knowing Tagged Articles at Cinematical

We both know that I could probably fill all seven slots of this list with just scenes from Roland Emmerich's disaster-tastic 2012, but in the interests of letting everyone else get a chance to see it, let's stick with films that have already come and gone. Some of these titles qualify because of the uniquely ridiculous nature of their disasters, while others count for what ridiculous plots unfold amidst otherwise ordinarily perilous acts of nature.

There will be a couple of spoilers to go along with our picks, but since most of these have been out for a couple of years, it's not like it's the end of the world...

By John Gholson

Writer/director Stuart Hazeldine chatted up Digital Spy about what may end up being director Alex Proyas' (Knowing) next project -- a three-film adaptation of "The Tripods", a series of British young adult novels. Hazeldine confirms that he and Proyas have finished the screenplay for the first film in the trilogy, The White Mountain, but it's the prospect of adapting the second and third parts that get him really excited.

"They only filmed the first book for the BBC, so I was kind of bummed out that they didn't do books two and three, so this time it would be nice to go back and do that as well," Hazeldine says. The BBC broadcast "The Tripods" as a television series in 1984, faithfully adapting the first and second books, but never getting around to a third season, which would've wrapped up the story. My guess here is that Hazeldine either didn't watch the second season or has completely forgotten about it. My own memory of "The Tripods" is hazy as well, my exposure to them being limited to a comic strip version of the books serialized in the pages of Boys' Life magazine.

Read the rest over at SciFi Squad

I am not an apologist for the MPAA. As Cinematical's Eric D. Snider astutely observed recently, the Classification and Rating Administration of the Motion Picture Association of America continues to 'arbitrarily enforce and haphazardly apply' their own ratings, generally favoring big-budget studio pictures while lowering the boom on lower-budgeted independent films. With a track record of more than 40 years, though, does any parent today believe that the MPAA is solely responsible for telling them what is suitable for their children to watch?

Evidently Deborah Knight Snyder does. The mother of two children wrote an article for the GateHouse News Service in which she wondered about the movie rating system, which she described as an "imprecise, almost backward process." No argument there, but then she described Alex Proyas' Knowing as a movie that "scared the hell" out of her and questioned: "What parent in their right mind would let a 13-year-old see such a movie?" She continues: "Thank goodness our 13-year-old was otherwise occupied and chose not to join us for the film," and then relates an experience suffered by her older son when he saw The Ring just before he turned 13 several years ago. He later told her: "That movie was terrifying for a 12-year-old!"

Snyder doesn't address her own accountability in these two incidents, of course. One son "chose not to join us" and the other went with a friend's mother: "I confess I didn't think much about his going to see it." From this, we can surmise that an adult who has been watching movies for several decades and has two children -- one of whom is now in college -- had, until this very week, abdicated responsibility for deciding what her children could watch, ceding that role entirely to the MPAA.

You can't turn around in a movie without bumping into a professor. If it's not Nicolas Cage as the unlikeliest astrophysicist to be granted tenure at M.I.T. in Knowing, just released on DVD, it's the passel of professors that will undoubtedly be presented in Harry Potter and the Half-Blood Prince, due out in theaters next Wednesday. Which kind of professor do you prefer?

My early impressions were formed by seeing the distinguished, imposing Harvard law professor John Houseman dress down Timothy Bottoms in James Bridges' The Paper Chase: "Here is a dime. Take it, call your mother, and tell her there is serious doubt about you ever becoming a lawyer." My impressions changed dramatically when I saw Raiders of the Lost Ark. Harrison Ford as Indiana Jones may have been more of a thrill-seeker than an academic, but he was driven by his love for archeology -- and a desire to share his knowledge with his students, no matter how distracted they were by his dreamy looks.

Movies have produced so many memorable professors that it's hard to narrow down the list, but here are my other favorites, and why:

• Gary Cooper, Ball of Fire (Good-hearted and modest).
• Orson Welles, The Stranger (Cold-hearted and scary; an alluring phony).
• Jerry Lewis, The Nutty Professor (Makes you feel better about yourself).
• Peter O'Toole, Creator (Zestful and enthusiastic; encourages free thinking).
• Robin Williams, Dead Poets Society (Funny, if a bit too manic and pushy).
• Michael Douglas, Wonder Boys (Wounded, but can still teach life lessons).

