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What the #$*! Do We (K)now!? (2004)

Unrated  |   |  Documentary, Comedy, Drama  |  27 November 2004 (Japan)
5.3
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Ratings: 5.3/10 from 11,528 users   Metascore: 38/100
Reviews: 485 user | 74 critic | 26 from Metacritic.com

"WHAT THE #$*! DO WE KNOW?!" is a radical departure from convention. It demands a freedom of view and greatness of thought so far unknown, indeed, not even dreamed of since Copernicus. It's... See full summary »

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Cast

Cast overview, first billed only:
...
Lead
...
Jennifer
...
Elliot
...
Reggie
...
Frank
...
Bruno
Daniela Serra ...
Bride
James Langston Drake ...
Groom (as Jame Drake)
Michele Mariana ...
Tour Guide (as Michelle Mariana)
...
Older Man (in subway)
...
Bob
Pavel Mikoloski ...
Priest
Alex Rogers ...
Guy #1
Tin Tran ...
Guy #2
...
Bridesmaid
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Storyline

"WHAT THE #$*! DO WE KNOW?!" is a radical departure from convention. It demands a freedom of view and greatness of thought so far unknown, indeed, not even dreamed of since Copernicus. It's a documentary. It's a story. It's mind-blowing special effects. This film plunges you into a world where quantum uncertainty is demonstrated - where neurological processes, and perceptual shifts are engaged and lived by its protagonist - where everything is alive, and reality is changed by every thought. Written by Anonymous

Plot Summary | Plot Synopsis

Taglines:

The question is, how far down the rabbit hole, do you wanna go? See more »


Certificate:

Unrated | See all certifications »

Parents Guide:

 »
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Details

Official Sites:

| |  »

Country:

Language:

| |

Release Date:

27 November 2004 (Japan)  »

Also Known As:

Sacred Science  »

Box Office

Opening Weekend:

$23,541 (Brazil) (9 December 2005)

Gross:

$76,391 (Brazil) (9 December 2005)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Goofs

In the wedding, Elliot hands over a drink to Amanda. She accidentally blows off the yellow mini-umbrella of her drink. Elliot licks the stick of his pink mini-umbrella and puts it in Amanda's drink. The next scene shows Amanda still has the yellow mini-umbrella on her drink, and Elliot still has his pink mini-umbrella on his drink. Although, in a film about how perception effects reality...maybe the umbrella was blue! See more »

Quotes

Receptor Cell: It's party time!
See more »

Crazy Credits

On Set Dog ZAK See more »

Connections

Followed by What the Bleep!?: Down the Rabbit Hole (2006) See more »

Soundtracks

Kernkraft 400 (the Chant Re-Mix)
Written by Guenther Emmanuel and Florian Senfter
Performed by Zombie Nation
Universal Music Publishing
See more »

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User Reviews

How Do We Know What We Know?
27 October 2004 | by (Cedar Rapids, IA) – See all my reviews

I was not surprised to see many of the comments here about this film calling into question everything about it's premise. While reviewing this film for my newspaper (Cedar Rapids Gazette) I knew immediately that the concepts would be controversial and hard for the conditioned American mind to wrap itself around.

Having said that, it seems that many people view a movie like this as an all or nothing proposition -- if one theory or belief seems flawed, then it all must be called into question. What I think too many polemicists are forgetting is that this picture is a smorgasbord of different theories presented, as Rod Serling might say, for you approval -- or not.

But what many are missing is what makes this film revolutionary -- that filmmakers were able to present these concepts in the medium of film in a way that was at least entertaining and most, thought provoking. You don't have to buy off 100 percent on what is here, but the presentation, in and of itself, was stunning in its bombardment of the viewer with multi sensory imagery.

That this film was even made at all is a mini-miracle, especially in our current intellectual and cultural climate. Its sad to me to see such judgmental reviews. I knew conventional Christians would simply dismiss this as "new age" fluff and I mentioned that in my review. But I would have hoped that lovers of film and higher order thinking would be more tolerant of some of the excesses.

In short, this is a film that needs to be seen not just for its quasi-cinematic, quasi-documentary methodology but for a presentation of theories and beliefs that are rarely discussed in the ossified American mainstream. For that alone, I thank the filmmakers.


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