A worthy attempt at a new comic book mythology

Push is of a rare breed - it's a comic book-style action-thriller modelled from an original concept not directly based on any comics or graphic novels. Director Paul McGuigan has managed to fashion a fresh, effective superhero adventure (with a small budget of approximately $38 million) complete with an interesting mythology, hinting that additional instalments/spin-offs are to come. As this is a visible attempt to birth a new franchise, plot threads are purposely left without closure, ideas feel underdeveloped, and several possibilities are skimmed over. Unfortunately, while this isn't a screen adaptation of any particular comic book, Push is a Frankenstein's monster - a jumbled collage of narrative clichés supplemented with elements stitched together from various other sources (hints of X-Men and NBC's Heroes are undeniable). Push has inevitably been compared to 2008's Jumper since both movies are clearly designed to be the first chapter in a multi-part saga. Push is similarly flawed of course, but as a whole this is a far more entertaining and satisfying experience.

In the world of Push, an array of humans with abnormal abilities are scattered throughout the general population. These gifted individuals are given single-word titles to describe their skills, ranging from "Movers" (those with telekinesis) to "Watchers" (those who see into the future) to the titular "Pushers" (telepathic individuals). The government are aware of these capabilities, and have set up a department (known as the "Division") to weaponise them. The story takes place in Hong Kong and centres on a Mover named Nick (Evans) who teams up with a Watcher named Cassie (the delightful Fanning) who's trying to free her mother from government custody. Their path intersects with that of Nick's former lover - a high-level Pusher named Kira (Belle) who's being hunted by the Division. Nick, Cassie and Kira (with a few other powerful allies) aim to take down the Division, while a powerful Pusher named Carver (Hounsou) is working to recapture Kira. An Asian group of super-humans are also thrown into the fray.

Director Paul McGuigan provides Push with a frantic pace that keeps the energy level high while also obfuscating the film's logical flaws. ("Screamers" attack using sound, and sound is just air being pushed. Why can't the Movers deflect the sound?) Plot holes and logical flaws only come to light while examining the film in hindsight, and don't majorly effect the average viewer's enjoyment as the story unfolds. To the credit of McGuigan and screenwriter David Bourla, Push is fairly unpredictable, and for that reason it only occasionally drags during the two-hour runtime. With all of the subplots and badly-defined characters, the plotline - in spite of possessing a reasonably simple trajectory - is confusing and doesn't make a lot of sense. Push is unbelievably convoluted - the dense narrative is teeming with unfamiliar terms, unexplained powers and undefined allegiances. The filmmakers should have toned down the intricacy in order to make this action-thriller more palatable.

Though the script is mediocre at best, Push fires on all cylinders in every other aspect. The film plays out in the breathtaking city of Hong Kong, which is a welcome change from the Hollywood tradition of setting every story in Los Angeles or New York. With the film set in this grand Asian city, McGuigan is able to pack the screen with the bright colours of a different culture. The results are magnificent. McGuigan and cinematographer Peter Sova create fine, richly-textured images, allowing a viewer to get lost in the pictures and not worry about the film's convoluted plotline. Interestingly, due to budget constraints and the impossibility of controlling Hong Kong streets, the majority of the film was shot "guerrilla style" - hidden cameras rolled while the actors did their scenes in one take on the crowded streets. As Push was intended to mark the commencement of a new franchise, it concentrates more on the character element, and it's worryingly low on thrills as a result. Happily, however, the action sequences are nonetheless terrific, especially the final battle which functions as a showcase for the characters' super-human abilities. The special effects during these battles are amazing considering the budget McGuigan had to play with.

The lead performances by Chris Evans and Dakota Fanning are solid, and precisely what a feature like this truly needs. Evans, whose prior films include Cellular and Fantastic Four, is fun to watch and manages to bring amiable human qualities to the occasionally ridiculous material. Dakota Fanning, however, is the standout performer here - she owns every frame. Young Ms. Fanning is clearly setting a course for a post-adolescent career, sinking her teeth into her punk-edged role with tremendous zeal. Push is worth seeing for the fact alone that we get to see her drunk at one stage, and toying with firearms on another occasion. Faring less well on the acting front is Camilla Belle, who appears to sleepwalk rather than act. The romance between Evans and Belle is an even bigger miscalculation - the actors share no chemistry whatsoever. Luckily, Dakota is always there to fall back on (she turns up drunk immediately after the typical PG-13 sex scene between the couple).
Djimon Hounsou is a chilling villain. The actor avoids going over-the-top, and his calm, subdued performance is more menacing as a result. The supporting cast includes the always sublime Cliff Curtis in addition to Ming-Na and Nate Mooney, all of whom play sympathetic individuals with powers who support Nick's quest.

There's an ambitious back-story behind Push, and if a sequel materialises the filmmakers will have no difficulty electing new avenues to explore. In fact, this movie is almost too short. Given another 15 or 20 minutes, subjects could have been expanded and ideas could have been better mined. Just like Jumper, there's untapped potential within the concept begging to be delved into.
Thanks to its Hong Kong setting, Push is bestowed a unique personality and frenetic energy. The film may be a jumbled concoction of everything from X-Men to The X-Files to the TV show Heroes, and its story is incomprehensible at times, but it's nevertheless a fun romp. A blah script aside, there's plenty to like about Push - it's a worthy attempt at a new comic book mythology, especially since it wasn't based on any particular comic.

6.3/10