I Origins tries desperately to imbue a deeper metaphysical meaning with its narrative, but the alignment of all its concepts come off as disjointed and pretentious.
When it shifts away from the relationship, it really starts to feel forced. You can feel Cahill's hand leading you down the path toward another "discovery," and you can only hope the end will justify the means. Put simply, it doesn't.
Sceptical scientist Michael Pitt falls in love with spacey new age model Astrid Bergès-Frisbey, attracted by her dazzling dichromatic eyes [and] the tussle between rationalism and mysticism takes turns that are both unexpected and thought provoking.
Cahill spends the entire film bringing a sense of wonder to the desperately rational Ian, and if the film takes on a glow toward the end, that glow feels well-earned.
