S1m0ne

2002, USA

Genres:

Comedy | Drama | Sci-Fi

Actors:

Al Pacino		Viktor Taransky
Benjamin Salisbury		P.A.
Winona Ryder		Nicola Anders
Darnell Williams		Studio Executive
Steve Rash		Studio Executive
Ron Perkins		Studio Executive
Jay Mohr		Hal Sinclair
Catherine Keener		Elaine Christian
Evan Rachel Wood		Lainey Christian
Jeffrey Pierce		Kent
Jeff Williams		Man in Suit
Rachel Roberts		Simone
Mitzi Martin		Premiere Audience Member
Carole Androsky		Premiere Audience Member
Christopher Neiman		Premiere Audience Member

Directors:

Andrew Niccol |

Certification:

Canada:G | Canada:PG | Iceland:L | Argentina:13 | Australia:PG ... show all

IMDB Rating:

6.20 out of 10 (12686 votes)

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Storyline

Taglines:	1: A star is... created. 2: On August 23, Meet a Real Fake
Story Summary:	The career of a disillusioned producer, who is desperate for a hit, is endangered when his star walks off the film set. Forced to think fast, the producer decides to digitally create an actress "Simone" to sub for the star—the first totally believable synthetic actress. The "actress" becomes an overnight sensation, with a major singing career as well, and everyone thinks she's a real person. However, as Simone's fame skyrockets, he cannot bear to admit his fraud to himself or the world.
Keywords:	creator-creation-relationship \| computer-animation \| film-making \| actress \| arrest \| beach \| cancer \| cemetery \| computer-virus \| computer \| director \| divorced \| film-in-film \| film-premiere \| fraud \| funeral \| hotel \| interrogation \| inventor \| los-angeles-california ... show all Complete list of certificates: hide creator-creation-relationship \| computer-animation \| film-making \| actress \| arrest \| beach \| cancer \| cemetery \| computer-virus \| computer \| director \| divorced \| film-in-film \| film-premiere \| fraud \| funeral \| hotel \| interrogation \| inventor \| los-angeles-california \| los-angeles-memorial-coliseum \| movie-studio \| pop-concert \| press-conference \| satire \| single-mother \| supermarket \| yacht \| fantasy \| digits-in-title \| falsely-accused \| virtual-reality \| character-name-in-title \| number-in-title

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Movie Reviews

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Review #5

Title:	Movie Reviews
Original:	http://www.movieseer.com/ReviewsBil.asp?moID=2777&rID=350&Channel=2

Summary:	There�s a scene in the 1999 blockbuster The Matrix where Neo (Keanu Reeves) is being uploaded with all manner of useful skills and information via a supercomputer interface that allows him to learn in a few minutes what usually takes a lifetime. Along with history, computer skills, languages and such he is given fighting skills. When he emerges from his upload-coma, he opens his eyes and says only this: �I know kung fu. And we know what he means. It means he will look good while he kicks ass. Shaolin kung fu, or wuxu, as Chinese people call it, is unique among martial arts, not for any superior efficacy in combat situations, but for how well it can be transferred -albeit in a hyper-bastardized form - to movies. You�ll never see a robed monk winning the Ultimate Fighting Championship, or conversely a climactic film battle ending in a wrist-lock submission hold. Reality can have its grappling; in the cinema we want to see flight. The last two decades have seen directors and actors alike embracing the filmatic properties of kung fu and pushing the boundaries of film genres with them. Jackie Chan made it funny and revived Buster Keaton�s style of pratfall comedy; Tsui Hark used advancing stunt technology to reinvigorate the chop-socky costume epic; and Keanu Reeves made it part of the cyber-warrior�s toolkit. Most famously, Ang Lee elevated kung-fu fighting to a form of chilling emotional expression in 2001�s multiple Oscar-winning Crouching Tiger, Hidden Dragon , where every blade clash rang with the dramatic energy of its players� tortured motives. Lee�s work was most significant for its demonstration that the easily used, easily abused visual qualities of kung fu - circular motions, animal themes, natural rhythms - could be effectively employed to amplify non-visual character elements such as frustration, self-annihilation, and ambiguous sexual attraction. The fighting scenes in Crouching Tiger didn�t just leap from the screen, they passed right through you. It was to this new kind of kung-fu punch that audiences responded, consciously or otherwise. . . . read all

Title:	Andrew Niccol - Movie Review
Original:	http://www.contactmusic.com/new/interviews.nsf/interviewee/andrew%20niccol

Summary:	Andrew Niccol has such piercing blue-gray eyes that if I weren't meeting him in person, I'd be wont to think they were some kind of digital touch-up. But maybe that's just his new movie rubbing off on me. In "Simone," the writer of "The Truman Show" and "Gattaca" (which he also directed) has created another uncanny "what if. Viktor Taransky (Al Pacino) whose career is pulled out of a tailspin by a computer program that creates a hyper-real CGI actress. A pouty blonde knockout that Taransky passes off as real - a reclusive artiste who won't appear in public or even on the sets of her own movies - Simone takes the world by storm, rocketing herself and her creator onto the Hollywood A-list, which in turn digs Taransky deeper and deeper into his own elaborate deception. One can see in Niccol's almost unreal peepers hints of the abstract imagination that has spawned his unsettlingly feasible stories. "Gattaca" was about a near future where designer DNA determines destiny. "Truman" predated the reality TV craze but foretold of a "Big Brother"-type world taken to a disquieting, if humorous, extreme. "Simone," while being primarily a showbiz farce, is just as eerie, and there are clearly more bizarre but strangely familiar stories cooking in the man's mind. A native New Zealander who got his start in television commercials, the writer-director's weather-beaten features make him look a little older than his 38 years. But his spirit seems considerably younger as he intangibly radiates nervous enthusiasm while talking about "Simone" recently in his room at a posh San Francisco hotel. Q: I've detected what I think is a recurring Andrew Niccol theme in the movies you've written - a commentary on human beings' manipulating what it means to be human. I just don't even analyze what I do. You may have far greater insight into this than I do! Q: Well, let me give you examples and see how you feel about it. In "Gattaca," you have science creating a caste system through genetic engineering. In "The Truman Show," you have a false world being created for one person. And in "Simone," you have a false person being created to fool the world. . . . read all

