The Future (2013)

Best movie of this year hands down!

Great movie! If you want to be entertained and have a few good laughs, see this movie. The music is also very good,

Funny, strange, confrontational and subversive, this is one of the most interesting experiences you'll have at the cinema this year.

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

A surprisingly compelling movie. Two Chilean teenagers living in Rome (Bianca and Tomas) became orphans when their parents die in a car accident. Living now alone in an apartment, they soon drop school and find some jobs to sustain themselves: she in a hair salon, he in a gym. Soon, Tomas brings two dubious friends from the gym to live with them in their apartment. These friends, who seem to easily manipulate Tomas, eventually engage Bianca in a seemingly harebrained plot: she has to seduce a former bodybuilder and sword and sandals star named Maciste (played by the veteran Dutch actor Rutger Hauer), who is blind and lives as a recluse in an old mansion in Rome, so she can find the safe in his house where he presumably keeps his fortune. So the rest of the movie is about how the strange relationship between Bianca and Maciste develops. Only the ending is unsatisfying. Playing Bianca, the pretty, petite Manuela Martelli looks a bit sour and expressionless, but is compelling as she appears about half the running time in the nude along the much older Hauer. Based on a novel by the prestigious Chilean novelist Roberto Bolaño.

I am an admirer of Rutger Hauer. So when I had a chance to see Il Futuro, I took it. Sadly, there is absolutely nothing here that would make me happy to have seen it. Hauer was made to look particularly bad since that was the role. But even worse was the terrible empty lines he was forced to say - like how to make a sandwich....yuuck. The lead actress Manuela Martelli was only OK as an actress, but, again perhaps the role itself was designed to be emotionless, flat and zombie like. The only even thinly possible thing to say that wasn't awful about the film was the actress' nude body was firm and fit. And know this, there was nothing even remotely erotic about it since the scenes were choreographed to be like Walking Dead episodes. I hate to say it but do Rutger Hauer a favor and don't put this vision of his performance in your head.

4.5 of 10. Something like a outsider/emo teen film, but in Italy. Lots of style and flair around lots of propaganda, product placement, and a big story hole, possibly admitted to at the end by a guilty director. It's the type of teen/young adult formula story I'm surprised isn't more frequently used in USA films. Apparently we're not as empty as Italy when it comes to film.While the cast does a lot to carry the film, the direction and story is little more than a slice of life film. It makes for an impressive acting exercise for all involved.Given that's it's apparently based on a book, and books usually can't get by purely on words describing hot naked chicks, melodrama, and cigarette smoke, maybe something got left out.

Would like to give to have given this film a 7.5 if it was available. Neither the positive review from our local arts newspaper, or the one fairly negative user review already on IMDb "Downbeat Erotica"capture my experience of 'The Future,' seen with a friend at the Vancouver International Film Festival yesterday. Perhaps I was disposed to find value in the film as I had to rearrange my normal Sunday to see it, and I had picked it on the strength of its synopsis, the few available reviews and the role that Rutger Hauer has in it (he is forever associated, for me, with the role of the replicant "Roy" in Blade Runner.) My companion liked it less than me, saying for her, there was something missing in this film. I wouldn't call it my most memorable film ever, but I was very engaged with the main character's journey and several features of this picture intrigued me: • the essential ugliness of the slice of Italy depicted (playing against tourism clichés) especially as it seems to be richly tied to the main character, Bianca's psychological state; as Bianca's mental state changes she remarks on her surroundings reshaping themselves • like the magic realism of the sun that never sets, there is a close relationship in the film between what we see in a supposedly realistic lens, and what is going on for Bianca and to some extent, for her younger brother. It's like a film demonstration of Freudian "projection" • I enjoyed that an inversion between stereotypes of light and dark occur in the thrown-out-of-kilter world of the two orphaned teenagers. Rather than a descent of darkness into their lives in the wake of their parents' sudden death, Bianca and Tomas are beset with insomnia inducing daylight. • the villains are venal, petty, and better housekeepers and cooks than the heroine and her sidekick brother; while they bring a moral mess into the lives of the teens, rather like the serpent offering the apple to Eve, they have quirky traits such as excelling at crosswords and knowledge-based game shows, and are decidedly deficient in the quality of menace • there was a point (no doubt, partially due to Rutger Hauer's appearance in the film) when I thought this film was paying some tribute to Blade Runner's soundtrack, with its pulled-inside-out gongs and weird sounds, and in certain scenes, with the Blade Runner look, with the sudden plunge into chiaroscuro darkness in the apartment of the former Mr. Universe Maciste, played by Hauer. I think the eroticism the other IMDb reviewer touched on should be qualified as very cinematographic and not especially pornographic. Bianca becomes as beautiful and exotic as an oiled, living sculpture in the setting of the blind man's dark mansion—which bears some resemblance to the rambling, toy-filled apartment of J.F. Sebastian in Blade Runner.Still, I was quite uneasy with being asked to accept Maciste as a good guy when he has apparently been buying teen prostitutes for some time, because he treats Bianca nicely and feeds her. It also felt like the final reel fell off the truck on the way to the editing studios; suddenly we wrap up, with one brief sequence, perhaps, supporting why the Bianca of "The Future" has labelled herself as a criminal at this time in her life. We don't get to know what happened to blind Maciste when he followed her out of his refuge of many decades. What? Either an art house ending or maybe the money ran out.