Grade: C
Entire family: No
2016, 101 min., Color
Lionsgate
Rated PG-13 for thematic content, sensuality, partial nudity and disturbing images
Aspect ratio: 1.85:1
Featured audio: DTS-HDMA 5.1
Bonus features: C+
Includes: Blu-ray, Digital HD
Trailer
Amazon link
Kristen Stewart and Nicholas Hoult in a dystopian romantic drama? Sounds like a surefire hit with teens, doesn’t it? Especially when it’s all about emotions, as Equals is.
Sometime in the far future—far enough to where everyone wears white uniforms and the buildings and residential cubicles are all as sanitized as can be—human emotions and illnesses have been all but eliminated. People go about their sanitized jobs like futuristic zombies or contented cows, until a new disease pops up: SOS (Switched on Syndrome), the stages of which ultimately lead to the afflicted being “put down” in a humane and painless way, though an ubiquitous videoboard and voiceover reassures them that “a cure is coming soon.”
When Silas (Hoult) is affected, he goes through treatments. He also suspects that co-worker Nia (Stewart) is suffering from SOS but hiding her symptoms. The main symptom, of course, is that they can feel emotions and therefore notice each other, then feel for each other. A romance grows . . . though unfortunately, not fast enough for most teens.
Therein lies the chief problem. How do you convey a sterile and emotionless environment and a futuristic existence bereft of real meaning without subjecting viewers to stark repetitive images and what feels like real-time boredom? Thirty minutes into Equals our dystopian-novel-loving teen was ready to pull the plug, and I can’t say as I blame her. It’s slow going. What’s worse, though, is that if you’ve seen The Giver, or even Gattaca, you’re already have a slight sense of deja vu. The concept isn’t new or original, and that places a burden on 
director Drake Doremus and his cast to make their version of dystopian disappointment memorable or distinctive it in some way. And I’m not sure that happens.
Doremus seems to wrestle with the sense of inevitability that’s embedded in the film’s plot, determined to shine the spotlight on these ill-fated lovers when what’s more interesting, frankly, are the other patients who have formed both a support group and underground movement to deal with not just SOS but their newfound “knowledge” of emotions that feels a little like the problem Adam and Eve faced after tasting of knowledge in the Garden of Eden.
Is Equals stylish? Yes. Is it cold and sterile? Yes. Is it satisfying to watch? Honestly, no . . . though things really pick up in the third act when SOS patients played by Guy Pearce and Jacki Weaver both literally and figuratively try to come to the rescue. By then, though, many viewers—young ones especially—might feel a little too zombified themselves to care.
Language: None
Sex: No nudity, but clothing removed and implied coupling
Violence: Nothing much—a body appears to have been the result of a “jumper,” and other references to suicide are made
Adult situations: Other than a frighteningly sterile vision of the future? Nothing much
Takeaway: There had to be a way to tell this story without focusing so much on the mind-numbing sterility of this future world and more on the capacity of the human spirit to rise above such things