Title:	Movie Reviews
Original:	http://www.movieseer.com/ReviewsBil.asp?rID=360&moID=2518&Channel=2

Summary:	It�s the final, desperate swipe towards validity by writer-director Andrew Niccol for the clever but sloppily realized premise that creates Simone and keeps her alive a bit too long, and likely the moment that many of the fans Niccol accumulated through The Truman Show and Gattaca will begin to consider him a one-trick pony who�s made one film too many. While the premise of �Simone� sounds like a good trilogy-rounder to the truth-vs-fabrication investigations of Niccol�s first two screenplays, it plays out like a mushy softball pitch that sorely lacks the sardonic edge of Truman and the dystopian tone of Gattaca. Simone is, or rather attempts to be, equal parts Hollywood satire, social futurism, and light romantic comedy, and as such spreads itself way too thin to accomplish much of any of the three. The fact that it succeeds best as a light romantic comedy says a lot. The cast seems to be having great fun, none the least Al Pacino, who parlays his growing cartoonishness into a nicely realized Frank Taransky, a failed art-film director whose ex-wife Elaine (Catherine Keener) now runs the studio that�s firing him for failing to mend his creative differences with his leading actress Nicola (Winona Ryder). Her departure cancels his film, the footage of which he�s loading into his car when a deranged, tumorous stranger named Hank (Elias Koteas) confronts him with the claim that he has created a virtual actress program. The program, of course, is Simone (model Rachel Roberts), shorthand for Simulation One, whom Taransky learns to manipulate and insert into his film flawlessly, resulting in a blockbuster hit, a new contract for Taransky, and a monstrous public thirst for information about Simone. It�s upon this framework that Niccol presumes to hang the messages of Simone - the battles of ego versus art, media hype versus substance, the inverse relationship of public exposure and public interest, and, of course, the potential of technology to mimic humanity such that technology eventually defines it. . . . read all

Title:	S1m0ne Review - Yahoo! Movies UK
Original:	http://uk.movies.yahoo.com/s/S1m0ne/review-96092.html

Summary:	A washed-up film director is given a hard disk that holds a computer-generated movie star with hundreds of programmable permutations. Although Simone (short for Simulation One) brings him great success, he'll soon learn that the star he has created also has the power to destroy him. Director Viktor Taransky ( Al Pacino ) is having a very, very bad day. His harpie ex-wife Elaine ( Catherine Keener ), who happens to be the head of Amalgamated Film Studios, cancels his contract. The lead actress in his new film ( Winona Ryder ), also a harpie, walks off the set. Fortunately, the device is used only briefly to set up Simone's entrance, in the form of a hard disk delivered to Taransky by a dying one-eyed man. Simone, a computer construct that is ''art and science, the perfect marriage,'' is destined, the man says, for the big screen-and he believes Taransky is the director to put her there. Considering his leading actress has just bolted, the seed couldn't have been planted at a better time, and nine months later, Taransky gives birth-Frankenstein-like (he's not called Viktor for nothing)-to Simone in her first feature film. Of course, Taransky has also planned to take his sweet revenge on the studio system and the Hollywood celebrity hounds by eventually revealing his creation, but when she becomes an overnight sensation, his over-reaching ego gets the better of him, and he can't bear to reveal the truth and sacrifice his own newfound fame. Throughout the film, and especially in the opening scenes, the cast has a tendency to play the farce all the way up and over the top-and to a certain extent, it works. The overblown acting style works with the themes of the film and eventually becomes the reason the dialogue plays so well. Keener's ( Full Frontal ) unique brand of awkward, gawky comedy stands her in good stead here, although she's annoyingly shrill in the role early on. Deeds ) catty movie star (''a supermodel with a SAG card'') and Pacino's (Insomnia) Taransky indulge in a bit of the stilted, clunky dialogue we've come to expect from Ryder, but Pacino more than makes up for that early scene during the rest of the movie. He's quite possibly the only actor who could deliver such lines as ''A star is digitized,'' or ''If a performance is real, what does it matter if the actor is fake? . . . read all

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S1m0ne (Video Preview).avi	14.93 MB	download

Type	Resolution	Codec	Bitrate	Audio Channels
Language: English	48 kHz	Dolby AC3	448 kbps	6

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S1m0ne (part 1 of 2).avi	633.84 MB
S1m0ne (part 2 of 2).avi	640.62 MB

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S1m0ne (Video Preview).avi	6.30 MB	download

Type	Resolution	Codec	Bitrate	Audio Channels
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