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It has been a while since I’ve reviewed something on my lifelong favorite’s list. So I’ve chosen “Time After Time” because it isn’t very well known by younger audiences nor is it necessarily considered a “classic.”
However, I instantly fell in adore with this movie over 25 years ago–and I peaceful deem it a rip-roaring honorable time!
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Starting out with the most bizarre space ever, “Time After Time” will support you enthralled. It is a attractive popcorn flick–fast, light, fun, and interesting in equal measures. Place in 1893, we meet H. G. Wells (Malcolm MacDowell) who is unknowingly friends with Jack The Ripper (David Warner) . MacDowell has constructed a time machine which Warner misappropriates as he is fleeing the authorities. He travels to unusual day San Francisco where he continues his murderous ways. MacDowell follows him, he must end Jack The Ripper! He meets up with a local woman, Mary Steenburgen, who helps him adjusts and ultimately gets caught up in his unlikely anecdote.
“Time After Time” succeeds in several different genres concurrently. This is a credible sci-fi pic, a sweet romance, a fish out of water comedy, as well as a decent serial killer thriller. I believe that’s what I treasure and respect about this film, it’s out there. There is no intention that this narrate should work, it should be awful. And yet, inexplicably, Nicholas Meyer has crafted an intricate and valorous work. Even if I didn’t appreciate this movie, I would respect its ambition and scope. But adore it I do, this is one of the most wildly engaging pictures you could hope to peek. Some people might be tempted to dismiss this work as dated or even slight–and yes, you do have to win that this is a product of the 70’s. There are references to “free care for” and other concepts of the era, but at the same time–the film is incredibly prescient about violence in the novel age. Every time Warner describes how he was meant to exist in this future, where killings and debauchery are commonplace, I understand a steady truth in his sentiment.
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The performances are cracking sterling. MacDowell is the unlikeliest hero and a refreshing romantic lead. Warner has NEVER NEVER been better. If you are even a passing fan of his, you must watch this describe. And Mary Steenburgen is a delight–she doesn’t do enough these days! Maybe this isn’t highbrow entertainment, but it is heavenly fun. Recommended to all without even the slightest hesitation. KGHarris, 12/06.
It’s astonishing that with time go stories having been around for 100 years that we can continue to reflect of variations. In this case the variation is a respectable one, perhaps one of the best that has ever been done.
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A relatively innocent and naive H.G. Wells, well-played by a Malcolm McDowell very different from the one that played Alex in “A Clockwork Orange”, sets the stage for Jack the Ripper, played by David Warner, to recede forward into 1979 to menace fresh San Francisco.
The movie has a few flaws. The special effects of time recede are a bit cheesy. Fortunately time depart is a plot to location the stage for the movie, and the outmoded special effects can be forgiven given the quality of the rest of the movie. As for why the time machine moved from London to San Francisco, there isn’t any really satisfactory arrangement to elaborate how that happened. The best explanation I can give is that the Earth was spinning below the time machine as it maintained a fixed station. However, gravity must have played a role because had that been really suitable, both Jack the Ripper and H.G. Wells would have ended up in outer situation as The Earth and the solar system moved out from under them. If you can suspend your opinion in time depart you can also suspend your notion in how the time machine moved.
Getting past the special effects you accept to a righteous early performance by twenty-five year outmoded Mary Steenburgen. She plays a very recent woman to Malcolm McDowell’s Victorian naivete, and while she is very unique, holding an executive place and talking about sexual relationships with the casualness of pre-aids 1979, she also has an innocence of her fill that is well marvelous to Malcolm’s character.
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David Warner, who has often played in terrible guy roles, moves from relatively restrictive Victorian London to the relatively violent society of 20th century San Francisco, where, as he tells Malcolm McDowell, he fits true in with his violent ways. David projects such a fabulous matter-of-fact depraved that is perfectly believable and all the more evil because he seems so normal except when threatening or killing someone. His casual tendency to bloody violence (which unfortunately leads to more periodic musty special effects when blood splatters) incompatibility well with the relative innocence of McDowell and Steenburgen.
The entire point of the movie is that H.G. Wells created the time machine that allowed Jack the Ripper to flee to wreak havoc on fresh utopian society (so H.G. Wells opinion it would have to be), and Wells feels obligated to halt him. Jack must prevent Wells from interfering with his plans, and so must find the key of the time machine from him. So each is pursuing the other for the majority of the film.
While the necessary sage is the accelerate between McDowell and Warner, McDowell and Steenburgen obtain a perfectly matched romance that becomes the secondary and ultimately a very significant fraction of the sage. The movie would have survived on the romance alone, but then it would have been very similar to the Christopher Reeve movie “Somewhere in Time” released the year after this movie that was primarily about romance, and relied more on fantasy than science fiction.
The climax of this movie builds until the ultimate showdown between McDowell and Warner that contains enough surprises that all but the most jaded of movie fans should earn suspenseful (no, I’m not going to give away the ending honest in case you haven’t seen the movie) . The first time I saw this movie I know I was surprised by the last 15 minutes or so.
The DVD is filled with a variety of extras that more than perform this movie worth the relatively paltry imprint. Certainly the myth makes it a fitting companion to the earlier George Pal version with Rod Taylor taking the lead role.
Almost a 5-star rated movie, be prepared to seek it for McDowell’s wide-eyed innocent notion of current San Francisco as he chases about after someone who has no such innocence. One of the best stories space with a time disappear background, and well done by the lead actors.
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