So many movies scramble their chronology these days, it was only a matter of time before the characters within those movies began to get as confused as the audiences that watch them. Premonition stars Sandra Bullock as a woman whose week is thrown into chaos when she learns one day that her husband has been killed in a car accident, wakes up the next day to discover that he's still alive, and then wakes up the next day to find that he's dead again and everyone's ready for the funeral.
It's sort of like the exact opposite of what happened to Bill Murray in Groundhog Day—instead of waking up every day to find that she's right back where she started, Bullock goes to sleep each night not knowing where or when the next day will begin. Fans might also wonder why Bullock is so attracted to such time-trippy stories; her last starring role was in The Lake House, a romance in which she swapped love letters with Keanu Reeves even though he lived two years in the past.
In some ways, Premonition is an improvement over that other film. For one thing, it follows the story's internal rules more consistently, even if it never bothers to explain how Bullock's character started hopping around in time in the first place; apparently, it's just one of those things that happens to people sometimes, like spontaneous combustion or a bad hair day. Premonition is also grounded in a more interesting sort of relationship, at least to these eyes; what it depicts is a marriage in crisis, but the exact nature of that crisis seems to change over the course of the film.
At first, Bullock's character, Linda Hanson, is simply stricken with grief over the loss of her husband, Jim (Fantastic Four's Julian McMahon). This part of the story is handled particularly well; first we see the silent routines that Linda keeps at home while the kids are at school and Jim is presumably away at work, and then we get a sense of how the house seems to become even more silent and more empty once the sheriff arrives with the news that her husband died the day before.
But it isn't long before Linda suspects that she may have even bigger problems on her hands than her own widowhood; an unfamiliar woman (Amber Valletta) lurks on the fringes of Jim's funeral ceremony, and one of Linda's daughters, Bridgette (Courtney Taylor Burness), bears scars that no one can explain. Presumably she got those cuts on one of the days that Linda hasn't experienced yet—but how?
The screenplay, by Bill Kelly (Blast from the Past), throws a number of red herrings into the mix, partly to keep us on our toes, but also to help us keep our bearings somewhat. Eventually, however, like many other time-travel stories, the film gets so caught up in its own cleverness that it threatens to turn into a game of "Can you predict how the later event that we have already seen will be set up by these earlier events?" (After, say, showing us a dead crow, the film deigns to show us how the crow died in the first place—but it doesn't really matter to the story at all.)