Wouldn’t it be great to have limitless access to all the cells in your brain? To have a Google feature of sorts that would allow you to immediately call up just the right fact or memory that you need at any given moment, and the ability to synthesize and analyze all that information instantly?
That’s what the drug NTZ does for characters in the film Limitless, a mystery thriller in theaters now. Eddie Morra (Bradley Cooper) is a sci-fi writer with a contract for a book, but a debilitating writer’s block has prevented him from writing a single word. His life is a mess, his apartment is a mess, he’s a mess, and his girlfriend Lindy (Abbie Cornish) has just broken up with him because of it.
Then he meets an old friend, Vernon Gant (Johnny Whitworth) who gives him a tab of NTZ. Within minutes Eddie experiences a rush of insight and intelligence. He can remember books he thumbed through in college, television shows he saw in childhood, and math equations he learned in high school. Within hours he has cleaned his apartment, resolved his back rent, and written 50 scintillating pages of his novel. But the next day, he is back to being the same sloppy Eddie who can’t write a single word. More NTZ is in order.
If this story line sounds familiar, it is. Daniel Keyes explored this idea of artificially stimulated intelligence in his “Flowers for Algernon,” which was later made into the movie Charlie starring Cliff Robertson. Phenomenon, a John Travolta film, uses the same premise. Even the spy spoof television show “Chuck” uses a similar premise when the title character is able to access information stored in “the intersect,” as though his brain were a remote computer. What makes this film stand out, however, is its jazzy musical score, witty script, engaging mystery, and skillful cast, not to mention its unexpected ending.
The film begins with the resounding thump of a sledge hammer against a metal door that jars the audience out of its seat. The throbbing musical score (by Paul Leonard-Morgan) drives the story forward, lifting the audience into a feel-good mood.
Eddie’s brain on NTZ is simulated artfully for the audience through special camera effects that make Eddie’s consciousness seem to speed not just down the road but also through cars, down sidewalks, into buildings, and out of them again at dizzying roller-coaster speeds. When he begins to write, letters appear from his ceiling and drop like rain into his room. Later, when he starts using his newfound skill to make money in the stock market, his ceiling tiles become a ticker tape, composing themselves into the stock symbols that he should buy. Intensified color is also used to portray his intensified awareness; even Cooper’s intensely clear blue eyes add to his character’s altered sense of reality. These techniques are very effective in creating a sense of what Eddie is experiencing.
The story’s suspense is driven by Eddie’s shady relationships with a drug dealer (Whitworth), a loan shark (Andrew Howard), a stalker (Tomas Arana), and an investment banker (Robert de Niro). Eddie cleverly draws on all the memories stored in his brain to thwart the bad guys, but when he unwittingly comes across a dead body, he reacts in the way a normal person would–completely terrified, knocking over a chair as he collapses, then hiding in a corner with a golf club for protection as he calls the police. It’s refreshing to see a character react as we probably would, instead of displaying unrealistic aplomb.
Limitless is a surprisingly entertaining film, with its fast pace, skilled cast, creative camera work, and interesting plot. Well worth the price of a ticket.
Limitless, directed by Neil Burger. Many Rivers Productions, 2011, 105 minutes.