Kevin, Sam and Rob are founding members of a theoretical group which pulls off heists. Leo, a gangster, blackmails them into pulling off a real multi-million dollar heist. Now it's up to them to get out alive.
Gary, an actor who plays a cop on television, uses too much lighter fluid when he burns his ex-girlfriend's things, then he drinks and drives, uses crack, and crashes his car. He sobers up in jail and is placed under house arrest and the watchful eye of a publicist, the cheery and tough-minded Margaret. She moves him into the empty house of a writer who's away in Canada on a shoot. Gary meets Sarah, an attractive and seemingly-willing neighbor. His friendship with Margaret blooms and strange things happen: he finds notes he doesn't remember writing, he hears noises, and he seems to bump into himself in the kitchen. Two remaining chapters reveal what's going on. Written by
Gary (Ryan Reynolds) is a troubled actor who plays a cop on the TV show Crim9 Lab. While on crack, he crashes his car. His perky publicist Margaret (Melissa McCarthy) takes care of him while he's under house arrest. He gets involved with his Canadian next door neighbor Sarah (Hope Davis). He leaves his house and meets deaf little girl Noelle (Elle Fanning) at a bus stop but then she disappears. Strange things keep happening and there is something about him belonging to the Nines. Then Part One ends and Part Two Reality Television begins where the actors play different characters.
The first part has some interesting surreal aspects. It suggests a pretty weird but compelling story. It lacks the surreal visual style to match but some of that is the everyday problem of the low budget indie. Then the second part of the movie comes and the story stumbles. The disruption is too much. The third part starts off with some interest because its title is Knowing. However the explanation is too convoluted to understand or even to follow. I question whether it's even understandable. This is John August trying to write like Charlie Kaufman. He fumbles the ball which the director John August had no chance of recovering.
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