WHAT IT’S ABOUT?
In the late '50s a group of elementary students put futuristic drawings in a time capsule that is then buried on school grounds. One overly obsessed kid Lucinda goes her own way by writing hundreds of mysterious seemingly non-sensical numbers on her entry. Fifty years later it’s dug up and comes into the possession of Caleb the young son of John Koestler a recent widower and astro-physics professor who becomes obsessed with the papers Caleb has brought home from class. He soon discovers the random digits are actually not-so-thinly disguised dates (including 91101 of course) for “future” disasters and there are clearly three of those dates yet to come. Although nobody believes his ramblings about this code for impending doom a nearby plane crash proves he is on to something so ominous the fate of the world could be in jeopardy. With all hell about to break loose the prof takes matters into his own hands.
WHO’S IN IT?
Just a couple of years ago Nicolas Cage starred in Next as a magician who could see into the future and had to prevent a nuclear attack. Now he’s at it again as an MIT professor who also has clues to future catastrophes and also is out to prevent the inevitable. And of course in the National Treasure films he latched on to maps that had contained similarly dark deeply held secrets. Nic clearly likes “knowing” stuff before the rest of us and he’s quite believable even if some of the circumstances in his latest sci-fi adventure are really out there -- literally. Cage somehow makes you buy into this stuff which is key to the ultimate success of the flick. As the key kids Chandler Canterbury as Caleb and Lara Robinson as Lucinda (and later Abby Lucinda’s granddaughter) are properly eerie and haunted-looking. Rose Byrne is also along for the ride as Lucinda’s grown daughter who is able to provide goosebump-inducing information that the numbers alone can’t. There’s also some dead-on creepy emoting from D.G. Maloney as a quietly foreboding stranger who seems to be following Caleb.
Unlike some recent movies of this type with nothing on the agenda but pure mayhem “Knowing” delves into the bigger issues of why we are all here providing something other than just big explosions to talk about on the way home from the multiplex. Director Alex Proyas (I Robot Dark City The Crow) certainly knows how to pull off complex action set-pieces but he and his screenwriters also seem to be genuinely interested in exploring the meaning behind the madness.
Some of the more pedantic dialogue Cage is given can be groan-inducing but since he plays John as a total believer we can forgive it. Also the film falls victim to a final act that veers into typical disaster movie territory and isn’t as compelling as the first two thirds which try to keep the premise at least marginally credible. At two hours it probably could have been tightened anyway.
The rain-soaked plane crash sequence with its gritty hand-held photography is riveting to watch and one of the most frightening depictions of a jetliner disaster put on film yet.
GO OUT AND GET POPCORN WHEN ...
If you are really squeamish it might be worth "knowing" that you should take breaks in the big disaster sequences as the CGI effects can get pretty violent and graphic particularly for a PG-13 movie.
Little Timmy Jensen is your typical 10-year-old kid who's afraid of the big bad Boogeyman lurking in his closet. But one night when Timmy's dad comes in his room to do the usual "Nope nothing's there" routine he opens the closet-and right before Timmy's eyes is immediately sucked in by some unknown malevolent force. That's got to screw with a kid's head. Now 15 years later Tim (Barry Watson) is indeed messed up inherently apprehensive of closets and the dust bunnies under the bed but trying to move on with his life. That is until his mother unexpectedly dies sending Tim back to the point of origin: his dilapidated childhood home in the sticks. He decides he'll spend one night in the house to get over his fears once and for all and accept the fact his dad just "left." Ah if it were only that easy.
When the entire film rests on the shoulders of the guy who played the oldest son on the WB's 7th Heaven you know you're not in for anything meaningful in the way of acting. But that's fine. Horror films of this nature aren't about good acting. They are about dumb folks walking into even dumber situations. Watson fulfills his duties as said hero nicely by a) looking fearfully at and inside a lot of closets and under a lot of beds and b) walking cautiously around empty houses. The rest of the unknown cast also do their best as the Boogeyman's victims and potential victims. They include Tory Mussett (The Matrix Reloaded) as Tim's cutesy girlfriend Emily Deschanel (The Alamo) as Tim's long-lost childhood sweetheart and Skye McCole Bartusiak (The Patriot) as a mysterious little girl who guides Tim in the right direction to defeating the Boogeyman. Clever girl.
OK it's sort of understandable how Boogeyman got made. The film's premise has a built-in scare factor that's tapped into our childhood fears of the darkened closet. Yet once you get past this initial idea there just has to be more substance than Boogeyman provides. Director Stephen T. Kay (Get Carter) goes through all the right motions setting up the camera to make it look as if the Boogeyman is lurking everywhere you turn. But it's a very very long buildup to the climax. After about the 1 000th close-up shot of a closet door you're ready to jump onscreen and churn up some good scares yourself. By the time the anticlimactic showdown actually happens you already have your foot out the door just thankful it's coming to an end.