One of the better science fiction movies to attempt to be political

Rating: 8/10 (31 October 2011)

Fourteen years after the well-received Gattaca (1997) Oscar-nominated director Andrew Niccol has made a triumphant return to futuristic science fiction to show the countless other filmmakers who have tried their hand at this notorious genre how it should be done. Once again, he manages to create both a highly fascinating world as well as some engaging characters to populate it and a stimulating plot on which its fine conception is not wasted.
In this vision of the future, it appears that scientists may have finally discovered the age-old secret of eternal life, and have been putting it into practice on globally. People now theoretically have the power to control the duration of one's bodily existence down to the very last second, being able to continue topping up lifespans for as long as they please. What's more, the aging process has been genetically engineered to stop in everyone at the the age of 25. However, happy dreams of being forever young are but a fairytale: "for a few to be immortal, many must die" or overpopulation would ensue. The government's solution has been to make time the new currency, with people walking around with a luminescent countdown on their forearm showing them exactly how much of it they have left, and minutes, hours, days, months or even years being talked about as casually as if they were soulless pieces of metal and paper. It also ensures that longevity will be exclusive to the rich in this cutthroat economy where it's quite literally "survival of the fittest". "Darwinian capitalism" is what they call it, "the next stage in human evolution".
It certainly isn't fair, and it doesn't work either. Some members of the upper-class have been living for over a century, with still many more centuries under their belt, and one in particular, named has learnt the hard way that the mind may continue to rot and deteriorate even if the body remains fit and healthy. Therefore, being completely psychologically spent, he transfers all of his years to a spirited but struggling youth from the slums, after being assured that he would put it to good use. Initially he plans to use it to fulfill the well-deserved desires of his dear mother, but after she tragically dies as a result of the corrupt economy raising the price of daily living once again, he instead decides to pose as a wealthy citizen and infiltrate the mansion of a spinelessly immoral billionaire and whisk his daughter away on a righteous crusade to raid the time banks and hand out to the poor all the time that has been kept from them by merciless government agents known as "time keepers".
As is the case with many celebrated futuristic films and novels, many parallels can be drawn to societies at the other end of the time scale. This gives the story a dual sense of the retrospective and the ultra- modern both being present at once, like the "future noir" cinematic style introduced by Blade Runner (1982) and may even extend to highlighting historical patterns or cycles such as the book within the book in George Orwell's Nineteen Eighty-Four. Watching the dynamic duo fearlessly break into government institutions and return with something to provide the less fortunate with hope and stability, bringing balance to the uneven and unjustly feudalistic distribution of wealth and power, one is reminded of timeless idolised rebellious figures such as the fabled Robin Hood, the suave John Dillinger and the enigmatic Ned Kelly who engaged in similar activities and whose stories have given valuable inspiration to filmmakers. If not on the outset, then definitely at the slick and stylish ending, the political message is made loud and clear, with the film still managing to be engaging and inviting throughout whilst diminishing none of its thematic power. Some films depicting a dystopian future are so static and depressing that they fail to capture the audience's attention, with the perfectly valid underlying meaning being lost to miscommunication and poor execution, but the frivolous and refreshing tone of this film generously allows the audience to have some fun as they absorb the message, making it more likely for it to be understood and retained. After all "a spoonful of sugar helps the medicine go down". A world populated only by twenty-five-year-olds is bursting with liveliness and adventure despite the misery, and our very likable heroes have a winsome aura of invincibility about them that comforts the audience and fills them with optimism, just as they do for all those citizens who have been unfairly treated.
The design of the characters works splendidly well. The role of our spunky lead hero, Will Sallas, is handled very competently by Justin Timberlake, who it seems is on his way to becoming a full-time actor. A barely recognisable Amanday Seyfried just as capably takes on her role as Sylvia Weis, the plucky rich girl who has been living a very sheltered life, but is very quick to realise the reality of the world's situation and embrace the hard life that she and Will must lead. Inevitably, the two characters share an impulsive romance, but Niccol wisely doesn't let this get in the way of the main plot and keeps the focus on their connection as rogues rather than lovers.
In addition to these major aspects, the film is also peppered with countless delightful quips and memorable quirky moments that enjoy the potential humour of this world. Perhaps the most notable of these is an early scene in which Sylvia's father (a perfectly cast Vincent Kartheiser) introduces Will to his mother-in-law, his wife and his daughter, who all look exactly the same age.
Also featuring fine supporting performances from Olivia Wilde, Matt Bomer, Cillian Murphy, Alex Pettyfer, Yaya DaCosta, and Johnny Galecki, In Time makes for stupendously entertaining and very rewarding viewing.