Tim Travers & the Time Travelers Paradox

I just saw this film at cinequest film festival. It is a fast-paced movie with lots of laughs and interesting scientific talk too if you follow the discussion about the paradox. There is lot of killing in this film but it is done in an interesting manner and not just gratuitous. The effects of buildings exploding and the universe dividing are really well done and enhance the enjoyability of the film. The main actor, Samuel Dunning, did an amazing job playing more multiple roles than one can count. We had the filmmaker there and he let us know this was all done on an amazingly low budget and in an unbelievably short time.

Apparently going back in time and killing your younger self _doesn't_ wipe you out of existence but breaks something fundamental about the nature of reality. I learned this while attending a screening at deadCenter Film Festival 24. Once freed from the constraints of The Paradox, Tim proceeds to use the time machine as more of a Tim Travers factory, producing many Tim Travers who each attempt to forge their own path with their own new experiences. This is confusing and disrupting to everyone else and indeed to reality itself which proceeds to become more and more chaotic. It was a crazy ride which I quite enjoyed.

This fast-paced thrill ride is as funny as it is mind-bending; who knew living out the time traveler's paradox could be so much fun? Don't blink or you'll miss great moments and belly laughs. And yet, it's not a light-hearted treatment. The issues explored are as deep as self-hatred (and love), along with a big bang of science and science fiction. Excellent performances by the entire cast highlight the film's warmth and humanity amid a truly bizarre set of circumstances. Neither pure sci-fi, nor comedy, nor gore, but an artful blending of genres and themes that will challenge you to stay buckled up until the end.

I'm unfamiliar with filmmaker Stimson Snead, but it's an incredible supporting cast that he somehow assembled for this piece, and that alone is enough to warrant a look. Right from the very start we're also greeted with gratifyingly sharp production values - unexpected for such a small, unknown title - and an original score of synthwave from composers Si Begg and Damon Baxter that, to my absolute pleasure, goes a lot harder than it ever needed to (and never really lets up). We do also have to factor in the very premise, however: it's interesting and primed for amusement, but there's a question of how successfully and/or how seriously Snead will toy with time travel, a conceit which has been the sticking point for many a piece of fiction. Thankfully, however, like those other joys that greet us so rapidly, we don't need to wait to find out, because 'Tim Travers and the time traveler's paradox' is a total blast, and I'm aghast that this hasn't gotten bigger reception!

As it happens, Snead has gone about his time travel flippancy in a wonderfully shrewd manner. It lays the foundation for the plot, and for the clever, vibrant humor that will be peppered throughout - yet neither the plot nor the humor are fully reliant on the intricacies of time travel being impeccably thought out and scientifically cohesive to work, so it's easy to just sit back, relax, and enjoy the show. At the same "time," however, in his dialogue and scene work Snead builds on the plot and humor with meaningful (and fast-paced, and sometimes heavy) exploration of theoretical notions of science and philosophy, with the result that even as a viewer need not dwell on the particulars to have a good time, to dwell on and get twisted up in those particulars definitely adds another layer to the frivolities. Even that's not enough for Snead, though, for when he's not slyly referencing the bootstrap paradox or other minutiae, he's gleefully toying with other fantastical notions that have been dreamt up over time, and fiddling with the narrative structure, all while never losing sight of the plot and comedy. Frankly, just in considering all this, Snead's screenplay is possibly among the most brilliant I've ever seen.

But we're just getting started! Felicia Day, Joel McHale, Danny Trejo, and Keith David boast the star power, and it's a delight to see them at play here, but those in other supporting parts, including Snead himself, are just as great. Above all, as he takes the central role of time traveling tinkerer Tim Travers, it cannot be overstated how excellent Samuel Dunning is. This flick allows Dunning to exercise all his muscles as an actor, and even setting aside all the other glory to greet us, I think this would be worth watching just for him. This is to say nothing of the select few yet superb filming locations, ingeniously employed as they are through Snead's writing and direction, or the relatively light yet lovingly attended production design and art direction, props, costume design, and hair and makeup. What practical stunts and effects are employed are terrific; while post-production visuals aren't the top of the line, they're pretty darn stupendous, and far better than one might anticipate based on the nature of small-time productions that have proliferated across the Internet in the past ten to fifteen years. Our eyes are also met with keen cinematography, editing, sound, and even lighting; in all sincerity, what's not to love here?

