Here's the thing about the future: every time you look at it, it changes, because you looked
at
it, and that changes everything else.
Next is another in a long and proud lineage of Philip K. Dick novels/short stories turned
feature-length motion pictures. Minority Report, Total Recall, and A Scanner Darkly being amongst the
better-known
cinematic recreations of the famed author's writings. Next, similar to the basic theme of
Minority Report and from Dick's short story entitled "The Golden Man," examines the
possibilities, dangers, and advantages of precognition, or
the
ability to see or have some kind of foreknowledge of future events. In Next, the ability is
not a universal one; the hero of the film cannot see any and all future events, only those that
directly affect him, and only two minutes ahead. For example, he can foresee what cards he'll be
dealt in a game of blackjack, but couldn't know that his car would be hit by a train some thirty
minutes later (although he would know in 28 minutes). It's an interesting idea, reminding me a
bit of the "Omega 13" device seen in the film Galaxy Quest. There, the device allowed
the crew to go back 13 seconds in time and undo one costly mistake. Here, the hero has a built
in, ever-running "Omega 120," for lack of a better term, one that doesn't rewind time, but one
that does allow him time to correct any immediate mistakes ahead of time.
See, I knew this guy was going to be able to tell I hadn't showered in three weeks, so I'm holding
his nose for him.
Cris Johnson (Nicolas Cage, Face/Off) is the man who can see two minutes into his future, except
when it comes to a mystery woman he's been waiting to meet, Liz (Jessica Biel, Stealth). He can see
further into her future than he can his own, and he awaits the time he foresees their first
encounter. Meanwhile, his skills are becoming known to the FBI, agent Callie Ferris (Julliane
Moore, Hannibal) in particular, who needs his help in locating and preventing the
detonation of a nuclear weapon in Los Angeles. Cris' unique ability allows him to escape various
moments of peril, evading security guards at a casino or seeing his own arrest and escaping it
before even speaking with agent Ferris. When Cris finally meets Liz, her importance to Cris' life,
and the fate of millions of people, becomes apparent. Cris must not only ensure Liz's safety but
also chose whether or not to cooperate with the authorities and use his powers to stop an
imminent threat to society.
The problem that plagues every time travel story is that the paradoxes always seem to become
far too involved and confusing, and the plot never goes towards a logical conclusion
that even the least intelligent could figure out. Why, in Star Trek: Generations, for
example, did Picard choose attempt to stop Soran's work at a point where his weapon was about
to launch? Why not go back to when he first met him on board the Enterprise? Needless to
say, plot holes and stupidity abound in most time-travel movies, and that is perhaps why this one
works slightly better than most. It's not your traditional time-travel story, but the elements are
here, and equally confusing, this time due to lazy writing. Cris' powers, while fascinating, are
inconsistent. For example, early in the picture, he becomes aware of a plot by Casino security to
nab him. He looks up at the security camera just as they are preparing to chase him down. "So
he doesn't have to be there to do it. Once you enter his consciousness, he can pick it up," Ferris
says of Cris' abilities. Why, then, later in the film, does she believe she can convince Liz to slip
him a drug, yet also believe Cris will not be aware of it (which, it seems, he isn't, at least not via
his own powers)? Perhaps I missed a fine detail, but I re-watched the scenes in question, and
they don't seem to stand up to a logical analysis. The plot is infinitely fascinating, and the
material terrific, but far too
many
inconsistencies and questions arise as to just how far his powers can go; they seem to escalate as
the film goes on with little to no rhyme or reason.
Plot holes aside, Next is a cool movie. I don't believe I've used "cool" before in a review,
but it applies here. It's got a little bit of everything, from bullet-dodging akin to that seen in
The Matrix to some exciting action sequences including a fantastic shootout at the end.
The movie even comes with a surprise
ending, one that makes infinite sense in the context of the story and definitely one I did not see
coming. Next is one of those films where nothing is quite as it seems, and the plot does
offer writers perhaps the easiest way ever out of any and every scenario, and Cris' powers are
continuously put to the test. "Coolness" factor aside, Next is just not quite good enough
as it is. The story is an excellent one. It's based on a Philip K. Dick novel, so we know the
foundation of the story is going to be tight; it's up to the director, screenwriter, and actors to live
up to the material. Next gets more right than it does wrong, but its meandering take on
just how powerful Cris is leaves a bit to be desired.
Next makes it long-awaited Blu-ray debut on a mostly good-looking 1080p, 2.35:1
framed high-definition experience. The movie offers viewers an AVC encode with a bit rate that
generally hovers
around the lower-to-mid 30s. It's not a surprise that a movie based on a short story entitled
"The Golden
Man" features a color palette tinted towards that shade. It's plainly obvious in the flesh tones of
the characters who have a decidedly gold look to them. Even the jacket worn by Nicolas Cage is
of
a golden hue. The image is also a slight bit darker than the average film, but I found that I
enjoyed the look of the movie on the whole. As to the actual transfer, it's a good one. Detail
level is very high, especially in close-up shots. Several times we see Cage's hand
fill the screen, and every hair and line is plainly visible. It's always easy to make out the smaller
details and read signs in the background, and the disc's definition is sharp and clear. There are
never any issues with a soft or out-of-focus image. Distance shots hold up very well,
too. Las Vegas looks spectacular, from flyby shots of the city to the bright interiors of the
casinos. An overheard flyby shot of a shipping yard in chapter nine also offers up some fabulous
detail and color array. Blacks look just the slightest bit brighter than one would expect in some
scenes, bold and perfect in others, but the lesser instances are by no means intrusive to the
viewing experience. I really love wet street scenes in movies, and we have a few good ones here.
