Know1ng - Die Zukunft endet jetzt

The good: Strong start to the movie, the plot hooks you in, excellent sound, confronting disaster scenes, haunting images, Rose Byrne, at times quite freaky, The Bad: Special effects looked like they were from a video game, ripped off basically every science fiction movie ever made, poor acting from Nic Cage, very predictable.

The Ugly: Last third of movie was shamefully ridiculous.

Summary: If you are a science fiction fan, you will probably not be able to resist seeing this movie. Be warned, you will think you are seeing the sci-fi great that you have been waiting for but mid way the film gets lost. You may very well groan out loud at the ending. This had the makings of a great movie but unfortunately it couldn't come up with the goods.

I like these types of films and enjoyed this one as well. Its not the best film of this type I have seen but its still worth watching.

Basically The main character who is played by Nicolas Cage has a son and one day he brings home a sheet of paper with a load of numbers on it. He got the sheet of paper from a time capsule that was buried 50 odd years previously by students who went to the same school. Cage is fascinated by this and discovers the numbers point to previous disasters that have happened throughout the world. He then realises some of the numbers point towards possible future disasters. I wont say any more as its best to watch the film.

The plot itself is relativity strong but does have a few minor flaws. There is a fair amount of mystery and action in the film as well.

I would recommend this film especially for people who like films such as 2012 or the day after tomorrow.

I know it's a bit late for a review but I feel compelled to reply to some of the criticism leveled at this movie. The reviews tend to be based on a few mistaken assumptions.

1) The movie is pro scientology propaganda

If there is any truth to this then the propaganda is very obscure, as a quick reference to scientology symbols does not include the 7 pointed star as per one detractor. To state that the movie uses a numerical based prophesy and that this is indicative of scientology is conspiratorial and nonsensical. Both the bible and koran are full of them. Maybe I am too ingenuous but at no time did I feel I was being led along a path of conscription to scientology.

2) plot holes due to slim chances of a text fortuitously falling into the hands of a person intelligent enough to decipher the meaning and be the father of one of the chosen survivors and have the descendants of the original prophecy play a part in the fruition of the plan.

fair enough, but nobody seems to question as to why the prophesy itself is possible. Surely if the universe was deterministic, as suggested by the very presence of a prophecy, then a sufficiently advanced civilization able to foresee the prophecy would also be able to foresee the path they have subscribed to the resolution they have decided on.

3) The movie doesn't make sense or jumps around too much.

Fortunately there are many straight forward shows and cartoons to watch instead .

There was a lot that was right with this flick. There was some good and questionable acting moments. There were some liberties taken with the plot that had me scratching me head. I feel like this movie had cutting edge cgi for 2009. The last ten minutes dropped this from what could have possibly been a 7 if I was feeling generous. No one will ever read this. I am a lonely person. Ahahahahaha, a hahahaha, aaaahahahaha!!!

This science-fiction thrill piece starring Nicolas Cage in the protagonist role is a film blooming with brainy concepts on science and religion, while hanging over apocalyptic themes that pay reminiscence of other end-of-the-world flicks like 'Left Behind'. After all, the key figure in the story is revolves around what appears be a biblical prophecy, although the spiritial theme only serves as a small undertone here rather than driving the storyline. Director Alex Proyas, the father of projects such as 'Dark City' and 'I, Robot', exhibits his grandeur of visual stimulating style that manages to triumph over its compelling, if somewhat flawed plot. Proyas is successful at making the thought-provoking ideas work, even if they are occasionally little rocky. The only major flaw is lies in the final act that borders on the line of preposterous. It is not a groundbreaking piece of work for the genre, but it is just enough to warrant for a sweet recommendation. This film opens up in 1959, at an elementary school where children are given the assignment to draw pictures of what society will like fifty years from that time. One girl, Lucinda Embrey (played by Lara Robinson), draws a long series of seemingly random numbers and places the paper in the school's time capsule. Flash forward to fifty years later, a nine-year old Caleb Koestler (played by Chandler Canterbury) and his class open up the time capsule, and Lucinda's paper is found in his hands. When he shows the paper to his widowed father John (played by Nicolas Cage), an astrophysics professor at Massachutes Institute of Technology, John believes the numbers are enigmatic codes to disasters occurring around the globe. Enlisting the help of Lucinda's daughter Diana (played by Rose Byrne) and granddaughter Abby (also played by Lara Robinson), John must encrypt the message of what seems to be a sign of a global catastrophic event.

Some may question whether Alex Proyas is trying to deliver a cautionary tale about an apocalyptic prophecy or is pinning viewers with complex ideas of science and religious theology. Both are more than likely doubtful, especially when the plot shows little respect for the laws of science to begin with. Nonetheless, it keeps things deeply eerie and grim in terms of storytelling and tone, almost bordering the line of a psychological horror thriller. Caleb and Abby are children who are haunted by mysterious entities, resembling the alien creatures from 'Dark City', who introduce them to terrifying visions of the world facing mass destruction, an eerie, yet shocking concept that is placed with sweet visual spark in one scene where the former looks out his window and sees the forest engulfed in flames. The main protagonist in the story however, is John Koestler who is infused with a performance by Nicolas Cage that can only be described as acceptable, but not bad. When Koestler learns of the terrifying secrets behind Lucinda's prophetic message, that is when the story kicks into gear, allowing Proyas to experiment with his engaging concepts. His attempts at breathing life into his ideas are mostly successful and set room for some visually electrifying sequences such as devastating plane crash that leaves several victims flailing in flames and a subway crash that racks up an enormous death toll. However, the third act, which is predictable and sets up with heavy emotional sigma, is a little absurd; especially if how unrealistic the characters behave to such an unnerving situation that is on the horizon. Shouldn't they be more terrified? On the bright side, the audience is blessed with a riveting score by Marco Beltrami to settle the tone.

Knowing is a compelling doomsday-themed piece with a chock of interesting ideas of science and religion put into play, and a surprisingly enthralling execution by Alex Proyas who brings his powerful visual grandeur to the game. It is a flawed picture with an execution may have a few scars, but not enough to make it a sore to sit through. Don't expect it to be anything revolutionary.