Subtly but smoothly the story turns over time from riotous, far-out humor to darker and more serious sci-fi energies, and in every capacity the participants keep up with flawless ease and the vitality to match. In writing, in direction, in acting, in the music, and in every trace of the craftsmanship lies tremendous wit and originality as the picture dances across a marvelous bounty of very big ideas. With all this having been said, I don't think the feature is entirely perfect. There is some imbalance in the audio, for compared to literally anything else one might watch through any platform, by default the volume is so loud that one has to turn their speakers way down. A few instances of digital wizardry in the last act weirdly received less consideration than elsewhere in these ninety-some minutes, including even others in the last act that are even more grandiose and prevalent and nevertheless look outstanding. And for as bright as the considerable majority of everything is here, I can't help but think that Snead ran into some trouble with his third act, for he enters a narrative space that feels kind of oddly conventional in its far-flung whimsy. The wit and big thoughts continue through to the end, yet it somewhat comes across that Snead had difficulty resolving the plot, and he did after all get bogged down in the enormity of what he conjured and lost sight somewhere in the process.

Still, though less sure-footed in the back end, I can only repeat that much, much more than not, 'Tim Travers and the time-traveler's paradox' is fantastic. Where I'd argue it stumbles, the fault is no worse than we see in other kindred fare, and the difference here is that at its best - and for the preponderance of its runtime - this movie is incredibly smart, funny, and absorbing in ways that too many others aren't. No, it's not perfect, but even with fair criticisms in mind the sum total is so good that I could hardly be more pleased. I had high hopes based on Day's involvement, if I'm being honest, because at this point in her professional career I don't think she's prone to making ill-informed judgments, and my expectations have been well exceeded. It won't appeal to all comers nor meet with equal favor, but I found this to be fabulously entertaining, and I'm glad to give 'Tim Travers and the time traveler's paradox' my high recommendation!

Tim Travers is what I like to call a beer movie. Have a beer or two, or a whiskey, or your chill-out of choice, sit down, and let yourself laugh. Don't overthink it. The science quoted is cutting edge, but the plot is a deliberate call back to late 20th century camp and cult.

Sam Dunning delivers a surprisingly nuanced performance for a man who is playing opposite himself much of the time. It is completely believable, a la Eddie Valiant in Roger Rabbit. I was surprised that despite the entirely similar wardrobe (there are differences) and minimal visual changes, I could typically figure out which Tim was on screen by facial expression and small tics given to each version. The only flaw in this film is that Tim's redemption arc is subtle, and the two key scenes could be missed or misread (especially if you've had an extra beer to go with your beer movie.) However, Sam's Tim absolutely delivers the sort of redemption one can believe for a fundamentally self-absorbed man who can't stop himself from catering a bit too much to himself.

While Tim himself is funny (if for all the wrong reasons -- enjoy them) the supporting cast, even one-scene wonders and tough-guy Danny Trejo, deliver surprisingly good laughs. Especially when the film takes the time to show where reality, not movie logic, starts setting in for some folks and they try to tap out only to be sucked back in because you can't unknow things.

The movie does go on a bit long, and I'm never a Felica Day fan. That said, the movie keeps up the pace by taking everything at an almost caffeinated pace. I also feel that many women will appreciate the Deliah character because of how relatable her arc is -- seeing a man who could be something great, but just chooses to instead lean into everything that makes him hard to like. I love that this film doesn't somehow force a romance, but instead lets Deliah give a realistic portrayal of a disgusted woman.

Lots of easter eggs for those of us who grew up on 80s and 90s films. I don't always like that (it can feel too cheap an attempt at nostalgia) but all of them were played note-perfect and with the sort of nods and cues in the film that tell the audience that is was absolutely on purpose and meant as homage or parody.

Is it the stuff of camp and cult legend? I have no idea. Time will tell. But if your Friday night gang can appreciate a rude joke and has ever descended into absurdity, this is a solid choice for movie night.