Lee Tamahori completism. He directed a witless adaption of Philip K. Dick's The Golden Man by Gary Goldman, Jonathan Hensleigh and Paul Bernbaum. Also Nicolas Cage completism. In quite a few sittings as it just doesn't matter.
The sense of just-how-bad-can-it-be doesn't last too long: it's every bit as bad and worse. The rules of the game are that Cage can see two minutes into his own future and arbitrarily far ahead when it involves his dreamgirl Jessica Biel. The FBI, or more precisely Julianne Moore, wants to use him as whatever Samantha Morton was in Minority Report (2002), also a Dick contraption. Everything else is recycled too: some Matrix-ish bullet-time-ish multi-Agent Smith-ish dodging, the iconic eyewear from A Clockwork Orange (1971), shootouts amongst containers ala Heat (1995) at an industrial plant ala The Terminator (1984). And so on.
Cage is unusually flat. Moore's character, dialogue etc. is terrible. Biel gets to use all her facial expressions. The seeing mechanic is nonsensical; the explanations don't even try to make sense of counterfactuality. There's not a lot of action and none of it is surprising. The cinematography is not terrible; I guess Tamahori is more comfortable outdoors. There's some very poor CGI. Mark Isham (Romeo is Bleeding (1993)) composed! Everyone and everything was squandered in service to this purest of money jobs.
