In Unknown a generic conspiracy thriller from director Jaume Collet-Serra (Orphan House of Wax) the protagonist played by Liam Neeson emerges from a four-day coma to find himself in the midst of a kind of reverse-identity crisis: He’s fairly certain who he is but everyone else around him seems to have forgotten as if they’ve contracted a kind of collective amnesia. The filmmakers hope dearly that this amnesia will extend to the audience that you won’t remember the Bourne trilogy The Fugitive or any number of other thrillers from which Unknown borrows heavily. Its main strategy for achieving this is to churn out action-thriller clichés at such a breathless pace that you won’t pause to ponder the film’s unoriginality.
Moments after arriving in Berlin for a biotech conference world-class botanist Martin Harris (Neeson) nearly dies in a traffic accident. Stranded in a foreign country without any form of identification he angrily asserts to everyone he encounters he is “Martin Harris Doctor Martin Harris ” to which he mainly receives puzzled looks from confused Teutons. Events take a more sinister turn when even his wife Elizabeth (Mad Men’s January Jones)* claims not to recognize him and another man purporting to be Martin Harris takes his place by her side.
Is this all some elaborate ruse or just the after-effects of the car accident? As Martin (Neeson’s version) probes the mystery of his lost identity he becomes enveloped in a grand conspiracy involving agribusiness conglomerates Arab sheiks a beautiful Bosnian immigrant (Diane Kruger) a sickly ex-Stasi member (Bruno Ganz) and a pair of stereotypically menacing German hitmen. The film’s setup is intriguing and its plot features a few clever twists but for the most part it's a predictable affair and one which gradually loses its grip on reality. As a piece of mindless entertainment Unknown has its moments – there are a handful of well-choreographed action sequences including the obligatory urban car chase – just don’t try to engage it on a logical level or you might end up in a coma yourself.
*I thought for sure Jones' character would at some point be revealed as an android but alas I was wrong.
Even if you’re one of the 19 other people in a competitive internship at Dean Witter with Chris Gardner (Will Smith) you gotta root for the guy. Life’s beaten him up but not got him down. He lugs his computer-monitor-sized bone density scanner all over San Francisco hoping to sell just one to make ends meet for his family—but nobody’s buying. As his wife’s (Thandie Newton) discontentment nears a boiling point Chris accepts an internship at financial institution Dean Witter—six months without pay and only one of the 20 applicants will ultimately get a job out of it. This sends her packing. She leaves Chris and their son Christopher (Jaden Smith) to fend for themselves at which point they get evicted. It’s the tip of the iceberg because over the course of Chris’ penniless pursuit of the Dean Witter job (and “happyness”) he and Christopher will get by sleeping in homeless shelter--and even in train-station bathrooms. Chris had always vowed to never leave his son and he keeps his promise but there’s no guarantee that his perseverance will pay off. Except for the fact that Happyness is “INSPIRED BY A TRUE STORY”! Will Smith is getting all the awards buzz but it’s his real-life son Jaden who transcends all expectations in Happyness. Jaden’s never acted in a movie before and it’s safe to assume that because of his father's long-running movie stardom he could not have grown up in a more different environment than that of his character. Which makes it all the more amazing for this 8-year-old Hollywood tyke to grasp even if coincidentally the plight of a nomadic urban child. The best part about little Jaden is that his performance doesn’t seem robotic like so many child actors who are already too "seasoned" for their own good. Aside from the expected cutesy laughs there’s genuine spontaneity in Jaden’s performance obviously thanks to the fact that he’s acting opposite his dad. Papa Smith gives what’s probably his best performance to date although he's had a career of primarily action roles that weren't exactly conducive to a skills showcase. He delivers the goods here—as seen in the tear-rific trailer—as a man whose whole life is his child but frankly the tears evoked might be too few for Oscar’s liking. Newton (Crash) in a small role is terribly miscast but Mr. and Mr. Smith dominate the screen anyway. Even with the studio flaunting the movie’s "Inspired by a true story..." tagline like a badge of honor—as studios tend to do—and this being the holiday season and all Italian director Gabriele Muccino expends way too much effort into the crowd-pleasing/feel-good aspects of Happyness. The happy ending everyone already knows about should be saccharine enough. Granted this is why a studio loves true stories—one that begins on a low note ends on a really high note and fluctuates all over the radar in between—and it may make the film more pleasing to its targeted mainstream audiences but Muccino and writer Steve Conrad (The Weather Man) really take the gloss factor much too far. In this case they essentially try to tell us a mostly sad story but will not let us feel sad. For instance during what could be very dark reflective scenes potentially connecting with viewers who have struggled through similar problems music befitting a children’s tale overtakes the would-be drama so we don’t ever feel too badly for Chris. It’s nice that the director cares so much for us but oftentimes the best directors are the ones who show an audience tough love.