Ten years have passed since the release of this film's predecessor ("X-Files- Fight the Future") and the times have definitely changed. Almost immediately, director Chris Carter makes it clear that ex-Special Agents Mulder and Scully have moved a long way from being the maverick duo who fearlessly investigated paranormal phenomena regardless of the consequences. Scully is now a doctor in a large hospital and her former partner is a recluse who initially is in hiding from his former colleagues in the FBI.
However fate, in the form of a missing FBI agent, intervenes and our heroes are invited back to consult on the case. The primary reason for their involvement is that the only worthwhile leads in the current mystery are being generated by a disgraced priest, Father Crissman (a wonderful Billy Connolly), who has been experiencing visions related to the agent's abduction. Crissman seems to be sincere in his desire for help but Mulder and Scully are deeply divided about the nature of his true motives. In addition the investigation gains more urgency as it emerges that while the missing agent may still be alive, she may become the next victim of a serial murderer.
All this sets the stage for an exploration of numerous themes of a decidedly metaphysical nature including the nature of faith, the courage required to hope, and the existence of God. Furthermore, the question of what constitutes human life and who then controls it is also central to several different plot threads running through the film. The differing attitudes of the two main characters regarding their present life allows "I Want to Believe" to explore such topics as alienation, and the perils associated with living excessively in either the present or the past.
Though the plot moves along at a decent pace, the action scenes are subdued. Overall, this is a very cerebral and somber piece of cinema. The subdued mood is further emphasized by the bleak, frozen West Virginia setting which is photographed beautifully.
In conclusion, this latest installment in the saga of Mulder and Scully stays true to the spirit of the original TV show while also appearing to take the franchise in a new, more introspective, direction. Both Chris Carter and his co-screenwriter Frank Spotnitz have courageously chosen to make a film anchored in themes that take center-stage only in adulthood. Instead of taking the audience to outer space, this film plots a skillful course to the dark side of the moon.
However fate, in the form of a missing FBI agent, intervenes and our heroes are invited back to consult on the case. The primary reason for their involvement is that the only worthwhile leads in the current mystery are being generated by a disgraced priest, Father Crissman (a wonderful Billy Connolly), who has been experiencing visions related to the agent's abduction. Crissman seems to be sincere in his desire for help but Mulder and Scully are deeply divided about the nature of his true motives. In addition the investigation gains more urgency as it emerges that while the missing agent may still be alive, she may become the next victim of a serial murderer.
All this sets the stage for an exploration of numerous themes of a decidedly metaphysical nature including the nature of faith, the courage required to hope, and the existence of God. Furthermore, the question of what constitutes human life and who then controls it is also central to several different plot threads running through the film. The differing attitudes of the two main characters regarding their present life allows "I Want to Believe" to explore such topics as alienation, and the perils associated with living excessively in either the present or the past.
Though the plot moves along at a decent pace, the action scenes are subdued. Overall, this is a very cerebral and somber piece of cinema. The subdued mood is further emphasized by the bleak, frozen West Virginia setting which is photographed beautifully.
In conclusion, this latest installment in the saga of Mulder and Scully stays true to the spirit of the original TV show while also appearing to take the franchise in a new, more introspective, direction. Both Chris Carter and his co-screenwriter Frank Spotnitz have courageously chosen to make a film anchored in themes that take center-stage only in adulthood. Instead of taking the audience to outer space, this film plots a skillful course to the dark side of the moon.