| Da che il film è uscito, le recensioni POSITIVE fioccano, ma non solo, criticano le prime recensioni negative uscite quando il film non era ancora nelle sale. L'autore della terza recensione definisce ottusa la critica negativa, e l'autore dell'ultima recensione afferma di essere andato a vedere il film con dei pregiudizi, già pronto a disprezzarlo.... e invece ha apprezzato molto il film. Spero che la parte di critici "anti" possa leggere queste recensioni e unitamente al successo presso il Box Office, gli vada tutto di traverso  Dal Free Time ColumbiaCITAZIONE Bullock Enters Man-Hating Dimension in "Premonition"
BY JAMES SCOTT
It’s like I walked into some bizarre alternate universe version of the movie I just saw across the hall, I Think I Love My Wife, only to see the same story as seen from the wife’s point of view, which makes it, I suppose, I Think I Love My Husband.
Sandra Bullock, last seen in yet another time-travel mess, The Lake House, stars as Linda Hanson, a suburban housewife who is stunned when the local sheriff shows up to inform her that her husband Jim (Julian McMahon) has been killed in an automobile accident. But the next time she wakes up, it’s a day earlier (anybody remember Groundhog Day?) and the accident hasn’t happened. In the hours that follow, Linda discovers that Jim has had or has planned an affair with his secretary, leaving her the moral choice: If she fails to act on her knowledge of the future, is it the same as proactively killing her husband?
The film builds nicely, neatly shoehorning the loose ends and discrepancies between the alternate realities together, and thankfully director Mennan Yapo doesn’t feel compelled to overburden his screenplay with needless exposition. Virtually the entire story is carried by Bullock and without the need for extraneous dialogue or, god forbid, the tedious narration that impedes I Think I Love my Wife. Still, while it’s one of her better roles, many of her fans aren’t going to like a movie that requires her to frown during every shot. And McMahon gets virtually nothing to do, nor does any other man, (kind of the way women become props in I Think I Love my Wife), like it’s all some Amazonian exercise in, if not outright man-hating, at least man-dismissal.
At least Bullock’s character shows, if only briefly, the appropriate awe at the fact that she’s in The Twilight Zone, in the presence of a force or forces that have affected the quantum reordering of the entire universe just for her. Shouldn’t that alone be enough to suggest what those forces expect her to do with the choice she’s been offered? If not, then how about the scene where she demands to view Jim’s mutilated corpse to satisfy her doubt that he’s really dead, or does a guy really deserve that in punishment for the mere contemplation of a fling?
It’s a rhetorical question, but I couldn’t help noticing the women in the audience (strangely, there were no other men) nodding with maniacal approval at the fateful resolution of it all. Dal Vue WeeklyCITAZIONE PREMONITION HAS ALL THE TIME IN THE WORLD JONATHAN BUSCH / [email protected]A few months ago, I spent an afternoon watching YouTube clips that document the firing of Star Jones on The View, but I discovered them completely out of sync. First, I saw Barbara declaring the first episode without Star, followed by Star’s tell-all interview on Larry King, and finally ended with Star’s initial announcement that she would be leaving. Now everytime I turn it on, it feels like Slaughterhouse-Five; I can’t tell my ass from Elisabeth Hasselbeck’s elbow. Premonition is kind of like what I’m trying to describe. Alright, it’s a lot like it. Sandra Bullock stars as Linda, a View-accessible middle-class wife and mother who is told at the film’s beginning that her husband Jim (Nip/Tuck’s Julian McMahon) has died in a horrible car accident. The next morning, she wakes up to find the fine hunk of man eating cereal in her kitchen; he isn’t dead after all. But as the days pass, he’s dead, then alive, then dead again. She figures out that each day of the week is occurring at mysterious random; her life has become how most people recall their first viewing of Pulp Fiction. No ****. It’s up to Linda to piece together the events and try her damndest not to appear crazy. Plus, we get to help; it’s important that you whisper out loud exactly what you think is going on while the film is running. It made the experience much more fulfilling for everyone sitting around me in the theatre. The good side is that Premonition is more than entertaining, or merely