The glossiness of the concrete that comes about when it is wet really brings out some nice
looking detail and realism, and the ones we see in this transfer are top-notch. The image is
almost grain-free. If it is there the layer is so fine that I couldn't detect it, but the image's
strong use of color and slightly dark overtones still makes it look very cinematic. This disc just
looks good. It's certainly not the best I've seen, but it makes for an exciting high-definition visual
experience.
Next comes to you with a PCM 5.1 uncompressed track that is great, but decidedly not
one step ahead of the best of the rest. My initial impression of the audio was that it sounded just
a bit reserved, the surrounds not offering up much in the way of ambient noise, and when it is
there it's just not quite as prominent and defined as expected. The track does liven up quite a
bit, but it's still not as engaging as the highest rated tracks we've heard so far. When the action
does pick up, this very good sound mix immerses us completely in the moment. A car chase in
the streets of Las Vegas about 10 minutes into the
movie is very exciting, the first time the soundtrack truly has the opportunity to shine. I was
perhaps a bit worried as the film started off in a bustling casino, and ambient noise was barely
noticeable, the action very front-heavy, but this car chase certainly lets us know the track means
business. Bass makes its presence felt. It did seem to be just a bit subdued, but the louder,
more raucous action sequences, such as a disastrous avalanche of machinery and debris in
chapter 13, are a joy to listen to. Gunshots don't make quite the impact they could have, but
they
are heard all around during the film's climactic and rather lengthy shootout, one of the most
exciting shootouts I've heard in quite some time. There is sustained gunfire coming from all
directions, always a pop or a string of "bangs" or a ricochet in the rear channels. Dialogue
reproduction was uniformly excellent in this track. This isn't the stuff of legendary high-definition
soundtracks, but it gets the job done and makes for a fun 90 minutes of listening once the action
picks up.
Next takes you into the future of Paramount Blu-ray discs with a few interesting
supplements. You'll even see a spiffy Next icon, a la Sony and Disney titles, in lieu of the
generic Blu-ray disc icon when you pop the disc into your Playstation 3. First up is Making the
best Next Thing (1080p, 18:13), a standard look at the making of the movie, coming
to you with interviews featuring the cast and crew intercut with scenes from the film. The
interviews focus on Cris' power and why it is different from your standard-fare "see into the
future" film, the origins of the story from Philip K. Dick's short story, and the moral implications of
the story. Visualizing the Next Movie (1080p, 7:44) looks at the film's many special effects
shots, and why CGI was more practical than real effects for the film. The Next "Grand
Idea" (1080p, 6:51) examines the love angle of the story and some of the more beautiful
locations as seen in the film. Two Minutes in the Future With Jessica Biel (1080p, 2:25) is
a generic feature with the famed actress trying oh-so-hard to figure out whether she would want
the ability to see into her future or not. Finally, the film's theatrical trailer (1080p, 2:26) concludes
the extra features.
Next requires viewers to turn their brain off at the door more so than any other movie I've
reviewed. Thinking about it too hard will reveal the stories
warts, but accepting it for a fun 90 minute ride with plenty of action should leave you with a smile
on your face. Not too shabby is this disc's technical specifications. The video quality is perfectly
acceptable, the movie clearly benefiting from the increased resolution of Blu-ray, the film's style
transferring well to the format. The same can be said for the sound quality. It won't knock your
socks off or blow the roof off of your house, but its a fun and exciting listen nevertheless. The
supplements left a bit wanting, but then so do the extras on so many other discs.
Next may be the ultimate kick-off-your-shoes and relax movie, something to take your
mind off the stress of your day while kicking back in your favorite chair with some refreshments.
You don't (and shouldn't) have to think too hard about it to have a good time at the movies.
Recommended, and welcome back Paramount!
Paramount Home Entertainment today revealed further details about their upcoming Blu-ray plans and in addition to releasing 'Bee Movie', 'Face/Off' and 'Next' on May 20th, they will also be releasing 'Blades of Glory', a quirky comedy about the competetive world ...
Paramount Home Entertainment have finally unveiled their long-awaited first wave of catalog and recent hit titles that they'll begin releasing May 20th. "We will have a strong slate of titles for Blu-ray release throughout the year, worldwide, and are enthusiastic ...
Paramount Home Entertainment has announced that they will bring the Nicholas Cage film Next to Blu-ray on September 25th, day-and-date with the DVD release. No specs have been released for the title, but expect a 1080p AVC video transfer with PCM audio.
