The Hummingbird Project, on the other hand, is weighed down by its moralism. I disliked Martin Scorsese’s drama principally for its repetitions (the same scene over and over, garishly accelerating instead of going deeper), but also because the director seemed indifferent to real-world consequences of his antihero’s perfidy. The movie is tense and absorbing, though it goes too far in the opposite direction of something like The Wolf of Wall Street. Anton is happiest when he’s alone in a room with his specs and equations, although “happy” is a relative term given his thick layer of gloom. Skarsgård plays the part as if his considerable height were an impediment he’s always bent over, leaning forward with his bald brainpan. He’s Anton Zaleski, the wonky (perhaps on the spectrum) techie and cousin of the film’s protagonist, Vincent Zaleski (Jesse Eisenberg), who has hatched a plan to lay a high-speed cable under the Appalachians and other hard-to-get-to spots between the Midwest and East Coast. He’s often the best part of anything he’s in, but here he’s uncanny.
Apparently, fortunes can be made by getting info one millisecond ahead of the competition, which is good to know if you want to understand why so many people become multimillionaires for doing nothing except siphoning money from “the system” (define the system how you will). That is, it likens amazing wing speed to the potential flow of data from somewhere in Kansas to a brokerage house in New York. There are two great things about Kim Nguyen’s otherwise passable The Hummingbird Project, the first being the title, which is a simile.
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