Brainstorm
Brainstorm

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- 64/100 based on 12,583 votes

Brilliant researchers Lillian Reynolds and Michael Brace have developed a system of recording and playing back actual experiences of people. Once the capability of tapping into "higher brain functions" is added in, and you can actually jump into someone else's head and play back recordings of what he or she was thinking, feeling, seeing, etc., at the time of the recording, the applications of the project quickly spiral out of control. While Michael Brace uses the system to be... (Full plot summary below)

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Full Plot Details

Brilliant researchers Lillian Reynolds and Michael Brace have developed a system of recording and playing back actual experiences of people. Once the capability of tapping into "higher brain functions" is added in, and you can actually jump into someone else's head and play back recordings of what he or she was thinking, feeling, seeing, etc., at the time of the recording, the applications of the project quickly spiral out of control. While Michael Brace uses the system to become close again to Karen Brace, his estranged wife who also works on the project, others start abusing it for intense sexual experiences and other logical but morally questionable purposes. The government tries to kick Michael and Lillian off the project once the vast military potential of the technology is discovered. It soon becomes obvious that the government is interested in more than just missile guidance systems. The lab starts producing mind torture recordings and other psychosis inducing material. When one of the researchers dies and tapes the experience of death, Michael is convinced that he must play back this tape to honor the memory of the researcher and to become enlightened. When another researcher dies during playback the tape is locked away and Michael has to fight against his former colleagues and the government lackeys that now run his lab in order to play back and confront the "scariest thing any of us will ever face" - death itself.

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Movie Reviews

The Associated Press - 9/10 by Bob ThomasAs provocative as all this is, Trumbull keeps things grounded, interested to an almost baffling degree in the technical and logistical sides of this theoretical technology, as well as the emotional arcs of the humans creating it.
Needcoffee.com - 7/10 by Widgett WallsA terrific sci-fi flick that features one of the best ending spectacle-sequences ever.
The New York Times - 7/10 by Janet MaslinHowever adversely it must have affected the morale of those involved in making Brainstorm, the death of Natalie Wood hasn't damaged the film. Her performance feels complete. Playing a more mature character than she had done before, Miss Wood brought hints of a greater sturdiness and depth to this role, which is pivotal but relatively small.
Newsweek - 6/10 by David AnsenThis is a good idea for a movie. Unfortunately, in Brainstorm it remains basically an idea. The characters take such a secondary importance to the gadget that we never feel much for them.
Creative Loafing - 5/10 by Matt BrunsonThis doomed effort fails to generate much excitement either visually or conceptually.
Slant Magazine - 5/10 by Budd WilkinsAs though this ridiculousness weren’t sufficiently groan-inducing, the scenes depicting the mischief Brace wreaks on the corporation while he’s mid-hack undergo a bizarre tonal shift into Keystone Kops slapstick.
Reel Film Reviews - 5/10 by David Nusair...an ambitious yet disastrously unfocused misfire from a thoroughly talented filmmaker.
User Review - 10/10 by Bradley KAs electroencephalogram technology comes into more use, this film's premise becomes more potentially "hard" sci-fi. Amazing sets for any computer nostalgia geek. Dip switches galore. Realistic, ahead-of-the-time technology. Breathtaking score.
User Review - 10/10 by Boyd JABSOLUTLY LOVED IT EXCELLENT FLICK....SEE STRANGE DAYS
User Review - 10/10 by Gordon TLOUISE FLETCHER . . . (well, I guess that's all I have to say). LOUISE FLETCHER is WONDERFUL in every role she plays--the just has the big "C" for CHARISMA!!!! even though its made 27 years ago, BRAINSTORM doesn't look too dated to me because "those" "washed-out" looking movies look normal to me because that's how all movies looked back then: washed-out. BRAINSTORM was advertised as the "trip of a lifetime" (back then) because one of the characters actually records their own death. The premise is that digital tape equipment has been designed that can record Dreams, Thoughts, and Feelings (if a person suffers a stroke, the person watching the tape of the stroke-victim will suffer a stroke as well) NATURALLY, like ALL the movies "back then" that were "new" to me, the state-of-the-art technology is OUT OF THIS WORLD FUNNY; a laptop computer sits in a large metal suitcase and takes-up an entire dinner-table and the modems (which were state-of-the-art 27 years ago) are devices where you have to lay the telephone receiver atop an large MODULATOR/DEMODULATOR connected to the telephone lines. NATURALLY (again) the "Evil Feds" want to use LOUISE FLETCHER'S invention to drop bombs on people more effectively and LOUISE FLETCHER is sore-mad at her project being exploited by the "evil Feds." BRAINSTORM is filmed in SUPER PANAVISION (Super 70mm) and the source I saw last night had most of the image in 1.85:1 aspect ratio and when the people would "look into the thoughts" of others the screen would change into 2.35:1. CHRISTOPHER WALKEN is sooo young in this movie. and Natalie Wood is truly a beautiful-looking actress (her close-ups are very staged and in soft-focus, because, "back then" NATALIE WOOD was a star who could DEMAND how her "close-ups" would be filmed). NATALIE WOOD was afraid of the water because she'd almost drowned while filming DRIFTWOOD yet, during the filming of BRAINSTORM fell overboard from a yacht and drowned. They say a double was used for NATALIE WOOD in BRAINSTORM because all of her shots weren't complete at the time of her death but its impossible to tell in what scenes the body-double appears in; yet her back is turned towards the camera when "they're" selling the house. And also, during a luncheon-scene a few characters have their backs to the camera which seems uncommon and bad cinematography. The guy who wrote the screenplay for JACOB'S LADDER also wrote BRAINSTORM and, during his introduction to the print-version of JACOB'S LADDER'S script describes how HOLLYWOOD totally wrecked his BRAINSTORM script. To avoid the chance of HOLLYWOOD doing same SKEWERING of his script for JACOB'S LADDER, he (BRUCE RUBIN) actually moved-out to Los Angeles to oversee the production and actually appears as a GROUP THERAPIST and admonishes his readers that the movie people see on screen is your movie and if you wrote a great movie and HOLLYWOOD wrecks-up the production the movie is still your movie. I love finally being able to see BRAINSTORM in WIDE-SCREEN and its premise has provoked be to "look into" investigating the science behind recording dreams. Figure this; if a film provokes you to do something or makes you want to see it again in the future, its a 100% EFFECTIVE (or FRESH). Update for BRAINSTORM review. ALAN SILVESTRIE'S score for THE ABYSS sounds an awful-lot like JAMES HORNER'S score for BRAINSTORM (with the "strangely-ethereal" voices). JAMES HORNER had a HUGE "BLOW-OUT" with JAMES CAMERON and GALE ANN HURD over ALIENS and it feels like JAMES CAMERON may have wanted a "JAMES HORNER SCORE" for THE ABYSS without having to actually use James Horner, the man, to do so: A little like Mel Brooks' wanting to use RICHARD PRYOR in BLAZING SADDLES because he wanted a "RICHARD PRYOR-Type personality" for the Sheriff yet felt he had to "settle-on" CLEVON LITTLE for the Sheriff because RICHARD PRYOR'S "comedic-latitude" would seem either "too-gelded" or "too-castrated" if RICHARD PRYOR'S sense of humor were to be shoe-horned in a PG-movie.

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