Premonition (review)
You know those “In a world where…” movie trailers? Well, *Premonition*’s would start out: “In a world where no one has ever seen *Groundhog Day*…”
You know those “In a world where…” movie trailers? Well, *Premonition*’s would start out: “In a world where no one has ever seen *Groundhog Day*…”
I am not the audience for this flick. I don’t need a tortured justification that the choices I made are the “right” ones no matter how unhappy I am about them. I don’t need the release of laughing at my own suffering.

The ending can make or break a film. The Lives of Others, Oscar winner for Best Foreign Language Film, has one of the greatest final lines of dialogue that I’ve ever heard in a movie.
The first person who uses any aspect of this flick to justify the American debacle in Iraq is getting a swat across the nose with a copy of *My Pet Goat.* Which King Leonides of Sparta does not sit reading while his country is threatened and attacked.
This is a smart, elegant, sophisticated film that should be everything I want to see in a movie and yet fails to be because it’s missing that one enigmatic element, the hardest to capture, the most unfakeable: spirit.
Fincher rivets us through what could have been an interminable two-hour-and-forty-minute runtime, by daringly jumping through a crime spree that spanned decades with brisk panache, boiling it down into slices of suspense, drama, and fear, with a bit of media criticism thrown in sideways for spice.
Big scary black man keepin’ the little blonde white girl in chains? Oh *my.*
So this is the big question, then: Are so many American men so oppressed by the “horrors” of modern life — high cholesterol, uppity wives, smartass children, cell phones, boring jobs, the general dead-eyed awfulness of suburbia — that they need a stupid movie like this one to tell them that if they don’t like their lives they should do something about it?
To say that they don’t make movies like this anymore — splendidly, quietly angry in a folksy, old-fashioned kind of way — is to prove its point…
There’s not a lick of dialogue for maybe the first 15 minutes of this daring action Western… unless moans of pain count as dialogue.