But FBI agent Ferris (Julianne Moore) has managed to see past his illusion. Shes trying to track down a stolen nuclear bomb. She wants Johnson to embrace his gift and put it to good use for the betterment of the eight million people whod be killed if the bomb were to go off. But Johnsons not much interested. Hes preoccupied by a vision he had of a young woman (Jessica Biel) that he foresees walking into his life. This mystery woman is the only thing from the future that hes been able to see beyond his two-minute limit and hes completely obsessed with her. When she finally does enter his life, she quickly becomes a pawn in a much bigger game.
Next claims Philip K. Dicks novel The Golden Man as its source material. But the filmmakers have jettisoned everythingfuturistic setting, politic and social commentary, existential questions, the youth and sexuality of the main characterand retained only Johnsons clairvoyant abilities. I can just hear how Dicks story got filtered through the homogenizing machinery of the Hollywood system was pitched to studio executives: Comon, the guy can see two minutes into the future, itll be cool. We can have anything happen and then rewind and make it happen again in a different way. We can have death, destruction AND the happy ending Okay, maybe it didnt go down exactly like that but its probably not far off.
In all fairness, there is the germ of an interesting idea here, and that probably comes from Dick. Ironically, the film Dj Vu also recently tackled a very similar idea. Both films proposes that someone can look to the futureJohnson with his mind and in Dj Vu it was with technologyto see whats about to happen yet still possess the ability to change it, control it. Johnson explains that with the future, every time you look at it, it changes. So this addresses the issue of ones destiny not being set in stone but being endlessly malleable. That could have been interesting. But not in the hands of Nexts trio of writers (Gary Goldman, Jonathon Hensleigh, Paul Bernbaum). In their hands it just becomes an action device as Johnson proves able to dodge bullets and punches.
Next
In Johnsons case, what could have been made interesting (since the interesting aspects of the novel were removed) is the fact that he pretends not to possess a true clairvoyant gift. He tells us that as a child, doctors and scientists put him under the microscope and tortured him with experiments. This is something that was also raised in the film Constantine (and better done in its graphic novel source Hellblazer ), as a character tried to deal with his unique vision. Johnsons desire to understand his gift/curse is almost explored when he visits an Indian reservation and asks about having a meeting with the local shaman to discuss mystical things. He seems all gung ho about the idea but then its completely dropped in the next scene. Presenting Johnsons talent as something that could also be a handicap could have been interesting but instead, Next chooses to treat it like an X-men super power thats just waiting for the right moment to mature and develop.
The film, directed by New Zealands Lee Tamahori, plays loose with the plot. Anything can happen and then be recalled. Its like a filmmaker getting to test out his ideas, playing one scenario out and then seeing the audiences response, changing his mind and revamping the outcome so as to elicit a better reaction. The routine gets old quickly even when its lighthearted as with Johnson trying out various pick up lines on his dream girl until he comes up with the one that will get the right reaction. As a viewer you will quickly be crying out Next! every time a scene falls flat and you hope the filmmakers will come up with something better.
Tamahori is an erratic director. Hes done brilliant work ( Once Were Warriors ), interesting but flawed films ( Mulholland Drive) and crap ( xXx 2; Die Another Day) . He has displayed a flair for action but thats not evident here. An early chase employs a pounding score that tries to convince us that the action is fast and furious but the editing and action does nothing to support that. Next tries to spice things up with big explosions, CGI effects and some spectacular scenery. But most of the effects have a slightly shoddy look to them, as if they were done in the old fashion rear projection style of effects work rather than on computers.
A Clockwork Orange anyone? The film Next
Like Tamahori, Cage has had an erratic career, careening from wildly eccentric choices ( Wild at Heart, Face/Off, Adaptation ) to blandly mainstream ( Gone in Sixty Seconds, National Treasure ). Hes always fun to watch yet he doesnt seem to know how to best showcase his talents. Moore and Biel are totally wasted here. Both feel like they are playing off of roles they have already done: Moore off of her FBI agent in Hannibal and Biel off of her dreamy romantic icon in The Illusionist.
Tamahori and his writers have to work very hard to make us buy into the ridiculousness of the plot. First we have to buy that Ferris would have found Johnson, then that she would be able to figure out that his stage act was the real deal and finally that his brief window on the futurejust two minutes ahead and only things directly affecting himwould actually be something that could help them track down bad guys with a nuke. It just doesnt make a whole lotta sense.
Next (rated PG-13 for action violence and brief sexual content) might have sounded good as a concept but it bombs in execution. Maybe they should have looked more closely at Dicks novel and incorporated more of its complexities rather than just skimming one idea off the surface. But wait a minute, this was mainstream Hollywood flick, what was I thinking next.
Companion viewing: Peggy Sue Got Married, First Snow, The Gift -----