entertaining, depending on your bent. Either way, it unfolds with a good heart. Bullock is an identifiable screen queen—that’s why so many white girls in their early 20s love her movies. They idolize her, and then invite their boyfriends out to see her movies, trying to give them an idea who their potential wife imagines herself becoming in 10 years. However, Premonition was even more disorienting once I realized the multiple angles it might be imagined from; throughout the film, Linda embarks on a discovery of some of the hidden truths in her archetypically domestic life. Her husband can be a real ******* sometimes, her best friend (Nia Long) is rather self-involved, and her kids are a little clumsy (seriously, one of them runs into a plate-glass window). All the while, she learns about the power of love, sweet love. Somewhere along the way, I figured out that the movie was trying to tell me something, though I’m pretty sure I’ve heard this one before. It’s like a really suspenseful self-help book that I might pick up on my sister’s toilet tank; it helps pass the time. Maintaining suspense is one of the film’s primary concerns, but director Mennan Yapo never devolves into preachy preachiness. Nobody visits heaven, talks to God or misquotes 19th century literature; that’s certainly a one-up on dinner with the extended family. V Dal Colgate Maroon news (Student newspaper of Colgate Univeristy)CITAZIONE Premonition's opening weekend gave Sandra Bullock her best opening ever as a leading lady. The movie finished with a middling but respectable $18 million to place third behind the already-blockbuster 300 and the Wild Hogs.
It's hard to believe that after Bullock's pitch-perfect performances in Miss Congeniality, Infamous and Crash have powered her to 47 career awards nominations, she is only now hitting her stride at the box office to rake in the crowds. Despite that, Bullock has become something of a critics' whipping boy, punished for not taking herself seriously enough. It is therefore no surprise that most of the critics were predisposed to dislike this thriller penned by the relative newcomer, Bill Kelly. Only eight percent of critics nationwide bothered to reviewed Premonition favorably. Trashing everything from ostensible plot holes to Bullock's real-life business decisions, critics missed the boat by labeling this romantic tragedy as a disappointing potboiler without really paying much attention.
The action starts when Linda Hansen (Bullock) wakes up on Thursday morning and learns from the local sheriff that her husband had been tragically killed in a car accident the day before. What she doesn't know is her week has begun on Thursday and she will be forced to live the rest of it out of order. The "next" day she wakes up on the previous Monday beside to her totally undead hubby (Julian McMahon, nip/tuck). The pair has been ambling through a tepid marriage for several years now and Linda's time hopping experience provides a wonderfully complex opportunity to explore the issues surrounding his death. Did it really happen in the future? And if so, can Linda save him . . . and should she? Does she even want to?
Monday turns into Saturday, the day of the funeral, and the moment that Linda realizes her life has been impossibly jumbled and that she must race to save her family from tragedy. All the time-jumping is surprisingly coherent thanks to crisp direction, as are the intentionally murky thematic elements introduced at the church.
The prolific and ever-menacing Peter Stormare (Fargo, The Big Lebowski) adds a welcome dose of impending doom as a psychotherapist who doesn't seem very interested in helping Linda or her family; but Linda's friend (Nia Long, Big Momma's House) and mother (Kate Nelligan, Cider House Rules) fail to have a productive influence on the movie and seem only to exist in the narrative as forces conspiring to make Linda look insane, a device that's become a crutch in thrillers of the past decade.
Premonition's beautiful cinematography was dragged down by a couple of shoddy special effects; however, it was filmed on a relatively small $20 million budget (considering the lead actress is one of Hollywood's highest paid), so a few special effect flops are to be expected. These cinematic shortcomings are redeemed by the movie's ability to make a strong social comment, something most of thrillers are afraid to do. If you pick up on its subtle but provocative take on faith, Premonition will leave you titillated, offended, or incensed - anything but napping like the obtuse New York Daily News critic was.
