The feature debut of writer-director Omar Naïm imagines a future world in which one out of every twenty citizens has been fitted before birth with a Zoe Implant, a sort of lifelong built-in camcorder, and in which a highly trained "cutter" will be commissioned after death to edit the footage into an official record known as a "rememory." A protest movement has sprung up under the slogans of "Open Your Eyes," "Remember for Yourself," and "Live for Today." Hard as it is to comprehend the technology, never mind the magnitude of the task of editing half-a-million hours of footage down to manageable length, it is almost as hard to comprehend the moral objections to it: hard to see, that is, how the "rememory" of the future is much different from the selective home videos, photo albums, printed obituaries, and spoken eulogies of today. The implant, to be sure, has little enough effect on its recipient, failing even to deter a pillar of the community from molesting his own daughter. Robin Williams, as a master cutter with the unfortunate name of Hakman, practically biting his lower lip to stay in character, doesn't encourage us to take this seriously. Mira Sorvino, Jim Caviezel, Mimi Kuzyk. (2004) — Duncan Shepherd
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