Rosenbush Cafe

Confronting Whisper People

You can read my original reviews of Knowing
and Push

By Henry B. Rosenbush

These films were released this past Tuesday in Anamorphic Widescreen with an aspect ration of 2.35:1. The Summit Entertainment releases are both available with English subtitles and Dolby Digital 5.1. Knowing has a director’s commentary by Alex Proyas and two brief featurettes: Knowing All: The Making of a Futuristic Thriller (12:35) Visions of the Apocalypse (17:15).

The first is quick peek at some behind-the-scenes footage and snippets of interviews with several of the key actors, with a notably absent Nicholas Cage. Obviously the feature length commentary gives the director more time to explain how the film was made. The apocalyptic short is actually quite good in its brevity. Extensive documentaries on the end of days expand this topic often making it far too convoluted for casual observation. This doc is like Cliff Notes on the Apocalypse because it provides just enough historical and mythological background (with accompanying scenes from the film) to satiate a basic interest in the topic. There are endless comprehensive treatises from Nostradamus to Mayan predictions to religious fear-inducing hysteria available on the internet and in bookstores.

When the DVD first boots up there are previews for Push, the upcoming animated feature Astro Boy and uneven con caper comedy, The Brothers Bloom.

The commentary is introduced by an anonymous second party who “prompts” director Proyas. It’s more like a feature length interview and not always successful. The best commentaries are either by directors on their own (Peter Hyams, for example, does a commendable job on The Friends of Eddie Coyle) or directors and actors together (the original group for Donnie Darko is hysterical and seem to enjoy talking about the film).

There is interesting information about the setting, actors, special effects and a parallel to fifties nuclear paranoia merging with apocalyptic 21st Century fears.

Few films are perfect and while Knowing has some uneven moments it is able to withstand enough of them to offer a relatively taunt end-of-the-world thriller. Critics were unimpressed with the plotting and considered it preposterous. Film critics generally are not scientists and many of them have backgrounds and experiences based on the movie industry. I follow a more abstract approach to viewing and dissecting movies and research scientifically as much as possible on the authenticity. The average film critic, or indeed movie patron, has little time to study solar flares before entering the theatrical world of Knowing. I have more time to watch documentaries and keep up on real versus fanciful science, although I have an enjoyment for both.

A good episode in the CSI franchise will offer real applicable science and forensics even at the expense of time reduction; often provoking laughter when DNA (Deoxyribonucleic Acid) analysis or locating a fingerprint on AFIS (Automated Fingerprint Identification System) is completed in seconds or minutes! Even a casual scan of CODIS (Combined DNA Index System) can take minutes to hours and DNA profiling can take up to 4 weeks.

Movies, like television, must compress time as a necessity and while the numerological plot device is riveting the scenario behind how massive solar flares could destroy the ozone layer, boil the oceans and microwave the earth’s surface is not inconceivable. Whether it’s 10 billion years, or sooner, at some point Sol will die taking with it the earth and the entire solar system. There are as many movie variations on Armageddon as there are possibilities for the earth’s actual demise.

Knowing knows what it wants to achieve and it does so economically and with just enough set pieces to unnerve: the airplane crash is particularly harrowing and realistically staged with full scale wreckage blending nicely with computer generated scenes. The subway crash is problematic; well done but far more CGI and miniatures used that are obvious. That said it still does a credible job of sustaining a sense of future calamities to come.

There are plenty of sites, IMDB among them, prepared to display long lists of continuity errors in the film. As is always the case in movies, if one looks for factual or editorial gaffs they’ll spend more time doing so and never pay attention to the movie itself. I saw many but let them go because I accept all movies will have them and try not to get too carried away. In film noir it was always a problem since characters generally smoke cigarettes and drink alcohol so the length of cigarettes and amount of liquid in glasses always fluxuated and I still enjoy film noir.

Spoiler Alert: An early revelation in Proya’s commentary is what attracted me to the film originally, although I merely alluded to it in my review, that at the film’s climax the world does end. As he acknowledges, and I agree totally, far too many films save the world at the end rather than end it and Knowing fulfills its promise. I’m a close observer of movie trailers and shortly will offer my estimations on two upcoming films based solely on their previews, and Knowing shows more than enough clues to its ending. The fact that extraterrestrials “save” human children to repopulate another planet and that after the devastation the film concludes with an Adam and Eve visual that is uplifting without being to schmaltzy was a wise decision. By allowing Nic Cage to die in an embrace with his family (mother, father and sister) rather than escape was another satisfying decision.

The final scenes of worldwide destruction when the solar flares cook the earth is quick and built upon a number of wise photographic decisions: as the end of all life nears the increase in yellows and browns and smoky brightness increases. When we view the madness of populations running wild, with nowhere to hide, there is a moment as Cage is heading home when he passes a calm embracing couple while they are surrounded by the terrified masses which is particularly profound.

When Shove Comes to Push

Push is an entirely different movie experience that could have benefitted from tighter editing rather than an ADD approach and some restraint in the use of the Bleeders (Asian paranormal actors whose screams can immobilize or kill; unfortunately not only other film characters but the audience as well) and a different direction for Cassie (Dakota Fanning) who becomes increasingly annoying throughout the story.

Push boots up with the same previews except it has the trailer for Knowing rather than Push. There are four deleted scenes, with optional director’s commentary, and it’s no secret why they ended up on the cutting room floor since they do not further the story. The Science Behind the Fiction (9:17), explores the fascinating concept of the real world of the paranormal with psychics, remote viewers, et al, and brief peeks at the myriad characters portrayed in the film: Sniffers, Bleeders, Pushers, Movers, et al. The best reason to watch this brief doc is Dr. John Alexander, US Special Operations Consultant, who was also an adviser to the little seen, Suspect Zero (2004), which concerned remote viewing to track serial killers. Although a bit uneven, SZ was devilishly clever and contained docs, on the DVD, about remote viewing and this unique psychic ability as an experimental application by Russia and America during the Cold War and afterwards.

