Solemplex To me, this movie is perfection.

SnoReptilePlenty Memorable, crazy movie

Bea Swanson This film is so real. It treats its characters with so much care and sensitivity.

Haven Kaycee It is encouraging that the film ends so strongly.Otherwise, it wouldn't have been a particularly memorable film

Moonwolf95 Back when Ridley Scott made Blade Runner, it wasn't that well-received by critics, and for many years ended up relegated to being a "cult classic". That seems to be the fate that awaits adaptations of Phillip K Dick's stories into movies that try to keep sight of the Question behind themRadio Free Albemuth, at its core, involves real people like you, me, your neighbor down the road, that kid you knew in grade school. In a time when "gritty realism" in movies is neither gritty nor realistic, it eschews the usual "enhancements" demanded by entertainment to stay true to the original story.Part of that is undoubtedly because as an Indiefilm it was budget constrained, but it is more trying to stay true to the source material without adding in the bells and whistles people demand.RFA isn't a movie you can just watch and come away feeling good about yourself after, but it *is* PKD - given Shea Wigham seems to have been channelling PKD while playing him in the movie, just watch his performance and you'll see what I mean :)Blade Runner is no longer a "cult classic", now it's "visionary" and "prophetic". To some, Radio Free Albemuth already qualifiesRFA is about a group of normal people, flawed warts and all, in an impossible situation, trying to figure out a way to live when the odds are against them. In retelling that story the movie keeps to one precept of PKD's works that most movie adaptations seem to have forgotten:Real life doesn't come with a soundtrack

schltrlegal Full disclosure: a producer of this film is my cousin. She is also the wife of the writer/director.This is one of the most utterly sincere films ever made. That is high praise. I am a lawyer. This movie reminds me a new lawyer who prepares his argument in front of a judge with impossible carefulness and utter conviction in the rightness of his cause. Some mid-career judges might overlook that meticulous preparation and utter conviction because they are impatient to call the case with the notable lawyer, who is in the back of the courtroom drumming his fingers on his costly, leather briefcase embossed with his full name in gold letters. Some mid-career judges fawn over such notable lawyers. That's because they feel important when such a lawyer appears in front of them. They overlook that the notable lawyer lost his sincerity when he learned that he could win without believing, and he lost his passion for the law when he realized that he was rich.This film is an act of devotion. In fact, it has occurred to me that it is an act of religious devotion.I myself am religious. This film is not my religion. But I look upon it as a passionate statement of someone else's utter belief. We still value other viewpoints. We might not share them, but that does not mean they fail to challenge and inform – like many a new and zealous advocates who prepare meticulously and argue with the pure beauty of utter conviction.I have a particular background in a way that I won't describe here. As I watched this film, it occurred to me that that particular dimension of the human condition was depicted more truthfully than it has been in any other film. Those who share my particular background – and there are many of us – will understand when they see the film.The film has its flaws. All films do. I love "To Kill a Mockingbird." But I know many of its faults. I have written a blog- post about them. ("To Kill a Mockingbird: A Crumdgeon's Guide." http://justsayinghere.blogspot.com/2011/09/to-kill-mockingbird- curmudgeons-guide.html )But I so love "To Kill a Mockingbird" that its faults are like the defects of a much-loved woman. Somehow, those faults become inseparable from her beauty – in fact, they are part of her unique beauty.Think of this movie that way.One more thing. Some films are prescient about casting. "Boogie Nights" is a fine movie. (But the first time I saw it, I quit it, and I demanded my money back from the video store.) But whether you love it or hate it, you have to acknowledge that it cast people who went on to great fame and accomplishment. Mark Wahlberg. Heather Graham. Julianne Moore. Philip Seymore Hoffman. John C. Reilly. William H. Macy. Don Cheadle. Of course, some of these actors were already on their way to fame. But it is phenomenal how many actors seem to have gotten a leg up from "Boogie Nights".That has already proved somewhat true for Radio Free Albemuth. The makers of it had an eye for talent on the rise. That may make its place in film history.

macanfitheach A PKD story that rather disturbingly and solidly finds its place in our own time. This movie, though low budget and stiffly acted, is a provocative, cerebral movie that dares the viewer to do what the mass media, big budget Hollywood flicks don't want the viewer to do - TO THINK.Though YMMV, I highly recommend this film though it may not be for everybody. Not spiritual/religious? That's fine - you can easily ignore the religio-Gnostic slant of this work and approach it as an thought exercise.If this movie doesn't make you think, if you can't draw a parallel to PKD's story and the events unfolding in our world today, if it doesn't make you question some long held, ingrained views in at least some capacity - then it may be a waste of your time.But if can take something away from it, if it makes you think, if it makes you question, if it perhaps changes your point of view - well, you will probably be able to chalk it up as the best spent 111 cinematic minutes of your life.

fransico26 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.