Push

Telekinetic powers. Mind control. Pyrokinesis. Sound familiar? An endless number of sci-fi films involve characters with these. The real question is, "Are all the basic movie elements in place?" Push, the new sci-fi action thriller from Paul McGuigan, aims to answer this question skillfully; it both hits and misses in its attempt.

The plot, which is already a source of debate among moviegoers and critics alike, centers around a crew of American expatriates, each with some sort of psi (the general category for mind-based powers). The film tells us that these powers are the result of Nazi medical experiments; this is seemingly a common plot device nowadays. To avoid confusion, the full list of superhuman categories is: Pushers, Watchers, Movers, Bleeders, Stitchers, Wipers, and Sniffers.

Pushers, from whom the title is derived, are able to implant memories into others' minds, manipulating them for selfish means; Watchers have the ability to foresee the future, and can usually illustrate it as a sketch; Movers are able to move objects with their minds; Bleeders unleash a horrifying scream that causes the ears of those nearby to bleed; Stitchers, whose ability is rather unclear, seem to be able to tear through others' flesh, as well as repair it; Shifters can temporarily change the appearance of objects; Wipers are able to erase others' memories; and Sniffers, in some rather comical scenes, can detect a person's trail by their scent.

Sci-Fi Movie Page more or less sums up the film thusly: Nick (Chris Evans), a Mover living in Hong Kong, is striving to come to terms with his telekinetic powers. Several scenes establish the fact that he has yet to master these talents. One day, a Watcher named Cassie (Dakota Fanning) shows up at his apartment, speaking of an ominous briefcase with the potential to unleash a disaster of apocalyptic proportions.

The meeting of the two raises red flags at The Division, a CIA-like organization under the command of Pusher Henry (Djimon Honsou). The Division's ultimate plan is to use what's inside the briefcase to finalize their creation of a super-being in Kira (Camilla Belle), a gifted Pusher with the potential to be a deadly weapon.

Cassie and Nick find themselves pitted against The Division, as well as an Asian organized crime family with its own set of powers, providing the foundation for the action.

The film seems aimed at the same crowd that would see The Dark Knight, X-Men, and perhaps the Spider-Man series as well. Each of those pictures, however, are made by drastically different directors and studios, and may have had different audiences. The same is true for Push.

Where Push succeeds is in its creation of a haunting environment; the grittiness of its version of Hong Kong pays homage to film noir and perhaps some early slasher films, like The Texas Chainsaw Massacre. Many of its scenes are dimly lit, evoking tension and mystery. Visually, one might compare it to Robert Rodriguez' Sin City. While those used to the frenetic pace and classic appearance of the Spiderman films may not enjoy it, there is something to be said for its visual appeal.

Its downfall lies in its inconsistencies; it is never clearly established why one Pusher or Mover is more powerful than another. Why, in one scene, is a character able to deflect bullets, but in the next, he is unable to break handcuffs? Granted, sci-fi movies ask us to suspend our disbelief, but they should at least follow their own rules. In some scenes, the audience may feel "cheated" if they make assumptions about what one character is able to do, and there's no follow-through.

The "climax" of the film, too, is somewhat of a letdown, although going into excessive detail would spoil it for those of you who might still want to see it. Suffice it to say that there's a lot of buildup heading towards the ultimate "showdown," and the ending leaves many questions unanswered.

Dakota Fanning, however, achieves an impressive performance, and begins to show that she is maturing in her acting skills and choice of roles. Cassie is 13, the film tells us, but Fanning's portrayal allows her to come off as a street-smart preteen with quite a bit of baggage. Her character's wardrobe, unfortunately, is rather disturbing at times. She wears very short skirts and highlighted hair which, while appropriate to the film's tone, may cause discomfort to some viewers.

Djimon Honsou, too, is effective as Henry, creating just the right balance of coldness, strength, and self-control. If the plot held together more tightly, the performances may have given the film more power overall.

Push may or may not succeed at the box office. It certainly has its artistic merits, and there are moments where the action holds up. Aficionados of noir and suspense may appreciate those elements as well. The average moviegoer, however, may leave the theater saying "Huh?"

Ultimately, making the trip to the theater is up to you. If the premise sounds exciting enough, give it a go.