Who are your favorite movie professors?

3 - 2 - 1 ... There's nothing like a ticking time bomb to give any movie a sense of urgency. Whether it's a literal set of explosives (as in Speed), a new ice age (The Day After Tomorrow), alien attack (Independence Day), hostage execution (The Taking of Pelham One Two Three), fatal poison (Crank), or the threat of loved ones being killed (Nick of Time), it's an honorable tradition to ratchet up the tension by pitting heroic characters in a relentless race against the clock.

This week marks the home video release of Alex Proyas' Knowing, a somewhat insane thriller in which astrophysicist Nicolas Cage comes to believe that future disasters can be predicted -- and races against time to stop the next one. You have to see it to believe (or mock) it. If you're in a countdown frame of mind, here are seven more entertaining thrillers that feature seriously motivated heroes trying to avert disaster. Consider this a starter list; see if you can be the first one to list your favorite(s) in the comments section. Go!

7. Back to the Future (1985)

Marty McFly (Michael J. Fox) is just an ordinary high school student, doing a favor for good old Doc Brown (Christopher Lloyd) when he finds himself transported back in time 30 years. Before he knows what's happening, he's dodging Oedipal issues and trying to make sure his parents fall in love before he is gone, baby, gone. He is highly-motivated, to say the least, resulting in a pulse-quickening race in which a literal clock plays a major role.

Knowing
Forget Nostradamus. In this Nick Cage flick, a young girl in the '50s draws a picture of numbers for a time capsule. Fifty years later, when the contents are examined, it turns out that those numbers indicate the dates, death tolls, and coordinates of major disasters, and a few haven't happened yet! But it's not exactly the doomsday flick fans would hope for. In his review, Jeffrey M. Anderson says: "rather than becoming a comfortable hybrid between a small, smart movie and a big, dumb movie, Knowing became a horrible mutation, bulging out in all the wrong places, with unsightly scars where the butcher's knife had been." Skip it. Also on Blu-ray.

Add to Netflix queue | Buy at Amazon

Push
Not every Dakota Fanning movie is a shocker of a drama. In this psychic espionage thriller, she plays a "watcher" and one of the psychic rogues determined to end a creepy government agency. (Also stars Chris Evans, Djimon Hounsou, and Camilla Belle.) For this feature, Anderson said: "Push is a better-than-average sci-fi thriller with genuine jolts and unexpected texture." Rent it. Also on Blu-ray.

Add to Netflix queue | Buy at Amazon

The Unborn
A girl is plagued with bad dreams, ghosts, and supernatural unpleasantness, so she hunts down a spiritual advisor in Gary Oldman to help. But that's not enough to help this film. Peter Martin wrote earlier this year: "Not even the sight of the lovely, lean and fit Odette Yustman, whose last name became Yowza! when the trailer and pics first hit the net, can salvage the film from mediocrity." Skip it. Also on Blu-ray.

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Also out: Night Train, Border Town, Five Fingers, A Day in the Life, The Prodigy, Flying By, Dead Wood, Applause for Miss E, One Missed Final Call, Garrison, Rivers End, Scorched, See Dick Run

400 Screens, 400 Blows is a weekly column that takes an in-depth look at the films playing below the radar, beneath the top ten, and on 400 screens or less.

This week we face an existential crisis as we approach the box office and must decide between Fighting (253 screens) and Knowing (264 screens). Let's listen in on this inner conflict.

Mind: Clearly we must choose Knowing.

Body: There you go again. You're forgetting that there can be no Knowing without Fighting.

Mind: How so?

Body: Just think about the cavemen days. No one would have had the opportunity to learn anything if the caveman hadn't learned how to hunt dinosaurs.

Mind: That's ridiculous. What have you been watching? "The Flintstones"? And how could the caveman have fought dinosaurs without stopping and thinking about how to make weapons?

