In the first film, the characters were chosen to come together for a particular purpose this film certainly gives us a similar cross-section of different characters but there is no sense of their being chosen with a purpose, while most of them are disappointingly killed off fairly soon into the show anyway. The disparity can clearly be seen in comparing the story structure of the two – the first film has the logic of a detective story unfolding, whereas Cube 2 is merely a flight through a collapsing labyrinth. There are a number of fascinatingly weird happenings and these are eventually given an explanation – alas, not one that comes with the beautiful sense of a puzzle falling into place that we saw in the first film. On the other hand, Cube 2: Hypercube is somewhat more gimmicky and certainly less conceptually neat than the first Cube was. The sequel also adds an element of menace that was not present in the original – the blind girl giving ominous warnings throughout that something bad is about to happen and with the sense that some thing or force is hunting them through the labyrinth. In another scene, Kari Matchett stabs Geraint Wyn Davies in the eye, only to then turn around and encounter him on the other side of the room a moment later, he having aged some fifteen years and come seeking revenge for the stabbing. It is a compulsively fascinating moment that suddenly stops the film in stunned silence. As she reaches out to grasp her own hand, Geraint Wyn Davies appears from behind to stab her, yelling out “Don’t trust the old cunt – she lies about everything,” before he is wiped out by a wall of crystalline shapes. In one fascinating scene, the dithering Barbara Gordon opens a door, only to see herself there. Gravity operates at a different angle in some rooms time operates at a different pace in other rooms so that observers see other people alternately sped up or slowed down while elsewhere doors opens up into alternate realities and points in time so that they are constantly meeting different versions of themselves. The hyper-dimensionality allows the scriptwriters to play around with some fascinating ideas. While not varying from the one room redressed concept, Cube 2: Hypercube places a few spins on that idea. A new group trapped inside the cube – (l to r) Neil Crone, Geraint Wyn Davies, Barbara Gordon, Matthew Ferguson, Lindsey Connell, Grace Lynn Kung and Kari Matchett There was also a wonderful economy to the first film in that it only took place on a single set – only one cube was ever built for the film, which was then lit in different ways to represent different rooms. The original film was a beautiful puzzle-box of a story in which various individuals find themselves in a labyrinth where they must combine their mutual talents to find the underlying mathematical rationale that will allow them to exit to freedom. It is also a play on geometric names – in mathematical terms a ‘cube squared’ is a tesseract, a cube that has been extended multi-dimensionally. This has multiple meanings that go beyond the clever play on the two becoming a ‘to the power of two’. As one might notice, the title is Cube 2 as opposed to Cube 2.
#CUBE2 HYPERCUBE MOVIE#
Sekula had only directed one other film before this, the B movie Voodoo Dawn/Fait Accompli (2000), and is best known in the industry as a cinematographer, having lensed most of Quentin Tarantino’s films, including Reservoir Dogs (1992), Pulp Fiction (1994) and Four Rooms (1995), as well as other high-profile films like Hackers (1995) and American Psycho (2000).ĬubeCube 2: Hypercube is certainly a film that does what all sequels should – it expands out on the ideas of its predecessor. The director’s chair has been handed over to Andrzej Sekula. This time all the essential creative personnel behind the original are absent. The low-budget Canadian science-fiction film Cube (1997) was a big international arthouse hit.
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