"Fisher never subordinates his big ideas to the usual chase scenes or manufactured love conflicts less confident filmmakers use to candy up such material. That's great—too bad that, in the final third, the movie also doesn't subordinate those ideas to its own story, or to its earlier elegance of construction. Instead the ideas swell up, multiply like Tribbles, and finally encompass mind control, ancient conspiracies, questions of free will versus determinism, and what your brain is doing when it somehow knows a melody it's never heard before."
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Frequencies (film)
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