movie reviews 2067

2067 review: The best time travel movie since Avengers: Endgame

Blade Runner meets Walkabout in this bold new cyberpunk thriller with a climate change message.

It's hard to say anything new in a time travel movie. The sci-fi sub-genre has been explored so frequently that reinterpreting the rules of traveling through time is often more trouble than it's worth. The creators of Rick and Morty famously do everything they can to avoid it, and Avengers: Endgame basically treated the concept as an excuse to revisit Marvel's greatest cinematic moments while answering the question of how it actually works with a great big Hulk shrug. (Let's not even talk about Tenet .)

Perhaps the only way to tell an interesting story about time travel anymore is to meld it with some other relevant issue. Netflix's powerful film See You Yesterday (2019) reinvigorated the genre by grafting it onto the Black Lives Matter movement. And in 2020, climate change serves as the backdrop for a thrilling new time travel movie from Australian director Seth Larney titled 2067 .

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2067 imagines a near-future where some combination of climate change, capitalism, and human shortsightedness has wiped out every single plant on planet Earth. In response, most of humanity is dead as civilizations collapse and oxygen runs out. The only remaining city is located in Australia, where a powerful corporation sells synthetic air that's slowly killing the only people left alive.

The movie stars Kodi Smit-McPhee ( X-Men: Apocalypse ) as Ethan Whyte, an engineer who learns that a message sent back in time from 400 years in the future has requested him personally. After being handed a holographic iPhone and an untested flight suit, he's shoved through the same time machine to find out how humanity survived and bring back a solution that can help the present. Upon landing in the future, one of the first things he sees is his own decayed corpse, and it just gets trippier from there as Ethan unravels a plot that began in his childhood and stretches far beyond his own natural life.

Kodi Smit-McPhee and Ryan Kwanten in '2067'.

This all happens pretty early in the movie, which means most of 2067 takes place in a future where nature has inexplicably returned. It's a smart move by Larney, both for budget reasons and because he wanted to showcase the natural beauty of his Australian homeland. However, it also means we don't get to spend nearly enough time in the director's twisted cyberpunk vision.

This future imagined by Larney is horrific, but it's also a pleasure to look at. 2067 begins in a dystopian city full of flying cars, neon color schemes, and underground bars; you might not notice it, but there's not even a hint of green anywhere in this world. Blade Runner comes to mind, as does 12 Monkeys (another great time travel movie) and the city of Zion in the Matrix trilogy.

"The first movie that I worked on was The Matrix Reloaded ," Larney tells Inverse . "So that was a big inspiration." (Larney also worked on Star Wars: Episode III , where he met his wife Lisa Shaunessy, who produced 2067 .)

'2067' imagines a cyberpunk future where plant life is extinct.

The cyberpunk moments in 2067 might be few and far between, but the movie comes through in its time travel adventure. When Ethan first encounters his own dead body 400 years in the future, it feels like a weird joke. But everything becomes clear as the story carefully reveals itself one twist at a time. For Larney, that meant lots of careful planning and a little inspiration from another sci-fi great.

"I did a lot of, like, flowcharts," the director says. "I know Christopher Nolan does that with his movies, and I was really inspired by some of the sketches that I've seen that he's done in his scripts in the past for Inception and stuff like that."

I won't get into spoilers, but believe me when I say that all those flow charts paid off. 2067 delivers a time travel twist on par with Nolan's best work — and without the Hollywood budget.

2067 's indie budget (given a boost thanks to the Australian government) does hold the movie back in some places. Ethan's future walkabout probably lasts longer than it needs to before the plot really starts to pick up, but once it does, the movie makes the best of its two-hour runtime.

And if a little extra greenery is the biggest problem here, maybe we should count ourselves lucky we're not living in 2067 's plant-less future. For now.

2067 is available now on VOD.

This article was originally published on Oct. 5, 2020

Climate Crisis
Science Fiction

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2067 Reviews

2067 may not innovate in the field of ecological dystopian films, but its subject matter feels, sadly, evergreen.

