Horrible, fascist and poorly acted

Good story, Not enough for a whole film

Boring, over-political, tech fuzed mess

By the time the dramatic fireworks start popping off, each one feels earned.

I love Philip K. Dick, the author of the novel from which this film is derived, and have followed all the various film adaptations with interest for many years. Some have been very good, some less so, some faithful to at least the spirit of the source material, some less so. I was thrilled to find this on Netflix, since it is one of his major works, in my opinion. I really wanted to like it. I wanted it to be good. It was not. I honor the intention to be faithful to the book, and it was, much more so than, say, Blade Runner, although BR is by far the superior movie. But this was poorly paced, flat, plodding, monotonous, and unrealistic. I realize this last may seem odd given the plot and theme, but lots of movies are about fantastical concepts and still manage to be realistic, in the sense that they create a coherent, consistent reality around those concepts and play out the story with verve and imagination, qualities this adaption lacked. The dream sequences were cheesy. Although Alanis Morissette brought some star power to the proceedings, and she was very good, the acting was poor. The direction left weird gaps in the sequences. The seams showed in this production. One pet peeve: I realize their budget was probably small, but could they not afford a few establishing shots of Berkeley? They kept saying they were in Berkeley, and then showing shots of a city clearly not Berkeley. It's a pretty iconic location, all you need is a few shots of the campus, the campanile, and the bay. This is indicative of the lapses and lack of imagination in this adaptation of a work of supreme imagination.

Let me start by saying that I have never read this book and cannot tell you how close the adaptation is to what was written. Although, in this case, I may decide to pick it up and read it, as the idea and storyline definitely felt real and reminded me of some of the weirdness we are experiencing in society today. This was an entertaining journey to watch with an intriguing and layered storyline, solid performances, outstanding characterizations, great visuals and a big budget feel. Sure, as a character and story driven movie, it does lack a tremendous amount of action, but that does nothing to bring the film down. In the end, this mixture of political and theological intrigue, conspiracy theories, and historical philosophical and subliminal messages plays out in an educational and entertaining manner, and is a must see for everyone. Check it out!

Just a few days ago I learned that Amazon Studios is making a pilot out of Philip K. Dick's The Man in the High Castle, further proof that his work will continue to be among the most provocative and influential sci-fi around. But of all the adaptations I've seen, I think Radio Free Albemuth is the most thoughtful and comes closest to capturing Philip K. Dick's spirit. In an age where sci-fi consists too much of post-toy trash like Transformers, RFA is so refreshing to see. The casting (including Alanis!) is spot on, and I love Philip K. Dick's appearance as a character who wrestles with his personal beliefs and the impact of his writing. This is a film that isn't afraid of its ideas, and it deserves to be seen.

The struggles of the filmmakers in getting this movie made parallel those of Philip K. Dick, the author whose novel serves as source material for this film of the same name as the book. But like Philip K., they forged ahead, and have created a wonderful little film that, in spite of its noticeable budget limitations--particularly visible in the digital effects--is lovingly faithful to its novelistic source. Rather than action set-pieces, the film explores the ideas that frame the novel's plot, and crafts an atmosphere of increasing tension as the web of President Fremont's subversives-cleansing program closes around Philip K. Dick's (Shea Whigham) and Nicholas Brady's (Jonathan Scarfe) plans to insert transgressive messages subliminally in music recordings, all at the behest of a being in space named VALIS that communicates with Nicholas silently.