Tag Archives: Gregory Hoblit

Eternity’s Music, Faint and Far: Nate’s Top Ten Time Travel Films

I love a good time travel film. There’s something so purely exciting about opening up your story’s narrative to the possibility, and once you do the potential is almost endless. From the mind stretching nature of paradoxically puzzling storylines to the sheer delight of seeing someone stranded in an era not their own and adjusting to the radical development, it’s a sub-genre that always has me first in line to buy tickets. Here are my personal top ten favourites:

10. Nicholas Meyer’s Time After Time

How’s this for a concept: H.G. Wells (Malcolm McDowell) chases Jack The Ripper (David Warner) around 1800’s London, through a time machine and all over 1970’s San Francisco. This is a brilliant little picture because as sensational as this high concept is, the filmmakers approach the story from a place of character and emotion rather than big style SciFi spectacle or action. McDowell plays Wells as a compassionate, non violent fellow while Warner’s Jack relishes in the ultra-violent nature of the time period. This is also the film where McDowell met Mary Steenburgen and shortly after they were married.

9. Rian Johnson’s Looper

Time travel gets monopolized by the mafia in this stunning futuristic tale that is so specifically high concept it requires a near constant expository voiceover from Joseph Gordon Levitt so we can keep up. Playing an assassin hunting his future self (Bruce Willis), this has a vaguely steam punk feel to it, an uncommonly intelligent and surprisingly emotional script as well as scene stealing work from Emily Blunt, Pierce Gagnon, Paul Dano and a scruffy Jeff Daniels.

8. Terry Gilliam’s Time Bandits

A young boy tags along on one hell of a epic adventure with a band of time travelling dwarves on the run from both the Devil (David Warner for the second time on this list, how nice) and God himself (Ralph Richardson). This is an exhilarating, lush example of what can be done with practical effects, from a giant walking out of the ocean to a Lego castle somewhere beyond time and space to a recreation of the Titanic. Not to mention the cast, which includes cameos from Gilliam’s Monty Python troupe regulars as well as Ian Holm, Shelley Duvall, Jim Broadbent and Sean Connery in several sly roles.

7. Robert Zemeckis’s Back To The Future

“Great Scott!!!!” Man, who doesn’t just love this film. It’s practically it’s own visual aesthetic these days, and spawned two fun sequels that couldn’t quite capture the enchantment found here. From scrappy antihero Marty McFly (Michael J. Fox) to demented genius Doc Brown (Christopher Lloyd) this just hits all the right notes and gets a little taboo in the process as we see what would happen if someone ended up in the past and got hit on by their own mom. Yikes!

6. The Spierig Brothers’s Predestination

The less you know about this tantalizing, twisty flick going in the better, except to know that it will fuck your mind into submission with its narrative. Ethan Hawke plays a rogue temporal agent who’s been pursuing a relentless terrorist through time since he can remember, and finally has a plan he think will work to end the chase. Featuring Noah ‘exposition in every other SciFi film’ Taylor and the sensational new talent Sarah Snook, this is not one to miss and you’ll need a few viewings to appreciate it fully .

5. Tony Scott’s Déjà Vu

Scott’s trademark visual aesthetic blesses this kinetic, elliptical story of secret FBI technology used by keen ATF agent Denzel Washington to find and stop a mad bomber (Jim Caviesel) who has already slaughtered hundreds in a riverboat explosion. Adam Goldberg and Val Kilmer are welcome as agency tech experts but the real heart of this film lies in Washington’s relationship to a survivor of the incidents (Paula Patton) and how that plays into the fascinating central premise that doesn’t start *out* as actual time travel but gradually becomes apparent.

4. Gregory Hoblit’s Frequency

A father son relationship is the beating heart of this tale of cop Jim Caviesel (again!) and his firefighter dad Dennis Quaid. They are able to communicate across a thirty year gulf of time and the barriers of death itself via a miraculous HAM radio and some pseudo science involving the aurora borealis. This provides an exciting, involving and heartbreaking dual experience as the son races to find ways to save his dad from several different grim fates and take down a nasty serial killer while he’s at it. This film has aged so well mostly due to the genuine emotion felt between the family including mom Elizabeth Mitchell. The yearning to escape perimeters of linear time and reconnect with passed loved ones is especially prescient for me nowadays days based on my own recent experiences and as such the film holds extra weight now. A classic.

3. James Cameron’s The Terminator

Artificial intelligence works out time travel for itself in Cameron’s ballistic gong show of an action classic that sees freedom fighter Michael Biehn, civilian turned survivor Linda Hamilton, homicidal cyborg Arnold Schwarzenegger and a few hundred short lived cops engaged in a bloody, brutal fight for the future. I picked this over the sequel because the notion of time travel in the saga overall feels freshest and most well worked out here, despite my love for T2 being just a smidge higher on the gauge. Perhaps it’s also because the excellent Biehn makes damn believable work of convincing us that he’s a weary, distraught soldier from a different era, and sells the concept with his beautiful performance.

