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In short order, however, a medical professional named Estelle Haley Bennett fits him with high-tech prostheses, which she snaps into place, attaches to his body, and covers with a coating of his own skin. Henry is also suffering from memory loss, and Estelle reminds him of one detail: The pod jettisons them down to the middle of a highway in the vicinity of Moscow, where their newfound safety is quickly dispelled by the impact of an oncoming S. The action alone, at least early in the film, partakes of the inventive movie heroism of the ridiculous sublime, but unfortunately, like the escape pods themselves, the story has nowhere to go from those initial heights but down. The violence that Henry deals and endures and Henry is, throughout the film, played by a varied range of stunt specialists has a jagged, flash-frame-like rapidity that quickly grows as familiar as an ache, and elicits not excitement or fascination but a distracted curiosity around the edges—as, for instance, in the fish-eye effect featured in almost every shot, which bends the firm verticals of walls and trees and lamp poles into ludicrously supple arcs.
He will often pull funny faces and immediately wipe them off. He wanted to grab her by the neck and pull her toward his mouth, but he couldn't. All of the sudden, you have to pretend like your just co-workers.