Knowing– 2009
When a film could have succeeded on tension alone, you know you have a solid film. And when a director can infuse a possibly exasperating or awkward premise with such atmosphere and a sense of impending dread, you know he is the right person for the job. What you will never expect however is the though-provoking and uncompromising direction this Sci-Fi mystery will take you.
Director Alex Proyas, like an Edward Zwick, is a master of the intelligent action film; a movie that ripples with philosophical undertones, morals and begs to have deeper questions answered. Like his previous works, I, Robot, The Crow and
When I say uncompromising, I do not mean such in every vein of Knowing, perhaps I mean unrelenting or unflinching, as Proyas’ vision truly stretches the boundaries of the PG-13 rating, and I had actually take a double take on the marquis on my way out. This leads me to the following statement which is quite bold, but is not an iota less true. There is a scene in Knowing, you have seen it on the TV ads, that is the single tensest, most disturbing and unyielding segment I have ever witnessed it cinema. The special effects, certainly for the modest budget, are stunning and to those who say otherwise are either needlessly comparing it to Transformers or are just looking for a way to slander the film. Three effect heavy sequences perforate the film and they are all awesome, not it the surfer lingo way, but awe-inspiring, mouth agape, drool drippingly spectacular.
For the first time in a review I am going to forgo the plot description as you have seen what needs to be seen on the ads, and anything further I say would tarnish the unexpected revelations that conclude this film. As such I will remark upon the acting. Nicolas Cage is finally back doing something I can be proud of following some bland stints in the National Treasure sequel, Next and Bangkok Dangerous and is believable as the everyman and his wound-up trademark acting style is perfect for the scenario. The child actors, Chandler Canterbury and Laura Robertson are very good as well, and it continues to come as a surprise as to the number of skilled child stars working today. Rose Byrne as Cage’s ally in his quest is remarkably effective and franticly alarming at times, concluded perfectly with her characters arc.
Knowing embodies the stark opposite of the advice you normally hear about movies these days; to “take it for what it is”. Take Knowing for everything it isn’t, for everything it doesn’t spell out, for everything question it asks, for every seemingly bizarre revelation that breaks forth. I urge you to mull over Knowing after returning from the theatre, as this film asks important questions and you will be sure come away with far more than you could imagine; knowing isn’t everything but trying to figure it out, is.
© 2009 Simon Brookfield
