mcginleypaul It's mostly the two main characters making out interspersed with other stuff that may or may not matter or make sense. The good reviews here are REALLY a stretch. Ends with the words "I miss you" .....but who cares.

Patrick Fee Code 46 is a 2003 British film directed by Michael Winterbottom, with screenplay by Frank Cottrell Boyce. It was produced by BBC Films and Revolution Films. It is a disquieting science fiction love story with themes that explore the moral impacts of advances in biotechnology.A good, if not slightly disturbing movie about the near future, the control of governments, and the ability of the powers-to-be to control thoughts as well as disease -- as long as you play the game and remain in safe zones. Kinda of Owellian with a dash of William Gibson and a taste of "Brazil". Oh... and a hint of "Babylon A.D."...without Vin Diesel!The mix of Spanish, English, Mandarin and Arabic in regular speech w/o subtitles was reminiscent of "Bladerunner". The idea that our everyday speech will become more of a polyglot mix in the future is very intriguing as well. Which words will become prevalent? Which will die out? This is definitely a film to rent with some friends and then have a great discussion afterward.

Bloodwank Code 46 is a film that puts its heart ahead of its head. Fortunately there are times when I can cherish such an endeavour so it worked for me, but I'm not the sort of viewer to tune out my head entirely so it didn't entirely work. For a plot, we have an fraud investigator in a dystopian future falling for his chief suspect. There's romance and plot developments, but the romance is key, the film is a study in wistful mood over and above its narrative. The driving force is the sparking of love in a time of such uncertainty it seems near impossible, a future of uncertain (and perhaps dangerous) genetic identities and instant personality alterations. A time in which mankind has gone so far with genetic experimentation that intrusive legislation and rigid border controls are the governments only tool to keep things under control, with Tim Robbins as or protagonist working to do just that. Now the above might give the impression of science fiction intrigues in a distant new world, but the design is modern with little visually (apart from a pretty awesome road junction) to set it apart from our world, generally conversation and some cold interior designs are what creates its sense of future. As for intrigue, well this gets us to the trouble with the film. Thematically, the potential is high, but by and large the issues are little more than brought up and laid down, if brought up at all. So no serious delving into the moral and biological consequences of events, nor the problems raised by personality alteration viruses, nor even much of a process of realisation/rebellion by our lead. What's there instead is charm, a gentle look at quiet, irresponsible burgeoning romance, deftly essayed by the leads and buttressed by sweet presentation. Tim Robbins does well in suggesting a questing soul beneath a smiling, sincerely insincere exterior, while Samantha Morton is a delight as the object of his affections. With hair cut short and a childlike naiveté she near shimmers in other-world loveliness, a truly likable turn. They have fine chemistry too, so their relationship is a fine one to ride with, much aided by the cinematography and score. Some places look suitably sterile here, but a lot of places are shot with soft, dreamhaze hues as if coming to from a medicated slumber, fitting to the plot. The music, mostly from The Free Association is wistful and shoegazey, again appropriate. The ending does however really spoil the mood established by the wordless score by employing a Coldplay song. I'm probably biased because I loathe Coldplay anyway but even taking that into account I don't think any vocals would really have suited the end of this one. I'm in danger of selling this one perhaps more than it truly deserves, but I did like it a lot. The lack of substance is a big drawback, but maintains a near constantly pleasing tone even if I wasn't thinking much about it after viewing. 7/10 from me, one for romantics methinks.

odo5435 I really wanted to like this film; and for the most part it fulfilled my expectations. The acting was above par as was the cinematography. Placed in a highly plausible near-future setting, the scenario of genetic violations had promise. The film had the potential to be one of the sci-fi greats.But I finished watching this film feeling that something was missing and it took me a while to put my finger on it.I believe the movie was let down by writing and/or direction that took too long to get to its main plot. Which would not have been a problem had it not failed to reward me for maintaining my interest along the way. Not that the film was slow, there were enough sci-fi near-future tit-bits for this buff (language, sets, plot, etc.), but I couldn't keep from thinking to myself "When are we going to get to the point?".Once there, somewhere about halfway through, the story picked up and we had a highly watchable futuristic flick.More attention to the script and direction, especially in the exposition, might have lifted the film from run-of-the-mill and turned it into a classic.My vote - Act 1 = 5, Act 2 = 9