2. John Maybury’s The Jacket

Hazy, experimental, haunting and atmospheric, this was not a critical hit and it’s chilly vibe is evidence of that, but beneath that there’s a heartfelt story of confused gulf war vet Jack Starks (Adrien Brody) trying to make sense of his shattered psyche while surviving a gnarly mental institution run by a madman with a god complex (Kris Kristofferson). Somewhere along the way he discovers he can jump through time and uses the phenomena to investigate his own death and prevent others from happening. Featuring a low key, emotional turn from Keira Knightley and fantastic supporting work from Daniel Craig, Kelly Lynch and Jennifer Jason Leigh, this is a harrowing psychological thriller that gradually reveals itself as a meditation on life, death and the realms in between.

1. Terry Gilliam’s Twelve Monkeys

Gilliam gets two on this list, lucky him! He deserves it though, this is a curious film with unbelievable production design, a deeply felt performance from Bruce Willis and one from Brad Pitt that kind of defies description and erases doubts of his immense talent from anyone’s mind. Willis is a convict sent back in time from a bleak future to discover how and why a deadly virus wiped out most of earth’s population and sent the rest into subterranean caves. It’s not the film you’d expect and the sad, eerie resolution at the end is something that will stick with you for a long time.

Once again thanks for reading! There’s many that didn’t make the list as it’s tough to just pick ten, but I’d love to hear some of your favourite time travel films!

-Nate Hill

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Gregory Hoblit’s Fracture

The judicial system has never been played so hard as it has by Anthony Hopkins in Gregory Hoblit’s Fracture, a thriller that’s written, acted and directed to high heavens but scored into oblivion. I’m not kidding, a hotshot courtroom gig of this caliber should sound great but the musical composition here by the Brothers Danna makes it sound like a TV movie and really doesn’t do it any favours. Odd, when you consider the fact that they are Oscar winners for previous scoring work. Hopkins is the murderous rich prick who shoots his wife (an underused Embeth Davidz) in the face when he finds out she’s having an affair with a cop (Billy Burke). Then in a spectacularly nasty move, he sets it up so the detective is first on scene to find her just so the old bastard can see the look on his face. After that, no one seems to be able to make the case stick to him, and it’s passed off to young hotshot prosecutor Ryan Gosling, who underestimates the sheer diabolical resolve of Hopkins and sails straight into his net. It’s pretty preposterous and overblown in terms of what’s allowed, not allowed and plausible in events surrounding such a high profile court case (why would they let him so close to his comatose wife right after such a suspicious acquittal?), but employ suspension of disbelief and this vicious little narrative is a lot of fun. Hopkins has a ball with this role, relishing the moment every time he royally fucks someone over and cooking up a stinging blend of laconic sociopathy and bubbling mirth. Hoblit gathers an impressive supporting cast including perennial silver-fox David Strathairn, Bob Gunton, Fiona Shaw, Cliff Curtis, Xander Berkeley, Zoe Kazan and slinky Rosamund Pike as a love interest from a rival firm. It’s a bit of a shame because the script, performances and story are all very well orchestrated, but the score and certain details just seem glossed over when there could have been more grit and depth. Those lacking elements give it an airy feeling of incompleteness where it should have been deeper and tighter drawn.

-Nate Hill

Gregory Hoblit’s Frequency

Looking for a smart, slick Sci-Fi thriller that has the emotional heartbeat to keep you caring right through the narrative? Check out Gregory Hoblit’s Frequency, a brilliant little high concept mind bender that’s aged so well they even recently rebooted it for TV, which I’m a little dubious about. Like it’s celestial Sci-Fi premise, the film is kind of a lightning in a bottle type flick where they captured the exact recipe of magic, character relationships and plot points that resulted in something really special, and I’m doubtful the new one could come close. Dennis Quaid and Jim Caviesel are awesome as father and son separated by both time, space and even death, until a miracle comes their way. Frank Sullivan (Quaid) is a firefighting, fiercely loving family man in the 70’s who is crazy about his wife (Lost’s Elizabeth Mitchell) and young son. Flash forward thirty years or so, his son (Caviesel) is grown up and now a cop, haunted by the past, and his dad has died in the time since. One year there’s a particularly powerful set of Aurora causes by sunspots, right when Caviesel happens to be tinkering around with a HAM radio. It’s delightfully farfetched, but this cosmic occurrence allows him as a grown up to communicate through time thirty years previous, reconnect with Quaid and try to set his family on a less tragic course. The reason it works so well is the dynamic between the family; Quaid, Mitchell and their young son (Daniel Henson) are so thoroughly believable and adorable as a family that we stick by them with each beat and deeply care about their outcomes, which are constantly shifting every time the past is changed via the future, and vice versa. Quaid has two friends (Andre Braugher and Noah Emmerich) who revolve around the character development too and have their parts to play, as does Shawn Doyle as a menacing serial killer who crosses their paths. Quaid loves to pick out these high concept Sci-Fi scripts it seems, he’s been appearing in them throughout his whole career from InnerSpace to Enemy Mine to Dreamscape to Pandorum, the amount of interesting stuff in his filmography is inspiring and this is one of his best. This is a tale to get lost in and revel at the sheer escapism it throws your way, a clever twist on time traveling that puts it’s two charismatic protagonists at dual control panels and gives them the power over fathomless phenomena, connected by an astrological two way radio that knows no bounds of space or time. A classic for me.

