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Push (2009)
Tomatometer
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Reviews Counted:18
Fresh:3
Rotten:15
Average Rating:4.3/10
Consensus: The sci-fi thriller Push is visually flashy but hyperkinetic and convoluted.
Rated: PG-13 [See Full Rating] for intense sequences of violence and action, brief strong language, smoking and a scene of teen drinking.
Runtime: 1 min 41 secs
Genre: Science-Fiction/Fantasy
Theatrical Release:Feb 6, 2009 Wide
Box Office: $31,730,682
Synopsis:
A riveting action-thriller, Push burrows deep into the deadly world of psychic espionage where artificially enhanced paranormal operatives have the ability to move objects with their minds, see the...
A riveting action-thriller, Push burrows deep into the deadly world of psychic espionage where artificially enhanced paranormal operatives have the ability to move objects with their minds, see the future, create new realities and kill without ever touching their victims. Against this setting, a young man and a teenage girl take on a clandestine agency in a race against time that will determine the future of civilization.
The Division, a shadowy government agency, is genetically transforming citizens into an army of psychic warriors—and brutally disposing of those unwilling to participate. Nick Gant (Chris Evans), a second-generation telekinetic or “mover,” has been in hiding since the Division murdered his father more than a decade earlier. He has found sanctuary in densely populated Hong Kong—the last safe place on earth for fugitive psychics like him—but only if he can keep his gift a secret.
Nick is forced out of hiding when Cassie Holmes (Dakota Fanning), a 13-year-old clairvoyant or “watcher,” seeks his help in finding Kira, (Camilla Belle), an escaped “pusher” who may hold the key to ending the Division’s program. Pushers possess the most dangerous of all psychic powers: the ability to influence others’ actions by implanting thoughts in their minds. But Cassie’s presence soon attracts the attention of the Division’s human bloodhounds, forcing Nick and Cassie to flee for their lives.
With the help of a team of rogue psychics, the unlikely duo traverses the seedy underbelly of the city, trying to stay one step ahead of the authorities as they search for Kira. But they find themselves square in the crosshairs of Division Agent Henry Carver (Djimon Hounsou), a pusher who will stop at nothing to keep them from achieving their goal.--© Summit
Starring: Chris Evans, Dakota Fanning, Camilla Belle, Djimon Hounsou
Starring: Chris Evans, Dakota Fanning, Camilla Belle, Djimon Hounsou, Neil Jackson, Ming-Na, Cliff Curtis, Nate Mooney, Lu Lu
Director: Paul McGuigan
Director: Paul McGuigan
Screenwriter: David Bourla
Producer: William Vince, Bruce Davey
Composer:
Studio: Summit Entertainment
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Reviews for Push
Belle... is blank as a page, and the intended romantic chemistry between her and Evans is never in evidence.
Push has vibrant cinematography and decent acting, but I'm blasted if I know what it's about.
There are many problems with Push, and most are the usual boring things: unnecessary plot loops; long, dumb musical interludes; a charmless script; and ostentatious action sequences in which the only person excited is the cameraman.
Just as it's getting impossible to tell the superpowered humans without a scorecard, along comes Push to muddy the waters.
By the time the credits roll, your most fervent wish is to run into a 'wiper' (one who can erase memories).
Suggestive of X-Men, The Matrix and the television show Heroes, Push is one of those time-mangling thrillers that manages to seem both complicated and superficial.
One long mistake from start to finish, this is a film that never gets its rhythms or bearing right.
A trippy, nonstop action fest, with the feel of a really good episode of Heroes.
It's the perfect brain vacation for those overtaxed by Oscar-nominated movies.
A weightless, style-driven thriller set in a photogenically chaotic Hong Kong.
The film is blessed with a frenetic pace that simultaneously accomplishes two things: it keeps the energy level high while obfuscating some of the most obvious logical flaws in the plot's structure.
Director Paul McGuigan and screenwriter David Boula are content to rely on the usual suspects, taking their visual and dramatic cues from other, more clever and involving sci-fi capers.
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