This movie is bad science and bad fiction. It takes a fine Phillip K. Dick story, great sets, excellent cast and does a directorial belly flop. I have seldom seen more senseless camera movement and gratuitous cutaway shots. There are real inconsistencies in the story--for example, why don't androids dopplegangers have any memory of killing their real counterparts? Disorienting the audience, in the hands of a great director, can create powerful empathy with a character. This director merely achieved confusion and ambivalence. What makes this a particularly frustrating movie is that so much potential was wasted. If you watch the first 10 and the last 10 minutes of this, you will have seen the highlights. The vast body of the film is a particularly uninteresting chase. The ending could have had terrific power, but was wasted by the middle 80% of the film. Sinease produced this movie, so he must be partly held accountable for the dismal failure of this movie to intrigue, to thrill, or even to interest or entertain.
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LoneStarGazer
Ilive in a small town in East Texas, where I'm happily married, work in a intereting job, but still try to find time to indulge passions for cooking and dining, music, the arts, and reading. I mix and … more
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Based on a short story by sci-fi master Philip K. Dick,Impostorholds considerable appeal for genre enthusiasts, who will instantly recognize trace elements of the Dick-basedTotal RecallandBlade Runner. Fortunately, derivative plotting doesn't detract from director Gary Fleder's capable handling of briskly paced action involving Spencer Olham (Gary Sinise), a weapons designer suspected of being an alien robot with an assassin's agenda. The year is 2079; Earth is at war with an alien race called the Centauri, and its dome-sealed cities are intensely monitored by the Earth Security Agency. A high-tech chase ensues between Olham and his ESA pursuer (Vincent D'Onofrio), testing the bond of trust between Olham and his physician wife (Madeleine Stowe). This marital subplot gives the film's twist ending additional impact, and Dick's recurring themes of lost identity and drug-altered reality are handled with adequate sophistication, while cool gadgetry and sharp visual effects compensate for the plot holes.--Jeff Shannon