-Nate Hill

Gregory Hoblit’s Primal Fear

Gregory Hoblit’s Primal Fear does a fine job of using opaque marketing to conceal it’s delicious, devilish secrets, a tactic that many films recklessly abandon and ruin far too much in trailers or posters. This is a careful exercise in serpentine plotting. Is it courtroom drama? Supernatural shocker? Psychological thriller? Pot-boiling procedural intrigue? Check it out and be as floored as audiences were for the first time back then. Richard Gere holds his end well as a legendary hotshot defence attorney in Chicago, one with a tarnished reputation and a penchant for defending unscrupulous clients. A weird case comes his way in the form of mentally challenged alter boy Edward Norton, accused of murdering someone high up in the clergy and causing a political hailstorm throughout the city. This is one of those thrillers that does genuinely keep you guessing, until literally the final frame, using human interaction and intimate performances to instigate reactions, rather than a barrage of special effects or manufactured narrative gimmicks. I’m being deliberately vague because this is the one film you don’t want spoiled for you ahead of time, it’s that cool. This was, I believe, the role that put Norton on the map, and he’s a gale force of electric energy, giving everyone else onscreen a huge run for their money. It’s fun watching Gere, an assured and confident pillar of law and order, slowly unravel and find himself at the mercy of malicious curveballs he doesn’t even see coming until they’ve hit. The cast is dynamite, with rockin’ turns from fiery John Mahoney as the worst mayor in Chicago’s history, Laura Linney as Gere’s hot tempered rival, Terry O’ Quinn, Alfre Woodward, Andre Braugher, Jon Seda, Frances McDormand, Maura Tierney, Joe Spano, Tony Plana and a slick Steven Bauer as a mob don with ties to Gere. This has all the trappings of a big, overblown thriller drawn from broad strokes, but Hoblit wisely brings it in in places, giving us a nuthouse claustrophobic shivers to go along with the big league intrigue. One of the best thrillers of the 90’s, and one that should get mentioned more often. I’ll also say it has to have one of the coolest DVD special edition covers ever, it’s always nice to see extra effort put into that arena.

-Nate Hill

Gregory Hoblit’s Fallen


A demon angel. A Badass Denzel Washington. Tony Soprano singing the Rolling Stones. Creeping psychological dread. Browned, burnished production design. A deliciously mean spirited, ballsy twist ending. All this and more can be found in Gregory Hoblit’s Fallen, an atmospheric spook-house of a flick that gets tone, fright and suspense just right. Nestled in that sweet spot of the 90’s where detective stories often had a neat supernatural twist (The Prophecy is another dope one), it’s a film that demonstrates the power of storytelling and atmosphere done right, like a campfire tale that cops tell their youngsters. Denzel is Hobbs, a detective who oversees the graphic execution of serial killer Edgar Reese (Elias Koteas, terror incarnate), a monster he once caught. Case closed, right? Not so much. Soon after he kicks the bucket, one or more copycat killers show up, and once again the crimes happen under Hobb’s watch. Coincidence? Paranormal? It’s a neat, eerie game of cat and mouse with an antagonist who possesses a few unearthly methods of skulking around in the dark. Hobbs is helped by his two colleagues, salt of the earth John Goodman and hothead James Gandolfini, bumps heads with the obstinate police captain (Donald Sutherland), and runs into his foe at every turn, each time in a new vessel which gives the actors, right down to extras, an opportunity to have some devilish fun. Embeth Davidz is her usual withdrawn self as a woman with ties to the killer’s past, and watch for Robert Joy and Gabriel Casseus as well. Composer Dun Tan’s unearthly drone of a score compliments the drab shadows, oppressive nocturnes and threatening frames of the film eerily as well, creating a mood-scape that drips ambience. The end is an acidic kick in the nuts, and I admire a film that has the stones to chuck in such a shock tactic, embracing the dread that has been built up to that point with one last sardonic, hopeless cackle. Film noir to it’s roots, subtly mystical, a perfect one to settle down with as we move into the Halloween season. 

-Nate Hill