plays Nick Bannister, a former soldier who runs a business in which people pay to float, unconscious, in a sensory-deprivation tank. Immersed in its calming water, with a virtual-reality headset on, they’re able to travel back into their fondest memories. It’s technology that makes the time-tripping possible, but the decaying landscape around them that makes it desirable. When the world starts to overheat and drown, the movie implies, our memories of better days may be all we have.
Beyond that, however, the entire movie, which was written and directed by Lisa Joy , can often feel like a device for transporting the audience back to memories from the pop-culture past. Nick’s business occupies a dark, tall-ceilinged catacomb of an office space in which the sun glints around drawn blinds; it’s very “Blade Runner: The Streaming Series,” with maybe a stray hint of “The Godfather.
Back in the day, film noir, though we don’t necessarily think of it this way, was one of the most romantic of all movie genres. The phrase “femme fatale” conjures a lot of words apart from romance — words like cold, slinky, manipulative, treacherous — but the point is that the saps who fell for femme fatales fell for them completely; they let love lead them into the abyss. And the femme fatales fell, too.
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