Critics and audiences seem to agree in large numbers that the greatest continuing one-hour series ever to air on American television is either the recently departed masterwork Breaking Bad or the groundbreaking show that aired in the previous decade, The Sopranos. Both are gruelingly suspenseful and violent neo-noir crime stories interwoven with searing family drama, intense action and bizarre black comedy. Between them they’ve garnered numerous Emmy awards for their incredible casts, directors and writers. […]
Who doesn’t love Matt Damon and Christian Bale?
(Okay, probably this guy doesn’t love Bale so much, and Minnie Driver still might be holding a grudge against Damon…But just go with me on this…)
And who doesn’t love when big stars like Matt Damon and Christian Bale ugly themselves up with bad hairpieces and weight gains and cheesy facial hair for a scruffy little indie role?
And who doesn’t love period offbeat indie comedies based on true stories in which the aforementioned uglied-up big stars like Matt Damon and Christian Bale play real-life dudes who started working undercover with the Feds to catch criminals, only to turn out to be unreliable and devious and driven by their own agendas?
And who doesn’t love when original mavericks of low-budget filmmaking like Steven Soderbergh and David O. Russell return to their indie roots and make…what I just said above? […]
Let’s face facts: If “traveling back in time to change the past” movies stuck rigidly to actual logic, there would be no such movies. As far as I can tell, there’s just no getting around the paradox that if you travel back in time and change the past, you alter history in such a way that you no longer have a reason, in the new timeline you’ve created, to get in a time machine and go back and change the past. For starters.
Fortunately, the best examples of the genre wisely choose to ignore this little snag and do the next best thing: Pour their energy into making it so entertaining and zanily convoluted that it doesn’t even occur to you to mind until you’re on your way home. The last decade, in fact, has seen a wealth of intriguing time-travel flicks that do exactly that, largely thanks to the fact that time travel doesn’t always require expensive special effects and thus can be done independently; all you need is a convincing-looking time machine prop and a lot of ingenuity, and presto, you got yourself a “high concept indie,” be it the soft-spoken, cerebral Primer (2004), the ruthless Mexican mind-bender Timecrimes (2007), or the diabolically clever Triangle (2009) (which doesn’t actually involve a time machine at all, but otherwise fits the category). […]