Full Review | Dec 27, 2022

Thankfully, Smit-McPhee is mostly in great form, and his intense, haunted performance is enough to carry things over the line.

Full Review | Original Score: 3/5 | Feb 24, 2021

Can't invest its characters with enough reason to be in either its own future or the future inside its future.

Full Review | Feb 16, 2021

It all looks great, with outstanding photography by Earle Dresner. But 2067 gets bogged down with the sort of time-shifting debate beloved of many sci-fi buffs.

Full Review | Original Score: 3.5/5 | Dec 2, 2020

The problem is the story; it's a very thin tale, one that would have made a great short film. Alas the narrative is stretched to snapping point and the viewer ends up more than a little bored.

Full Review | Original Score: 2/5 | Dec 1, 2020

It serves as another misfire for a "hero's journey" space film.

Full Review | Original Score: C- | Nov 29, 2020

The end result is a film which, at first, seems like a rehash of time travel stories, but, with patience, reveals itself to be much more intelligent.

Full Review | Original Score: 3.5/5 | Nov 17, 2020

"All good art is political," the author Toni Morrison famously noted. A great deal of not-so-good art is political too; this film explicitly so.

Full Review | Original Score: 2/5 | Oct 14, 2020

More convoluted than provocative, the script doesn't generate the desired present-day emotional impact.

Full Review | Oct 9, 2020

The movie is largely forgettable, but still an entertaining enough momentary distraction.

Full Review | Original Score: 2.5/4 | Oct 7, 2020

Basically, the film plays out like this: Act One, I'm interested. Act Two, What the heck is going on? Act Three, Oh, that's it?

Full Review | Oct 7, 2020

Just another doomsday movie wasted by weak performances and a plot that feels like it's experiencing its own global extinction event.

Full Review | Original Score: 3.5/10 | Oct 4, 2020

Generously, this is a 15-minute short padded out to an unforgivable, patience-trying two hours, there's so little in the way of fresh ideas or engaging characters. Kudos for making time travel boring.

Full Review | Original Score: 1/5 | Oct 4, 2020

This sci-fi tale intrigues for a while with its mystery story and striking visuals, but its long, dull setup and unsatisfying conclusion reveal a tendency for sermonizing over character or story.

Full Review | Original Score: 2/5 | Oct 3, 2020

Those looking for standard genre thrills and spills may grow frustrated with the more contemplative aspects of 2067, but those who prefer their science fiction to be on the trippier and more cerebral part of the spectrum should find it intriguing.

Full Review | Oct 2, 2020

Despite the too-twisty story and drippy characters, Larney does extremely impressive work with a limited budget, creating an entire world (or two) as if he had the resources of a Marvel escapade, or at the very least a Terminator entry.

Full Review | Original Score: 2/4 | Oct 2, 2020

A cautionary eco-parable wrapped in a seriously dull and myopic time-travel thriller.

You can tell "2067" has some rather lofty aspirations. But its ways of realizing them are too frequently pedestrian, from the banal dialogue to the notion that our savior might ultimately need reassuring that daddy really loved him.

2067 ... isn't just a clever riff on time-travel adventuring. It has some difficult wisdom to speak, too.

Full Review | Original Score: 3/4 | Oct 2, 2020

'2067' looks much more expensive than it is and has an intriguing series of Macguffins, but with hokey dialogue and vague character motivations the second half falls flat.

Full Review | Original Score: C | Oct 2, 2020

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A promotional still from the Australian film 2067

2067 review – Kodi Smit-McPhee is the chosen one in aspirational but cliched climate sci-fi

High-end looks on a low budget aren’t enough to make up for writer/direct Seth Larney’s hackneyed script

T here is a genre of sci-fi movies that prioritises a resourceful kind of deception: tricking the audience with high-end looks manufactured from low budgets. Australian films entering this canon includes the 2015 outer-space psychological thriller Infini (which cost about $5m), the 2015 drama Arrowhead – about a man on a far-flung moon who talks to a robot voiced by Shaun Micallef (about $200,000) – and the 2018 invasion flick Occupation (about $6m), in which descending aliens do the unconscionably un-Australian thing and interrupt a footy match.

