The plot is relatively straightforward. By a coincidental turn of events, a policewoman interrogates Prot (Spacey). His strange replies-he claims to be a visitor from the planet K-PAX- land him in a psychiatric hospital. After proving unresponsive to high doses of anti-psychotic medication, he is assigned to Dr. Mark Powell (Jeff Bridges) for therapy.
Generally speaking, "K-PAX" is a well-written movie that artfully weaves humor, drama and social commentary. At times, the acting takes a bit of a backseat to plot explication; still, there are a number of challenging moments in the script, and the actors do not disappoint. Kevin Spacey, in particular, gives a startlingly moving performance.
In all, I would say this movie is well aware of its audience. It does a good job of defying default standards and addressing myriad problems in our culture. For a movie in which race is not made an issue, there is a refreshing prevalence of characters played by minority actors and actresses. For instance, Dr. Powell's superior is not only black but also a woman. The movie both sets up and refutes a number of societal assumptions, including the notion of the nuclear family, the infallibility of science and the authority of the criminal justice system. Most important, this movie addresses the state of psychiatric medicine today, in perhaps the most sensitive and thoughtful way I have seen to date in a film. With an eye to the complexity and duality of each issue, it takes a noble stand against the dehumanization that is so common in these sorts of facilities.
Director Iain Softley manipulates pace for interesting effect. The dialogue and action seem content to be slow at points but move with an incredible urgency and enthusiasm at others, almost as if to mock both the viewers' impatience and effort to "keep up."
Earlier I mentioned my desire to see this movie again, without the pressure that accompanied my first viewing. What I meant is simply this: The viewer, whether he resists or not, inevitably empathizes with Dr. Powell. In facing the mystery of Prot, we struggle to ask the right questions, to make meaning out of Prot's responses and to make this meaning fit some generally palatable mold. We are stuck, no matter how we may believe ourselves above it, inside Dr. Powell's head. What on the uppermost level turns out to be a powerful statement about the invasiveness of modern psychology also challenges the viewer to examine and possibly change the way he looks at cinema and (as the poster says) the world.
Viewers of "K-PAX" may feel an incredible pressure to figure out, to label-to diagnose, if you will. We sum up the plot elements like the symptoms of a disease and can scarcely withstand our anticipation for the panacea of resolution for the hour and forty minutes it takes to watch. Thus, I have three pieces of advice: 1) Go see this movie. Everyone can use a lesson in perspective. 2) As Prot proclaims, "Be prepared for anything." This movie will defy your expectations. 3) Do not waste the whole time trying to "figure it out." Listen, instead. There is a great depth in the themes it is trying to convey.
Of course, all of you will try to figure it out anyway; such is the nature of the beast. However, I urge you not to allow your particular hunch to become the filter through which you experience the entire movie. Instead, let the question remain as a backdrop for interpretation, and place what is actually being presented in the foreground, where it belongs.