Criminal

Shockingly discarded as an infant, an incarcerated sociopath is given a second chance to live, but in order to do so the consciousness of another must be creatively grafted onto his soul, so that he can discover the whereabouts of an unwilling terrorist, and terminate the dictations of armageddon.

Does the soul have anything to do with consciousness? Does it exist? Is it an eternal regenerative quintessence that innocently survives death regardless of the ways in which an individual lived his or her life, radiating thereafter in a transitory state able to embrace different forms of illumination with permanent subjective clarity?

No clue.

Bill Pope's (Ryan Reynolds) soul/consciousness becomes an integral part of Jericho Stewart's (Kevin Costner) in Ariel Vroman's Criminal however, enabling him to feel for the first time, as he's covetously hunted for instinctively seeking freedom.

There were aspects of Criminal I would have changed had I been given final edit, but I loved the film's laid-back sensationalism.

An anarchist seeking global rule can unleash the apocalypse if he gathers the information he seeks.

But the film's lack of stunning visuals, Kevin Costner's chill performance (even if he's constantly fighting), and unconvincing poorly written villain (Jordi Mollà as Xavier Heimdahl), deflate its grandiose pretensions while smoothly levelling-out the inherent absurdity.

I would have changed the beginning and ending even if they celebrate redemption (there must have been another way to do this), Jericho does remember highly advanced details at times that seem at odds with his brief sudden visual intuitions, and when he's on his way to take on Heimdahl, I would have cut the scene where Dr. Franks (Tommy Lee Jones) asks him to stop (hardcore cheese).

Nonetheless, it's like watching a film from the 90s, direct and to the point, kinetically intermingling the unapologetic and the angelic with wholesome rash rage, I actually felt like it was the 90s while viewing, well done well done.

Criminal blends the violent and the gentle with dramatic comedic indifference that leaves you anticipating what's to come in terms of the consciously conscientious.

The world could end if an unrepentant criminal doesn't act on lessons internalized from a disparate personality living inside him and challenge those responsible for his eclectic demise.

It uses the surveillance techniques revealed by Snowden to disable a mad terrorist yet keeps George Orwell in the loop to critique those very same surveillance techniques, slyly playing a clever double game.

If you take the film seriously, it seems like it's naturalizing ubiquitous surveillance.

If you appreciate the ludicrousness, it's like it's championing Orwell.

Jericho was under constant surveillance but in the end he's a free man, potentially with both job and family.

Thought provoking.

Bunch of great actors delivering modest performances that help procreate the film's unconcerned momentum (apart from Gary Oldham [Quaker Wells]) who has to be livid).

I think it's pastiching The Terminator. The villain wants to be responsible for Judgment Day. Jericho is like a Terminator. And someone says, "get out," at one point.

There's a great shot from the top of a stairwell looking down on Jericho as he looks up, the shot accompanied by a platter of apples on the first floor.

Solid character names.