The movie “360” is presented as something brimming with profound observations about alienation and interconnectedness, but it really is a hollow collection of coincidences interspersed with platitudes about This Modern Life.
It starts with a prostitute, Mirka (Lucia Siposová), whom we meet as she is posing for pictures on an escorting website.
As she starts turning tricks, so begins a globe-trotting trek of linked storylines that will eventually encompass a British auto executive (Jude Law); his unfulfilled, magazine-editing wife (Rachel Weisz); a Brazilian photographer (Juliano Cazzaré); his disenchanted girlfriend (Maria Flor); a grieving father (Anthony Hopkins); a lovesick dentist (Jamel Debbouze); and a newly-paroled convict (Ben Foster).
Given the pretentious and thoroughly artificial flavor of his previous films “City of God” and “Blindness,” this kind of arthouse-for-the-easily-impressed gear-grinding feels expected from director Fernando Meirelles, who seems to be channeling Alejandro González Iñárritu on anti-depressants; “360” shares the small-world-ain’t-it structure of Iñárritu movies such as “Babel”and “21 Grams” but goes light on the fatalism and misery.
Screenwriter Peter Morgan (“The Queen,” “Frost/Nixon”) alternates between on-the-nose exchanges of dialogue and completely unbelievable actions. While none of the actors embarrass themselves, this is the sort of movie where they should mainly be judged for their ability to spin gold out of the straw they’re being given.