If Good Will Hunting and Little Man Tate showed us
anything, it's that filmmakers have a hell of a time explaining
mathematical genius to us poor slobs in the aisle seats. Darren Aronofsky's
sci-fi thriller Pi scoots around this problem by drawing us into the
agitated awareness of a brilliant mathematician, Max (Sean Gullette), whose
glimpse of a secret numerical order to the universe is wracking his body
with blinding headaches and is riddling his mind with paranoia. As in most
sci-fi thrillers, the paranoia is justified: A sinister Wall Street cabal
and a team of Jewish mystics both want the 216-digit number that flashes
teasingly on Max's computer.
Aronofsky is more concerned with the weight of the knowledge than the
knowledge itself, which is a bit of a letdown: We wait to have our minds
blown with the far-reaching consequences of the numerical pattern--surely
that 216-digit whatsit has ramifications for people besides rabbis and
stockbrokers--but the movie settles for lengthy chase scenes and
nightmarish hallucinations. Thanks to Matthew Libatique's astonishing
black-and-white cinematography, though, those scenes are kinetic as hell:
They beat up on you with the same shaky amphetamine-freak terror and
flesh-metal imagery as the Japanese Tetsuo movies.
Aronofsky plainly has talent, but his resolution is way too conventional
for the kind of sound and fury he's packing. It's pretty hooty when you
pass through all that cyberpunk intensity and assaultive electronica, and
you're left with the dullest of drive-in morals: "There are some things man
was not meant to know." (The movie's not terribly different from the Roger
Corman vehicle X--The Man With the X-Ray Eyes, right down to the
if-thine-eye-offends-thee ending.) Unlike the mystifying number at its
core, Pi adds up to much less than the sum of its admittedly
dazzling parts.
--Jim Ridley
Full Length Reviews
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