Weekly Review -- Off the clock

In Time (2011) -- Science fiction is a lady that wears many hats. It can be philosophical, action-packed or darkly cynical, characteristics that take the human dimension of the stories to the next level. It can test our sense of morale or make us question the world around us, while transporting us to a milieu that draws from our own reality. Rarely do we find a genre piece that is all of the above, which is where the new Andrew Niccol film comes in.

The story takes place in a future where the aging gene has been switched off and time has become currency. Having been genetically engineered to live only one year past the age of 25, most people need to keep working diligently to buy themselves more life, while the members of the wealthy ruling class are immortal. Paradoxically, anyone can die at any moment, simply because everyone has a price and humanity gets lost at the mere mention of one more precious week. Factory worker Will Salas (Justin Timberlake) is a man stretching his existence hour by hour, who one fateful night comes into possession of an entire century. When the corrupt Timekeeper police force goes after him, he finds himself the voice of the population's neglected segment, but also gains an unexpected ally...

As was the case with Niccol's futuristic rumination Gattaca, In Time's intrigue stems from the possibility of medical research overriding the value of life. Using details like virtual clocks embedded in limbs and multiple generations of youthful esthetics, Niccol toys with the idea of a plasticized dictatorship versus one of genetic democracy. The action sequences are well balanced with the dialogue's thoughtful explorations, but I do wish that the film had either been longer or dug deeper, since its themes demand further analysis. Niccol's vision is so scrumptious and its potential so expansive, it seems that one film would only just be scratching the surface, barely beginning to examine all the angles of such a bizarre realm.

**SPOILERS (please highlight to read)** 

I do not understand why the issue of Will's father's death is hinted at and never seen through. From the moment it was mentioned, I was hoping to see how the element -- obviously essential to many of Will's views -- would weave into the narrative, but it never did. Also, how come stealing time is so rampant? Sure, it is a hot commodity in the midst of a cutthroat world but, based on the very configuration of the system, how come it is not guarded more closely? There is no time to waste here and yes, that pun was 100% intended.

**END OF SPOILERS**

As Will, Timberlake shows once again that he can act, alternating between vulnerability and strength to paint a picture of a desperate man. My main problem was that, while watching, I would occasionally be convinced that he was miscast in this particular role. He simply commands too much of a public persona, too much of a fame-delineated reputation, to be completely believable as a plebeian struggling to eke out a living. I was also hard-pressed to buy what can only be described as an attempt at a James Bond homage sequence, the initial casino encounter between Will and businessman Philippe Weis (Vincent Kartheiser). Still, Timberlake's talent is apparent, and I have no doubt that he will eventually be able to separate his pop star allure from his thespian self. Seyfried's guileless performance brings to mind the damsels in distress of Hollywood's golden age, her portrayal of socialite-turned-rebel Sylvia throwing poisonous darts at innocence every step of the way. This type of figure has had numerous incarnations in cinema over the years, but the actress turns Sylvia into a sympathetic sidekick, charting the evolution from her anti-rules zeal to anti-establishment energy. Overall, the leads bring a lively aura to their parts and their dynamic provides a fresh take on the cinematic outlaw tradition.

The richest performances, though, come from three of the supporting players. The always interesting Cillian Murphy is ambivalence personified as Timekeeper Raymond Leon. He is a law officer who is so deeply stuck in bureaucracy, so blinded by the neon numbers ticking away, that he has forgotten what it means to have a soul. Murphy is great when probing the morality spectrum, and he has his understated officer journey from ruthless to conflicted in an organic manner. As the time-stealing gang leader Fortis, Alex Pettyfer evokes Malcolm McDowell in A Clockwork Orange, displaying a menacing intensity and charismatic wit. Having shown promise in the ingenious I Am Number Four, he demonstrates here what he is capable of doing with an even more eloquent script. These two characters are singularly the most interesting ones, and it is a pity that the screenplay does not allow them more room to maneuver. Lastly, "The Big Bang Theory"'s Johnny Galecki creates a character that is light years away from Dr. Leonard Hofstadter, giving an affecting performance as Will's best friend, the disenchanted Borel.

With its concept and in its execution, In Time is one of the most original works to hit the screens in years. Whichever facets it may lack, it makes up for with an innovative  presentation of a bubble that is liable to burst at any moment. It is a thought-provoking film that will have you pondering, debating and -- imagine that -- not glancing at your watch.

8/10