In his Death and Compass Jorge Luis Borges mocked Arthur Conan Doyle's brainchild Sherlock Holmes with his pure deduction and in his film Alex Cox goes still farther – he stretches the story to its logical limit turning it into an acerbic black comedy. The scene is some dystopian megalopolis consisting of back alleys and human warrens. And he crams it with Borges' symbols and signs: infinite mazes and deceitful mirrors, he even puts there Borges' hypothetical locus mundi – the mystical aleph. This brilliant movie is rather hard to get into and appreciate fully so it suits best only those who are both Jorge Luis Borges and Alex Cox connoisseurs.

Brilliant and diligent, but quirky and unorthodox detective Erik Lonnrot (splendidly played by the late, great Peter Boyle) investigates a bizarre series of murders in a bleak and chaotic futuristic city run by a strict totalitarian government. Lonnrot uncovers a complex occult conspiracy which places him in considerable peril. Writer/director Alex ("Repo Man") Cox relates the involving, intricate and elliptical narrative with remarkably bracing'n'bravura flashy, lively and insanely stylized aplomb, bringing a real sense of potent urgency, a playfully nutty tongue-in-cheek sensibility, and a ceaseless rapid-fire breakneck momentum to the fascinatingly eccentric story. Miguel Garzon's agile, prowling, restless cinematography makes especially adroit and exciting use of lengthy unedited takes. Pray for Rain's wonky and strikingly unique, yet catchy and rousing oddball score constitutes as another significant asset. The occasional fractured jump cuts are likewise quite effective and impressive. Boyle excels in a rare juicy and substantial lead, receiving bang-up support from Christopher Eccleston as an atheist religious expert and Miguel Sandoval as Lonnrot's loyal, sympathetic superior. The jolting surprise twist ending packs one hell of a startling punch. But what truly makes this film such a joy to watch is the feverishly hyperactive wealth of infectiously funky creativity and fiercely idiosyncratic originality evident throughout. A terrifically offbeat and inspired one-of-a-kind treat.

Though "Death and the Compass" was reworked into a feature from a short project--and shows telltale signs of this--it might have succeeded better if only director Alex Cox had been content to allow the film's sound to come through clearly. The film has some great images and performances as well as funky avant-garde elements to both the visuals and story structure. However, when you're doing all that, you can only get yourself in trouble by also monkeying with the sound; here the dialogue is sometimes garbled, sometimes muffled, and sometimes mumbled (pick your poison).Based on the Jorge Luis Borges short story of the same name, "Death and the Compass" follows a detective who has chosen an "intuitive" path of detection, finally risking losing himself deep in a labyrinth of speculation as he attempts to guess, second-guess, and out-guess the criminal pattern unfolding before him. Unfortunately the film, largely due to the sound trouble, ends up nearly as jumbled as the story. The film is commendable for its referencing of many other Borges stories, but ultimately it leaves one wishing for a great deal more cohesion.One can look to Lars von Trier's "The Element of Crime" as a film that was, both in terms of story and stylistic flair, a comparable but far more successful venture. More obviously, one can look to Paul Miller's excellent "Spiderweb," a short film with a sort of "Guy Maddin" feel. "Spiderweb" is also based on Borges' "Death and the Compass" and stars Nigel Hawthorne. It is included on the DVD release of Cox's film (but somehow there is no reference to "Spiderweb" on the IMDb!).

I had read a review of this film probably five or six years ago, but had never been able to find it anywhere and wondered if I ever would. I happened to catch it on cable last night by accident. I'm a huge fan of Borges and think this particular story is a masterpiece that equals Poe's greatest work in terms of pure intellectual force, profundity, and use of language and references. This movie version is fairly surreal and self-consciously stylized and does add a lot of details not in the story. But after about 10 minutes or so I started getting into this interpretation and thought that overall it was very clever and artful. Peter Boyle was an interesting (weird?) choice as Lonrott, and I thought Christopher Eccleston was excellent as Red Scharlach (including the sound effects for his voice). Most importantly, I thought this movie did capture the obliterating sense of the infinite that staggers me every time I read the story.