2 of 2

At any rate, everything in the story from this point on hinges on the relationship between Cris and Liz, and while some of their initial scenes together are cute enough, some of the dialogue between them is quite laughable, and never more so than when they are supposed to be getting serious about each other.

Callie and Cris try to figure out how to stop the terrorist threat

Film buffs might appreciate some of the allusions to other, better movies. There are at least two strong Stanley Kubrick references—one of which, involving a device that props a man's eyes open, ends on yet another ludicrous note. And when Peter Falk shows up, for no particular reason, as one of Cris's friends, you may find yourself recalling that Falk starred in Wim Wenders' Wings of Desire while Cage starred in its Hollywood remake, City of Angels. (And between this film and The Illusionist, it would seem that Jessica Biel has a thing for magicians.)

The screenplay—credited to Gary Goldman (Total Recall), Jonathan Hensleigh (The Punisher) and Paul Bernbaum (Hollywoodland)—has some themes in common with other recent adaptations of Philip K. Dick's work. The early scenes bring to mind Minority Report, which also explored the idea that seeing the future could allow us to prevent it. But the later scenes—in which the fates of all the characters come together in a flurry of guns and explosions—bring to mind Paycheck, because they share with that film a certain lack of suspense. If the hero has already seen the future and taken it into account, then what difference does it make how many people chase him or how many bullets fly? We know that he's prepared for all that.

The script has even bigger problems, though, some of which I can't get into here for spoiler reasons. But suffice to say that there are a few major plot holes, and while some moviegoers will want to come out of the theatre talking about some of the really cool concepts the film explores—like the relationship between memory and experience and objective reality—others will come out of the theater wanting to rip the movie apart. And the film will have given them ample opportunity to do so.

Talk About It

1. Cris says that when you see the future, you change it. Do you agree? What role do things like prophecy and free will play in this? (See 1 Samuel 23:7-13 or Jonah 3.)
2. Do you believe in "destiny"? Is the future mapped out? Does God experience the future, or only see the future, or is the future a mystery to him, too? (See current debates between "open theists" and "classical theists.")
3. If you "experience" something in a movie, does it really happen? What if the movie tells you afterwards that the experience wasn't real? If it felt "real" while you were watching the movie, does that feeling still count for something? How does your experience of these alternate futures parallel Cris's experience? How is it different?

The Family Corner

Next is rated PG-13 for intense sequences of violent action (including lots of gunplay and a few very significant explosions), and some language (about half-a-dozen four-letter words). Two characters sleep together after knowing each other for only a day or so, and are shown in bed together afterwards.

Photos © Copyright Paramount

© Peter T. Chattaway subject to licensing agreement with Christianity Today International. All rights reserved. Click for reprint information.

• Plugged In
  
• Catholic News Service
  
• Past the Popcorn

first page |  2 of 2