Light fixtures are the true stars in "Push," constantly reflecting, twinkling and popping. Its best moments are when guns levitate and fire themselves. When you don't even need actors to hold pistols, it's the ultimate in autopilot filmmaking.
Evans and 10,000 BC's Belle shuffle through a turgid romantic subplot, and though the two characters are very, very pretty, they've got the chemical spark of a banana.
Fan The Fire
April 15, 2010
Set and filmed on location in bustling Hong Kong, the tight urban street and winding alleyways suit the film perfectly, but this is not enough to save Push from the Oscar season garbage dump.
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.
McGuigan's saving grace is a willingness to slow down and savour his own images. At best, a moody inconsequence takes over and confusion feels like part of the plan.
Silliness rules the day: plot holes abound and are plugged with techno-pounding action sequences and more nonsensical guff. As a TV pilot, this might have worked; as a film, it's loud, confusing and inane.