah. The interweaving of the past, present and future here is such that the devil himself will not understand. And you? Ready to do that? The low-budget Canadian picture can give a head start to many multimillion-dollar blockbusters. Surprisingly, it will be easy for them. It's hardly a Ferrari movie in front of us.
As Picasso bequeathed: "The Choice of Frederick Fitzelle"
The opinion of the author may not coincide with the opinion of the non-author.
All judgments are fictitious and conclusions are random.
When writing the material, no well-known fact was affected.
And so it happens that you touch, sometimes, art, and immediately pulls to reason about it.
Another late film show, the very "non-cash" mood, when the world, albeit for a short time, but still looks different, and a phrase that, like, Picasso said: "If I paint a wild horse, then you may not see a horse, but you will see its savagery" - well, or something like that. And not only that old Pablo had the courage to say this, because there was still enough strength to confirm it. Whatever the twist, and according to some opinions, he is the most influential artist of the last century and the most expensive century of this, divided so far by five.
Of course, it will remain a mystery, whose precepts were inspired, to put it mildly, not the most famous film crew, but the fact remains that the output turned out to be a tape that has every chance of becoming a cult and is quite consistent with the theses of the founder of cubism. Respect, we were able to...
They were able to release not a terry art house, but a wide-release film, built according to a rather rare principle scheme for cinema, because by and large, the generally accepted standard, the axiom is a plot built on events, real or fictional, and these events are a set of characters, circumstances, phenomena and objects associated with any interaction with each other, and already from this construction there is any allegory and allegory, to a greater or lesser extent.
“The choice of Frederick Fitzell” is something like the fiction of the main character about fictional events, its addition to his experiences, from which similar but new fictional events are born, based on which fiction is re-formed. Simply put, the film has actors, costumes, dialogue, movement and scenery, but the characters, circumstances, phenomena and objects, as well as the interaction between them, are not. There are unambiguous, drawn by confident, but rough, strokes of the state of the main character - neurasthenia of the crisis of middle age and the tranquility of the completed person, and between them - the chaos of his thoughts, experiences, memories and plans, longing and impulses of consciousness, the inner movement of the personality against the background of the external staticity of a certain general model of being, exposed by the film crew in a form that is digestible for the viewer's perception.
The authors’ message is that the life of an abstract person can be presented very conventionally and simplified as a point in the Cartesian coordinate system known to everyone from the school, in those very X, Y, Z, behind which age, health, income, social status, or whatever, there can be any number of coordinates outside the notebook in the cell, and this point is that “here and now”. There are other set points where a person was before the "here and now", their quite certain number, and there are countless points assumed, as it were, options for the future, where a person can be from the "here and now", and where he could be from the "before".
And each dot has two components. The first is objective, that is, how and what lives, who is nearby, but not vague judgments, such as people live satiated / hungry, people are good / bad, and quite specific circumstances: the apartment has an address and color of wallpaper, the car is a model and year, and people are a name and birthday. The second is the subjective, actual relation of the abstract person to objects: it suits / does not suit.
The problem is that the consciousness of an abstract person is a rather glitchy phenomenon, and therefore the future tends to be idealized with dreams, the present is dramatized with experiences, and the past is treated very frivolously, elevating it to an ideal or a drama depending on the convenience at the moment, in simple words: things are not perceived as they are. Hence, all these searches for themselves, midlife crises and other mental chatter grow, instead of urgent questions, because it is much more convenient for an abstract person to ask himself the question “what would have happened if?” and imagine himself to have achieved some results, but not a clerk, but an artist, romanticizing the way to artists through a drug depot in an embrace with a murky young lady and savoring childhood and teenage resentments against his mother. And these judgments drag on like a quagmire, and there is nothing left but “how it was good” and “would have been much better”, and interest in a very real and pretty wife, clean sheets, a hot bath and fresh shirts, the awareness of some obligations, the need to care for daily bread, self-criticism goes away and the bar that should be kept in society falls.
The consciousness of an abstract person is not only a buggy phenomenon, but also extremely unstable, and therefore an abstract person needs some anchor, but where to throw it is no longer a need, but a choice. Having chosen echoes of his youth, with which the paths diverged long ago, the abstract man lagged behind reality, but he himself did not become a ghost to catch up with the ghosts of his past.
Meanwhile, in a parallel universe, with identical initial data, in the same objective component of the point in the coordinates of being, abstract man caught on to tangible events from the present time, those that by their inescapable conciseness and complete indifference to the will of the participants helped to begin to perceive things as they are, to accept their point “here and now” and to transfer the points “before”, “after”, “instead” in the plane of life experience and attainable goals. Realizing that time is a mythical phenomenon, the abstract man went forward. And here we are not talking about calf humility with a fallen share, everything is simpler in theory and more difficult in practice: the firmament of reality, the very “here and now”, exists without asking permission, and you can either start from it to go forward, or break about it, flying off the clouds.
Frederick Fitzell's Choice translates the phrase about everyone as the blacksmith of their happiness beyond the criteria of "truth" and "falsehood." Through his prism, these words and both at the same time: yes, every blacksmith of his happiness, but for this everyone must understand what place of the dummy he knocks, because the blows in the right will give form and satisfaction with the result, and in the wrong – noise and fatigue.
And even though Frederick Fitzell himself is very reminiscent of the character of the cult film “Fight Club” performed by Edward Norton, and shots with light-sound effects reminded of the cult film “Space Odyssey 2001”, let’s consider this a tribute to the cult classics. After all, in painting, it is still easier to embody Picasso’s covenant, the picture – it is a picture, it is immediately perceived by the viewer as a holistic image, without time limits for perception, but stretch allegories in time into the standard of a full-fledged film, so that the viewer does not lose the thread of the narrative and does not get lost along the way in his own conclusions and emotions – that is also a task. Respect, we were able to...