Anon Reviews

Summary Sal Frieland (Clive Owen) is a detective in a world with no privacy, ignorance, or anonymity; where everyone’s lives are transparent, traceable, and recorded by the authorities; where crime almost ceases to exist. But in trying to solve a series of unsolved murders, Frieland stumbles on a young woman known only as the Girl (Amanda Seyfri...

• Crime

• Mystery

• Sci-Fi

• Thriller

While the film’s final thesis is a Facebook post with typos at best (delete your accounts, and so on), Niccol is still terrific when he’s breaking down rules, questioning protocol, and testing new ideas.

The story works well enough in its own moodily familiar way, but it’s not only the movie’s palette that’s stylishly leached of color: Its main characters’ backstories feel perfunctory, the dialogue leans heavy on exposition and hard-boiled cliché, and even Owen looks worn down.

Very deep movie not everyone can grasp but if you are a technical person tgen this movie is really riveting

Any movie that is futuristic and has great CGI will immediately grab my attention. If the storyline does not make sense or is not rivieting, I will lose interest. This movie delivered! The background was a very colorless and dystopian so i couldn't stop watching it, but the story was well put together and kept me captivated from beginning to end.

Part of the thrill in watching Niccol’s movies is in seeing him thoroughly curate dreams of our future that play off like logical possibilities.

More potent as a cautionary tale than future noir, Anon’s digital dystopia certainly gets a Like, even if it doesn’t quite warrant a Share.

Visually striking, thought-provoking yet emotionally drained, Anon is just too empty to make one care.

Even with a strong cast led by Clive Owen and Amanda Seyfried, Netflix's Anon struggles to tell an engaging story.

Anon lacks identity and arrives at the finish line in a desiccated, cerebral, unsatisfying style.

The film is dark, it shows a possible future. And I do not like them. The film does not only scratch the surface. He goes deeper below the surface than you might think at first glance. What should our lives look like, where everything is presented to us on the silver platter at any time? There are practically no secrets left. Where are our challenges? There is nothing left to discover. You live somehow into the day, where is the tension still in life. You can already see it today with the permanent mobile phone and internet use. You split off, you live only for yourself. But everybody wants to impress somehow constantly about the common social media. But friendships are only made without obligation as long as it benefits you. This film shows this in a bleak way, if you allow yourself to look deeper.

"Anon" pour 'Anonymat' !... ce qui deviendra sans doute un luxe dans les décennies à venir, tant le troupeau formaté par le vivre_ensemble déballe déjà toute sa vie sur les réseaux sociaux, tant tout devient hyper-connecté et tant les "petites boîtes" s'invitent dans les logements, des **** mouchards parfaits pour la prochaine étape : le cerveau connecté 24/7 sur la toile en "réalité augmentée"... Alors, on est en plein 'cyberpunk' comme le montre si bien le film et qui dit cyberpunk dit piratage... piratage de vos données, de vos souvenirs, de vos perceptions, de la vie elle-même ! Andrew Niccol nous montre donc le paradis perdu, celui de l'anonymat, considéré comme un crime parce qu'on ne veut rien montrer et l'établissement de la surveillance de Big Brother version 3.0 (si vous ne voulez rien montrer, c'est que vous avez quelque chose (de répréhensible) à cacher. Forcément ! Clive n'a plus rien à prouver et se révèle comme à son habitude tout à fait excellent ; Amanda a encore bien des choses à prouver (comme le talent par exemple) et se montre volontiers pour mieux attirer l'attention je suppose... je suis comme tout le monde, j'aime me rincer l'oeil mais autant dire cependant qu'elle ne m'a pas totalement convaincu ; mais elle fait des progrès en tout cas, c'est indéniable. Passionnant comme un polar (de science-fiction mais sans les néons), le film pâtit néanmoins d'une fin extrêmement bâclée, sortant tout-à-coup un lapin foireux de son chapeau magique : ça ne tient pas debout et ça déçoit énormément, entre autres incohérences qui tiennent davantage de l'ordre du détail, il est vrai. Aussi en tant que polar -aussi élégant soit-il- le film frôle la catastrophe comme si le scénariste alcoolique venait de faire une ligne de trop... une ligne de coke bien sûr. C'est vraiment dommage, car ça se tenait assez bien jusqu'à cette fin nulle à chier. Cela ne concerne pas l'épilogue et son message très clair à propos de l'anonymat... car il a bien raison à ce sujet, Monsieur Niccol. Mais cette 'révélation' à la fin, ce pseudo rebondissement était vraiment... navrant !

So do you remember the Clive Owen film, Shoot 'Em Up? It was a film with corny dialogue and pretty cool action. Anon is exactly like that film, except replace all the cool action with people sitting & staring (into cyberspace). I also look forward to an extensive breakdown of the plot holes. Worth a watch for the cinematography, but hedge your expectations.

(Mauro Lanari) Once upon a time there was anonymity, or at least so they made us believe. With the IoT the lie collapsed and we discovered ourselves living in Bentham's Panopticon. Foucault was already interested in such a death of privacy in his "Discipline and Punish" (1975) and since then there have been countless films and TV series ("Black Mirror") on this subject. "Anon" is the last in order of time, and with it Niccol adds only logical gaps and a narcoleptic thriller.

A rejected 'Black Mirror' episode that was so bad even 'Black Mirror' didn't want it. Oh, in the UK, this movie was both in cinemas and online streaming services. Not joking. What happened to Andrew Niccol?