(Netflix Streaming, May 2016) If you ask written Science Fiction fans why they’re so frequently annoyed by media SF, you’re likely to get variations on a common theme: Media SF doesn’t do much with the ideas it plays with. It’s rare to see a SF movie that plays with ideas longer than the duration of a trailer: More often, the SF premise leads to an intensely familiar plot transplanted from other genres almost as-is. A representative example of this problem can be found in Self/Less, which barely has time to explain its premise (Rich old dying man transplanted in younger body, discovers that the body belonged to someone else and vows to fight those who lied to him before then exterminate him) before settling into a very familiar chase thriller. It’s not exactly a new premise (although viewers should be forgiven if they don’t remember 1966’s Seconds), but the execution’s lack of wit instantly relegates Self/Less to undistinguished bargain bin status. Too bad for Ryan Reynolds, who once again doesn’t have much of a role to play. Too bad for Ben Kingsley, who deserves better. Too bad, too for director Tarsem Singh, who delivers perhaps the blandest film of an otherwise colourful career: Aside from some memory flashes, there’s little in Self/Less to justify using a strongly visual director like Singh. The result, sadly, is almost instantly forgettable: The plot is bland, the action sequences are dull and the emotional beats are intensely predictable. For a film based on class exploitation (as in “being rich enough to buy a new body”), Self/Less doesn’t seem particularly interested in exploring them, nor anything else moderately interesting. While Self/Less is competently made, it’s also safe to the point of being featureless. No wonder SF fans often prefer turning to a good book.