Self/less

Tarsem Singh’s sleekly shot sci-fi thriller begins intriguingly but loses its identity.

Anonymously slick and rarely betraying a sense of humour, Self/less might not mind a discreet facelift, but it much more urgently needs&n...

Self/less never really gets over the fact that much of it consists of a bland-ish, raincoat-clad everyman driving around and pointing guns at...

Deep under the skin of this shrug of a movie is a solid metaphor rooted in an appealing fantasy.

Tarsem Singh, who directed the eye-catching The Fall and Immortals, brings a comparable level of visual invention to this tale, though as usua...

"Self/less" is a celluloid smoothie blended from dozens of familiar elements, but it’s neither tasty nor nutritious.

The failings of Self/less reveal a good deal about what has gone wrong with American movies over the last 50 years.

You’re better off seeking out Seconds – or heck, All of Me – instead.

Turns an intriguing idea into a B-movie action flick.

The questions that Tarsem keeps posing in between obligatory action sequences are at least as interesting and thought-provoking as anything else in...

Singh once seemed an original, but Self/less doesn’t have a distinctive bone in either of its bodies.

Self/less hews closely enough to the premise of the 1966 John Frankenheimer thriller "Seconds" to qualify as an unofficial remake. Then a...

Self/less begins with a promising (albeit well-worn) science fiction premise, degrades it by turning it into a generic thriller, and fini...

There’s a Twilight Zone premise – though sadly no Twilight Zone brevity or script discipline – to this sci-fi thriller.

What starts out as an interesting exploration of identity soon gives way to the uninspired, generic action flick we had feared it always was.

Tragically, the film itself is as dumb as a doorknob.

[A]ny intelligence is tossed once we get mired in a series of dull chase scenes

Any hope Reynolds had of reviving his stardom with Self/less is as fruitless as thinking a person can swap bodies without consequence.

"Self/Less" soon turns into an attractively shot yet pointless action film …

Reynolds’s failure to display the faintest trace (verbal, physical) of Kingsley’s character negates any potential mind/ body tension. S...

"Self/Less" is lower-rung sci-fi drama.

Self/less is so restrained that I wonder if somebody stole Tarsem Singh’s body, too.

Self/Less should be called Class/Less, and its tagline should read: "The rich white guy is everyman."

The elaborately convoluted, soul-swapping thriller "Self/less" squanders its intriguing premise with a loud and labored beat-the-bad-guys traj...

There’s no reason to spoil what follows except to say that even by the standards of both Alfred Hitchcock and science fiction, it’s non...

You’d think a movie about transplanting human consciousness would be smarter than this.

An initially intriguing parable about man’s lust for immortality that quickly devolves into a substandard shoot-'em-up designed to rebrand st...

A tepid sci-fi thriller that takes an interesting premise and sacrifices ideas for the sake of logically challenged action beats.

All of it unfolds in the atmosphere of gaudy, portentous vacuity that is Mr. Singh’s trademark.

The narrative outline of "Self/less" is a philosophical theme park, readymade for daring, complex filmmaking. And Singh and his writers never...

Just as you begin settling into these science-fiction parameters and start pondering the wisdom of humanity’s vain quest for immortality, Sel...

Self/less noticeably lacks for aesthetic pomp.

Tarsem Singh has a reputation for making movies that are visually stunning but woefully inert and convoluted in their storytelling (see The Ce...

In essence, everything good in "Self/less" was derived from "Seconds," and everything bad the writers and the director came up with on their own.