If anything, "The X-Files: I Want to Believe" is too preoccupied with including as much as possible on a thematic level. ![]() Nobody can rightfully accuse Carter and Spotnitz of writing a hurried screenplay. It is, however, satisfying when the disparate elements come together to form the thematic core of Chris Carter and Frank Spotnitz's solid screenplay, and although the journey to the ending is occasionally frustrating, preachy, and even downright annoying, the end result is worth it. It is not entirely satisfying as a procedural or as a medical drama. "The X-Files: I Want to Believe" is not entirely satisfying as a straightforward thriller. What it comes down to in the end is whether or not I was satisfied when the credits started rolling and UNKLE's excellent version of Mark Snow's theme started playing. ![]() ![]() Although this film was marketed as a standalone feature requiring no prior understanding of the series, the final product is quite far removed from one of the more straightforward standalone episodes, and is actually more about characters and themes than the plot itself, which is not on its own very good. If you do not enjoy "The X-Files" you will not enjoy "I Want to Believe". "It's here! It's here!" shouts Billy Connolly's mysterious, questionable, and apparently psychic Father Joe Crissman in the film's opening scene, and although he is talking about something much more grotesque than the return of "The X-Files", the words clearly echo the thoughts of every last X-Phile awaiting the return of Mulder and Scully, of "The X-Files", and, as surely everyone hoped, something to make up for the many hours wasted on the show's astonishingly mediocre final season.
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