If you choose to heed the more prominent critics and stay away from the theaters, at least Netflix it for strong performances out of McMahon and Bullock, whose career won't likely take a beating after all is said and done. She did her job this weekend, reeling in a 66 percent female audience, an audience she is marketed for, and becoming the top new release this weekend with only her name on the marquee. Although her brand-loyalty has been a fallacy (see [i]Speed 2[i] and Miss Congeniality 2), the leading lady isn't nearly as bone headed as she's portrayed when it comes to choosing an original script. Premonition sometimes stumbles through its foggy plot line, but it manages to deliver in the end: tragedy, gravity and just a dash of hope (both for Linda's future and Bullock's career) Dal Burbank LeaderCITAZIONE REEL CRITIC:
Thriller doesn't quite jell
"Premonition" is a tale about supernatural precognition that becomes an interesting story with a spiritual message of faith, love, forgiveness and redemption. Despite some of the public comments about this film, and after puzzling through the loose ends and red herrings, I found it to be, all in all, rather satisfying.
This is an oddly paced film about a young housewife, Linda Hanson (Sandra Bullock), whose marriage has gone stale and who seems to have a particularly vivid dream that her husband has been killed in a violent road accident. Or is it a dream at all? The experience seems real until she awakens the next morning to find that her husband Jim is sleeping quietly next to her. The action of the film takes place in the few days prior to and in the days just after the fatal accident in bursts of out-of-sequence scripting that requires patience and some imagination on the part of the viewer.
The film opens with a cryptic phone message from Jim (Julian McMahon of TV's "Nip/Tuck") informing Linda that he meant what he said the day before, but the message abruptly ends when the call is dropped as she is frantically trying to reply. A policeman soon appears at her door to tell her of her husband's death and her world begins to unravel.
It is a bit troubling that this film follows so closely on the heels of "The Lake House," another Bullock film that dealt with similar out-of-sequence scripting that played fast and loose with the rules of time and motion. Although Bullock's performance in this feature is first rate, it may have been better to use another actress in the role of housewife Linda Hanson.
I found Bill Kelly's screenplay to be rather clever in his use of symbolic detail. For example, the Hanson's home, somewhere in the upper Midwest perhaps, seems to have been neglected, much like their troubled marriage. The home is frayed around the edges, the lawn is dying and Linda has forgotten to place stickers on the sliding glass door, which contributes to a horrifying accident involving one of her young daughters. The little girl's disfigurement and her eventual healing fall cleverly in line with the theme of the story.
At a certain point in the narrative, as Linda is trying to make sense of the shambles her world has become, she visits a priest who encourages her to renew her faith and to make right the things in her life that have fallen to neglect and disrepair.
A pleasant surprise in this film is the performance of Peter Stormare as the sinister psychiatrist Dr. Roth. Stormare uses an odd accent reminiscent of the bayou country and his overall creepy delivery adds to the intrigue of this interesting feature.
I need to admit that I heard a radio program the day before I saw "Premonition" that featured several film reviewers who were very unhappy with this production.
So I went into the theater predisposed to dislike the film as well. While the story progressed, though, and as I began to appreciate the subtleties written into the screenplay, I relaxed and began to enjoy the show. I'm glad I did.
Rated PG for a strong word or two, "Premonition" runs for slightly more than 90 minutes.
# JEFF KLEMZAK is an avid filmgoer from La Crescenta. |
......comunque la parte importante è quella citata da Accipippi 
...è un vero peccato che non si veda nulla ma lo immaginavo, Premonition non è certo Nip/Tuck. 
... la frase quotata da naranja dice che Linda disperata, è davanti a lui (vestito), gli toglie le scarpe, lo abbraccia, poi lo bacia appassionatamente.