Another entry in the recent lite Sci-Fi sweepstakes: Films such as ANOTHER WORLD, MELANCHOLIA, SOUND OF MY VOICE which use a slight SF tinge in what would otherwise be 'straight' non-genre movies. The film that SF fans will probably most closely associate it with is HAPPY ACCIDENTS. Both are Rom-Coms with a woman entering into a relationship with an oddball man who claims to be a time-traveler.
SAFETY is based on a real (if planted) classified ad that ran in Backwoods Home Magazine several years ago: "Wanted: Somebody to go back in time with me. This is not a joke. You'll get paid after we get back. Must bring your own weapons. I have only done this once before. Safety not guaranteed." The ad has been adapted by screenwriter Derek Connolly into a story about Darius (Aubrey Plaza), a magazine intern, who tracks down the Ad's author Kenneth (Mark Duplass, who also Co-produced with his brother Jay). Of course, a deeper relationship ensues.
SAFETY's problem isn't so much its Sundance quirkiness quotient as much as its structure. If the film had stayed with the central relationship with Darius and Kenneth (as in 'What's the Frequency, Kenneth'?) it may have worked. The actors work well together and Plaza is particularly engaging.
Unfortunately, the film has Darius working with a lead reporter (Jake Johnson) and another intern (Karan Soni). The intern is a nerdy horned-rim glasses wearing Indian science student who's only function seems to be as a convenient "comedic" foil for the reporter. Every time the main relationship seems to be building momentum, Director Colin Treverrow cuts away to a subplot involving the Reporter and an old flame. It's not so much that the subplot is poorly played, nor somewhat story driven (Darius has to report to somebody 'neutral', I suppose), but, it seriously undercuts what should be the main thrust of the story - Darius & Kenneth. So, by the time we get to the climax, it feels rushed and unsatisfying.
The throwaway ending is even more frustrating for those hooked by the film's initial premise. Even worse, hints are laid of something consequential as the reason that the protagonists want to time-travel, but they are left unfulfilled as well. Of all the films mentioned in this sub-genre, SAFETY has the least edifying conclusion of them all, appealing stars and all.
SAFETY is based on a real (if planted) classified ad that ran in Backwoods Home Magazine several years ago: "Wanted: Somebody to go back in time with me. This is not a joke. You'll get paid after we get back. Must bring your own weapons. I have only done this once before. Safety not guaranteed." The ad has been adapted by screenwriter Derek Connolly into a story about Darius (Aubrey Plaza), a magazine intern, who tracks down the Ad's author Kenneth (Mark Duplass, who also Co-produced with his brother Jay). Of course, a deeper relationship ensues.
SAFETY's problem isn't so much its Sundance quirkiness quotient as much as its structure. If the film had stayed with the central relationship with Darius and Kenneth (as in 'What's the Frequency, Kenneth'?) it may have worked. The actors work well together and Plaza is particularly engaging.
Unfortunately, the film has Darius working with a lead reporter (Jake Johnson) and another intern (Karan Soni). The intern is a nerdy horned-rim glasses wearing Indian science student who's only function seems to be as a convenient "comedic" foil for the reporter. Every time the main relationship seems to be building momentum, Director Colin Treverrow cuts away to a subplot involving the Reporter and an old flame. It's not so much that the subplot is poorly played, nor somewhat story driven (Darius has to report to somebody 'neutral', I suppose), but, it seriously undercuts what should be the main thrust of the story - Darius & Kenneth. So, by the time we get to the climax, it feels rushed and unsatisfying.
The throwaway ending is even more frustrating for those hooked by the film's initial premise. Even worse, hints are laid of something consequential as the reason that the protagonists want to time-travel, but they are left unfulfilled as well. Of all the films mentioned in this sub-genre, SAFETY has the least edifying conclusion of them all, appealing stars and all.