Did you see any of the three big studio releases this weekend? Early box office returns indicate that Alex Proyas' apocalyptic science-fiction drama Knowing drew larger audiences than John Hamburg's bro-mantic comedy I Love You, Man or Tony Gilroy's clever Duplicity. Putting it in star terms, it looks like Nicolas Cage beat out the teaming of Paul Rudd and Jason Segel, as well as one-time box office champ Julia Roberts and Clive Owens. But did audiences flock to Knowing because of Nicolas Cage, or despite him?

I'm in the latter camp, and that's because his track record of choosing interesting projects has taken a nose dive since he won an Academy Award in 1996 for Leaving Las Vegas. As well expressed by John Anderson in The Washington Post, Cage's performance in Con Air marked the turning point, after which there have been "few detours from the action star/blockbuster track upon which Cage has trod with particularly graceless aplomb, and virtually no humor at all, except on top of his head, where his hair is continual source of mirth and mystery."

As I watched Cage as a college professor and widowed father in Knowing, I was struck by how hard he seemed to be Acting (yes, with a capital "A"), emoting with every muscle in his body vibrating, never giving a straight line reading for fear it might be considered ordinary or unimportant. Anderson wrote: "He glowers, he hunches, he looks meaningfully into the distance without it meaning anything at all."

Like Anderson, I miss the juicy, funny, very human Cage of Raising Arizona, Valley Girl, Peggy Sue Got Married, and Wild at Heart. He was sometimes overindulgent, but he compelled me to watch what he would do next. Not anymore. Do you still love Nicolas Cage?

Nic Cage-heavy advertising propelled Knowing to the top of the box office and a decent $24 million opening weekend, though we'll see what happens once audiences get a load of what this exceedingly weird movie is actually about. The arrival of Monsters vs. Aliens won't help either. I expect at least a 50% drop-off next week.

What's interesting about the $18 million bow for I Love You, Man is that I'm pretty sure the movie got an assist from the Judd Apatow brand even though Judd Apatow didn't have a damn thing to do with it. It's Paul Rudd + Jason Segel + tone. People love these clever, raunchy male-fantasy movies, and there's no end in sight. On the other hand, Duplicity may have come off as too smart for the room, as pervasive marketing, Clive Owen and Julia Roberts didn't amount to more than $14 million for Tony Gilroy's film. That's more than Gilroy's Michael Clayton ever made in a weekend, but that movie was platformed.

Watchmen's looking like $115 million at the end of the day. Other holdovers are looking more impressive: Coraline and Madea Goes to Jail are still bumming around the top 10 after seven and five weeks, respectively; the latter is by far Tyler Perry's highest-grossing film, while the former has parlayed a $16 million opening to what will be an $80 million finish.

The full top 10 after the jump.

Let's assume for the moment that there's such a thing as a hard line between "small, smart movies" and "big, dumb movies." Of course, we all know this isn't true -- just take a look at The Matrix (1999) for one example -- but this distinction will help me explain just how Alex Proyas's new Knowing doesn't work. It will also help simply because I don't want to give away the film's major plot turns and ending. (Although I'm afraid I may not have done such a good job of that; so if you're hoping to avoid spoilers -- even unintentionally implied ones -- please stop reading now.) OK, so let's assume that hardly anyone ever sets out to make a "big, dumb movie," except for maybe Michael Bay or Jerry Bruckhemier. Let's assume that Alex Proyas started out to make a small, smart movie, just like his great Dark City (1998).

Then let's assume that Nicolas Cage came on board, and since he was fresh from big, dumb hits like Ghost Rider and the National Treasure films, the producers begin to tailor it for him. It became bigger, with more plane crashes, car chases and explosions. But rather than becoming a comfortable hybrid between a small, smart movie and a big, dumb movie, Knowing became a horrible mutation, bulging out in all the wrong places, with unsightly scars where the butcher's knife had been. Now the movie's ideas no longer flow from one to the other; sometimes they make huge leaps and other times they just fizzle out. And the movie's big, dumb elements come in all the wrong places; they provide lots of anxiety but little relief.