Science fiction cinema aficionados have often encountered films that, despite boasting intriguing concepts, impressive casts, or captivating settings, ultimately fall short of expectations when translated to the big screen. One such disappointment is Push, a 2009 film directed by Paul McGuigan.
The plot of Push revolves around a clandestine programme of psychic research initiated after World War II, which produced a diverse group of individuals endowed with various psychic abilities, including telekinesis, telepathy, and precognition. These individuals are pursued and controlled by a top-secret U.S. organisation known as Division. The agents of Division, led by Henry Carver (played by Djimon Hounsou), who himself is a "Pusher," relentlessly hunt down psychics who remain outside their control. The protagonist, Nick Gant (played by Chris Evans), is a "Mover" (or telekinetic) whose father was killed by Carver a decade prior. Forced into hiding in Hong Kong, Nick allies himself with Cassie Holmes (played by Dakota Fanning), a 13-year-old "Watcher" (or clairvoyant). Their partnership coincides with Carver's arrival in Hong Kong as he seeks to find Kira Hudson (played by Camilla Belle), a powerful "Pusher" and Nick’s former girlfriend who survived an experimental drug designed to enhance her abilities before escaping Division’s grasp. In addition to evading Division, Nick and Cassie must also contend with local triad members possessing their own psychic abilities.
Push has frequently been compared to Jumper, a film released the previous year that also explored the theme of ordinary individuals wielding extraordinary powers. While both films aimed to appeal primarily to a younger audience and appeared poised to launch new science fiction franchises, they ultimately fell short of their ambitions. However, it can be argued that McGuigan’s film is slightly superior to Jumper.
The screenplay by David Bourla is one of the aspects that initially makes Push seem promising. Despite sharing thematic similarities with David Cronenberg’s Scanners and the television series Heroes, it introduces interesting characters and constructs a believable fictional world grounded in their interactions. Bourla's script hints at deeper explorations of identity and power dynamics among the psychics, yet these themes often get lost amid the film's convoluted plot.
Setting the film in Hong Kong contributes significantly to its realism. Unlike many Hollywood productions that rely heavily on special effects, Push opts for a more subdued approach; while the effects are solid, they do not overshadow the vibrant atmosphere of the bustling Asian metropolis. The cinematography captures the city's essence beautifully, providing an authentic backdrop that enhances the story.
However, Push suffers from an overly complex plot that feels more suited for a television series than a feature film. The narrative weaves through numerous characters and subplots, making it challenging for viewers to maintain focus on the central storyline. McGuigan appears aware of this complexity; ultimately, he resolves the film without offering proper closure, leaving many threads untied in anticipation of a sequel that frustratingly never materialised.
Despite its shortcomings, Push deserves recognition for its commendable performances, particularly from Dakota Fanning. At just 14 years old during production, Fanning's portrayal of Cassie stands out as she effortlessly outshines her older co-stars.
Push could be recommended to fans of science fiction films, provided they are prepared for a movie that never quite lives up to its potential. The film's interesting premise, characters, and setting make it a watchable, if ultimately disappointing, experience.
RATING: 5/10 (++)
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