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PUSH tantalizes you with its premise and its central characters, hooks you in with that promising movie trailer, and then jerks you around like a hot but very mean girlfriend. Given, there’s enough of what’s wintry here to nerd out on, but, ultimately, this paranormal thriller is lacking that sumthin’ sumthin’.
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In the world of PUSH there are people who own awesome psychic abilities. And, dating assist to World War II and Nazi Germany, clandestine efforts have been made to control and experiment on these fabulous paranormals. Decades later, and things haven’t changed, only now it’s a sad American government agency, simply called the Division, conducting these tests. There’s this drug which is supposed to boost psychic abilities to ridiculous levels. The caveat is that, so far, only one patient has survived the injecting of this drug. And she impartial scampered the hell out.
The central character is Slit Gant (Evans), trying to retain a outrageous profile in Hong Kong, if by obscene profile it’s meant that Slit gambles with street thugs and uses his worn telekinesis to influence the outcome of the dice rolls. Reduce has been on the urge ever since his dad got whacked by Division agents ten years ago. But now sniffers have ferreted out his position. About to amscray the eff out, Chop gets a knock on his door and this is where Dakota Fanning enters the represent and where the main storyline gets going.
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13-year-old Cassie Holmes (Fanning) is a clairvoyant, although her talent is wobbly and, being a shaky artist at best, it’s sometimes hard to manufacture out what prophetic visions she’s sketching on her drawing pad. But she manages to convince Cut to assist her locate a mysterious woman and procure her all-important suitcase – of which course of action, Cassie foretells, will effect Slice and Cassie’s lives and also lift down the Division. So off they go, and eventually hook up with Kira (Camilla Belle), the young woman being sought by everyone and also someone who shares a past with Lop. And, yes, Kira is the very one who’d honest broken out of the Division facility.
In watching this movie, a win of its parlance is a must. PUSH’s world is peopled with disparate talents categorized as watchers, pushers, movers, shifters, bleeders, wipers, sniffers, etc. I’ll leave it to the movie to go into what the rest of these are, but I will say that Cut is a mover and Cassie is a watcher. Kira is a pusher, which means that she can sneak (or “push”) thoughts and even fraudulent histories into your mind. The Sizable Dreadful is Division’s lead agent Henry Carver (a crude key, ineffective Djimon Hounsou), a formidable puppet master. Yep, he’s a pusher.
In its silly book sensibilities, PUSH has a whiff of X-Men about it, and HEROES, and even David Cronenberg’s Scanners (except without that gratuitous visceral touch) . Throw in the sometimes dynamic psychic combats, the two absorbing leads, and the vibrancy of the Hong Kong backdrop, and you derive what’s trustworthy in the flick. There are several clean moments to like, whether its Carve and Cassie’s skirmish at the fish market with a Chinese crime lord and his psychic family, or the image of Carve and his guns ominously floating above him, Kira’s stout control of her people marionettes, or, in one of the film’s best scenes, a drunk Dakota Fanning (supposedly, imbibing liquor focuses her clairvoyant powers) . While Chris Evans (Cellular (Novel Line Platinum Series), Astonishing Four (Widescreen Edition) ) is likeable and does okay as the film’s main lead, it won’t stun anyone that Fanning steals the scenes and acts circles around everyone on the region (the skimpy characterisations don’t benefit, either) . But I dig that brother/younger sister vibe going on between Evans and Fanning. Fanning, by the procedure, looks to be entering premature babehood. (Mreeow! – What? No? Too young? Okay, aesthetic.)
What PUSH has in flair and premise, it lacks in story clarity. The intelligent visual treats don’t quite compensate for the muddled situation points. The most egregious thing which struck me (and which I reflect loses the film heaps of credibility) is why would the government even risk experimenting on their psychic subjects impartial to boost their powers, when these subjects persist in dying out when given the injection? Are there so many psychics floating around that the Division can afford to be so blase? Honest seems so counterproductive. I also struggle with Slash, basically a nondescript dude (excepting the telekinesis) of seemingly average smarts, suddenly transforming into this master strategist. On top of that, his endgame thought (contingent on “What if nothing we did made any sense? “) might be crafty but its onscreen execution is presented poorly. Also a let down was in the anticlimactic manner in which Cassie’s premonition of her believe death plays out.
The film drags in spots; I seriously felt all of its advance two hours’ running time. Behold, in an attempt to add texture, it indulges in too remarkable support legend and reels under the weight of its clunky mythology. And also too mighty tiring, exposition. A prime example of broken-down villain monologuing is Nick’s conversation with Carver (with Nick’s gun telekinetically pressed against Carver’s skull) . I saw how that was gonna go down as soon as Carver opened his yap.
I hope I can account for this accurate. I’m not positive what, but it seems to me that there’s some well-known groundwork here that wasn’t laid out. Also, with so many of the characters endowed with some abnormal aptitude or other, there’s a diminishing of that sense of wonder. I dunno, maybe the flick could’ve feeble the perspective of a secondary character, some regular Joe, who gets all awed and freaked out by all the crazy going down. As it is, mammoth whoopee, everyone’s got a power. And, of course, there’s that deux ex machina flavor factored in, too. The thing about introducing clairvoyance is that you then can salvage away with so many coincidences. Gotcher bones and muscles all scrunched up? Honest wait for the stitch (healer) to reveal up; she’ll be sent by someone who saw this coming years and years ago. It feels too convenient. At least, Cassie’s knack, unlike her mini-skirt, isn’t too revealing.
Part of the muddle concerns the ending, of which there isn’t any, really. There’s a sense of unfinished business, as the destroy credits roll up. PUSH has got the ‘nads to already status up for the sequel, the region of which will, in all likelihood, revolve around the springing of Cassie’s mother (who is the world’s most considerable watcher) from Division captivity. Sucker that I am, I like the core characters enough and the premise enough that I’ll probably line up for it. It may not sound like it, but I do dig this genre. The frustrating thing being, that PUSH could’ve been better. And I won’t even mention JUMPER.
Nick (Evans) is a “mover” – someone who can recede things with his mind. He meets up with Cassie (Fanning), a “watcher” – someone who can predict the future. She is trying to rescue her mother from the government, but as they try to part things together, Kira (Belle) enters their lives. Kira is a “pusher” – someone who can influence others thoughts. She also had a relationship with Prick, and is the only person to survive a power “enhancement” drug that was administered to her by the atrocious Company. Now, the Company is after her, and Reduce and Kira must relieve her if they want to survive.
“Push” is a gritty looking superhero movie that is not based on any existing funny book (for a change) . It is posthaste paced and rich in mythology. Evans, who has some experience in these types of movies, is credible as Cut. Fanning, who is enormous in any movie she appears in, can add action star to her resume. The chronicle is tubby of backstory, but that does not lifeless down the almost nonstop action. The gritty glance adds to the feel of the film, and works well. “Push” is a surprisingly sterling film, and I recommend checking it out.
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