The commentary by director Paul McGuigan, Fanning and Chris Evans is actually quite humorous and often enlightens and entertains more than the movie!

Spoiler Alert: Push presents rogue psychics, who team up to destroy a secretive government organization called Division and there is no surprise as to who will win in the end. Having enjoyed a wide range of films dealing with this subject matter from David Cronenberg’s Scanners (1981) to the aforementioned Suspect Zero, one particular theme is almost always incorporated: secret government or privatedly-funded organizations are portrayed as the malevolent force behind the plot machinations.

The scanners were used recruited by Con-Sec but most were murdered by a powerful scanner who wanted to create a race of killer psychics. In the end he battled his younger brother in a gory, firey climax leading to an opened ending and several lesser sequels; Cronenberg was wisely not involved with the other films. The suspect zero storyline proposed an indifferent government that recruited remote viewers but abandoned them without teaching them “how to turn it off.” Oscar winner Ben Kingsley was alarmingly good as a serial killer’s killer capable of hunting them down and gruesomely punishing them for their crimes. FBI Agent Aaron Eckhart was on the trail of both O’Ryan (Kingsley) and the Suspect Zero, a refrigerator truck driving cross country serial killer. Eckhart’s character was a migraine sufferer who was unaware he, too, was a remote viewer.

Push, like Scanners, unsurprisingly reveals in the opening scene that Division wants to control psychics as weapons. There seems to be several mini-movies, anyone of which are interesting on their own, but together are convoluted and incomplete.

Where the movie fell apart for me was in that it offered so many interesting characters who were either given too brief screen time to be of complete interest (Sniffers whose sense of smell can lead them to anyone and even a toothbrush provides a flashback to wherever the user has been; thankfully, they were kept from clothes hampers, although one sniffs a lipstick and says, “This is a keeper”) or far too much screen time as in the Bleeders who figure prominantly throughout the film until they are finally killed off in the busy finale.

Hope her career isn't washed up

There is a Stitch, who can heal wounds and she is a fox, but is only around long enough to serve her purpose and get murdered. A Watcher, who can predict the future, Emily Wu a.k.a Popgirl (Xiao Lu Li) is annoying as Fanning’s Cassie (another Watcher) becomes over the course of the film. It’s unfortunate, too, because both actresses are generally good. Xiao Lu Li’s problem is staying in the self-assured bitch mode too long while Fanning has some good moments negated by an irritating smugness that is misplaced. The Bleeders are OK the first time, in the fish market scene, but get more migraine-inducing the more they are used.

Overall, the story is not particularly profound, and I would have prefered that no earlier realtionship occurred between Kira (Camille Belle) and Nick (Evans). It has a silliness that is difficult to overcome and Cassie’s disturbing jealousy only further pushes the story in the wrong direction.

On the positive side is cinematographer Peter Sova’s widescreen use of Hong Kong and the production design by Francois Seguin. There are moments when the film comes alive, especially in the restaurant confrontation and the concept of Wipers, who can make one intentionally forget to avoid giving away key information to the wrong person. Djimon Hounsou is a great actor but his Henry Carver baddie is not particularly a stretch for his thesping abilities but he is still fun to watch. Neil Jackson’s Victor Budarin is OK but he was more fun in last season’s CSI: Miami (Won’t Get Fueled Again episode) as white slaver Paul Sanders.

The Ugly Truth and Orphan

Instead of another trailer for The Ugly Truth, a comedy that is any feminist’s nightmare, I have chosen a brief scene containing sexual language which means this Redband Clip requires proof of age before viewing.

Gerard Butler co stars with Katherine Heigl in what looks to be a funny, but predictable comedy, where sexual innuendos will be tossed at the audience frequently. Butler plays Mike Chadway, a sexist TV personality whose point of view on what men want from women and how women can attract men won’t get him invited to lunch with activist Gloria Steinem. Heigl is cast as producer Abby Richter who apparently needs the assistance of Mike to find true love.

Orphan is at the other end of genres. This horror film is directed by Jaume Collet-Sera, whose 2005 remake of House of Wax had great production design but little else to recommend unless you enjoy horrific acting, and the sight of Paris Hilton in a red bra getting impaled.

The first thing the trailer reveals is something I find more disturbing than the evil child plot device: a couple (Vera Farmiga and Peter Sarsgaard) who already have two children decide to adopt. In a world where they are so many childless couples who could adopt an orphan, although probably not one as calculating as Esther (Isabelle Fuhrman), it seems unlikely especially in light of the reason: she has just lost an unborn child. Immediately after Esther joins the family death and bizarre events begin to occur. How is that for a surprise?

Press releases detail Kate’s (Farmiga) “…fragile psyche as she is plagued by nightmares and haunted by demons from her past.” Perhaps those past demons are manifested in Esther. I’d be happy to find out the demons are the soul of the unborn child merged into Esther.

It has been fun to read comments on movie site message boards from writers trying to figure out what Esther’s secret is since the trailer challenges audiences: “You’ll never guess her secret.” Unless she has telekinetic powers a la Village of the Damned or an evil dad-seducing Omen-style femme anti-Christ what the hell else matters. From The Bad Seed to The Sailor Who Fell From Grace With the Sea there have been plenty of evil children portrayed on screen. A TV teaser led one group of commentors to surmise dad was in bed with Esther and boy did they get them vindicative with one another. Since this film is Rated R for disturbing violent content, some sexuality and language anything is possible.

The Ugly Truth and Orphan open on July 24th; how about that for a double feature?