★★ / ★★★★
“Knowing,” directed by Alex Proyas, was about a man who stumbled upon a message from a time capsule written by a strange girl fifty years ago. The message consisted of seemingly random numbers but if one decided to look closer, one would find out that it recorded the events of major disasters that were to transpire in the future. Because of all the negative reviews, I had low expectations coming into it. However, the first third was so effective so I naturally thought that the rest of the picture would be as smart and suspenseful. I couldn’t be any more wrong. Nicolas Cage tends to overact in most of his movies and this one is no exception. To me, he was most effective when he first figured out what all the numbers meant. He was able to balance fear, anxiety and excitement while still being that intellectual that he was presented as in the beginning of the film. But the moment Rose Byrne entered the movie, everything started to feel so unbelievable to point where I lost interest. I can’t believe I’m saying this but she actually upstaged Cage when it came to overacting. I actually said, “Just shut up” during one of the scenes because she interpreted her character in such an irksome manner. As for its special and visual effects, sometimes they looked like scenes from video games but sometimes they impressed me. I particularly liked those plane and subway scenes. They looked really haunting and it was very difficult to dispel the images from my head. If such disasters happened, I was convinced that it would look like that. The last third of the movie felt like a completely different movie altogether. I couldn’t help but wonder what had happened to that patient and sometimes creepy style of storytelling that pervaded the first third. The third act felt like “The Day the Earth Stood Still” (the most recent version), which is not a good thing. Everything felt forced and I had to wonder why the writers felt like they had to do something grand for the sake of being grand. Ultimately, “Knowing” drowned in its own mediocrity. However, I did appreciate its efforts to want to be something more than typical despite its unfortunate yet inevitable outcome.
The Day the Earth Stood Still (2008)
★★ / ★★★★
I haven’t seen the 1951 version by the time I wrote this review so I’m not going to compare the 2008 version to that one. That said, it’s interesting to me how Keanu Reeves can be so good at playing robotic characters (like Neo in “The Matrix” franchise) but so bad at playing real people that are supposed to be emotionally crippled or conflicted (as Alex Wyler in “The Lake House” and Detective Tom Ludlow in “Street Kings”). I thought he was effective here as Klaatu, a humanoid whose role is to determine whether the human species need to be obliterated in order to save the Earth. He was creepy, convincingly powerful, and had a definite sense of purpose. He claims that if the Earth dies, everything else will perish along with it but if all humans die, the Earth and everything that it nurtures will go on living. I thought that was a decent reasoning so I went along with it. What’s unforgivable, however, is its lack of human emotional core. That’s when Jennifer Connely and her step-son (Jaden Smith) come in. Their backstory isn’t enough to convince me why Reeves should spare the human race. In the end, I wanted to see an apocalypse because humans are portrayed as violent people (the United States army) and incapable of standing up to authority, such as when Kathy Bates (as the president’s Secretary of Defense) followed what the president wanted her to do despite her best instincts. There are only four things I liked about the movie which saved it from utter failure: the somewhat brilliant visual effects, Gort as Klaatu’s automaton companion, the idea of humans’ nature regarding a precipice and change, and John Cleese as the Nobel prize-winning professor who we meet in the middle of the picture. The rest is junk, which is a shame because the movie is started off very well. The director, Scott Derrickson, could’ve made a superior film that is more character-driven and less visually impressive. After all, the story is about humanity and why we should be saved from extinction. Since the director lost that core (or maybe he didn’t find it in the first place), the final product is a mess. This picture can be an enjoyable Netflix rental on an uneventful Friday night but do not go rushing into the cinema to see it.