The visual effects supervisor-cum-writer/director Seth Larney’s time travel sci-fi 2067 (the opening-night film at this year’s Adelaide film festival) joins the fold, presenting a devastated future world in which the climate crisis has caused, among other things, a dangerous shortage of oxygen. A message is relayed from the future, from unknown parties, requesting that a blue-collar worker, Ethan Whyte (Kodi Smit-McPhee), be shot forward in time using what looks like a preposterously large industrial fan.

Larney depicts a dystopian society with a touch of steampunk aesthetic that calls to mind Blade Runner, as well as a lusher, greener, more remote setting, contrasting societal decay alongside re-emergence of nature – like in the video game series The Last of Us. Commendably, the director manages to craft a sense of largesse from only a handful of locations.

A man in a spacesuit inside a purple cylinder

I’m dubious of this “big look on small change” genre in general. The problem is that Hollywood studios will always be able to make movies that are bigger, more spectacular and more stuffed with SFX. Indie film-makers who primarily seek to impress along these lines enter a situation in which the odds are stacked against them – they’re bringing a knife to a gunfight. It’s a different situation if their aesthetic aspiration is balanced with a good script, particularly one that takes the kinds of risks studio movies avoid. Cheap but effective sci-fi films of this ilk include two from 2018: the US film Prospect and the writer/director Leigh Whannell’s outstanding Upgrade (made for about $5m).

Larney’s innovations are technical; it’s hard to envision anybody congratulating him for a script riddled with hackneyed turns of phrase such as, “Do you really believe I’m going to save the world?” and, “You may be humanity’s only chance.” That last line is delivered to Ethan by the great Deborah Mailman, playing the chief technology officer of a company called Chronicorp. Wearing a silvery white wig and corporate futuristic attire, she sounds bizarrely robotic, as if reading from an instruction manual. She informs the protagonist of a message relayed from the future, which simply reads “SEND ETHAN WHYTE.”

Ethan umms and ahhs, delaying the inevitable. The director packs in extra motivation in the form of a sick wife, which leads to more iffy dialogue – for example, “You may be your wife’s only chance.” The big question is where Ethan is going and how his actions can affect the fate of the world.

If Larney is aware of how silly his material is, he doesn’t show it. Even when the story swirls around in preposterous B-movie territory, everybody maintains a poker face – including and especially Smit-McPhee, who seems stretched beyond his capabilities with this distraught performance. As his best friend, Jude, Ryan Kwanten impresses no more, projecting a flat form of masculinity: gruff and tough – not much deeper than caricature.

Deborah Mailman in a silver wig and dress

2067’s script trades in the messianic archetype, with its message that a “chosen one” will emerge to save humankind from catastrophe, while the rest of us follow like lemmings. The message here is similar to the kind presented in most superhero movies as well as in the marketing of real-world politicians (as explored in this excellent 2018 essay that explores the connection between caped crusaders and “the guiding myth of neoliberalism”).

If you’re thinking “don’t take a silly movie so seriously” – well, sure, but you can tell a lot about cultures by the kinds of narratives they embrace. Part of the problem here is that Larney takes the messages of his own movie very seriously, among other things warning us to heed the dangers of the climate crisis while simultaneously suggesting that one person and a bit of blind luck is our way out of it. “All good art is political,” the author Toni Morrison famously noted. A great deal of not-so-good art is political too; this film explicitly so.

In narrative terms, long-entrenched paradigms such as Joseph Campbell’s “hero’s journey” continue to be highly influential. But dusting off classic models and merging them with more politically conscientious ways of thinking doesn’t have to lead to boring or bland outcomes. Quite the opposite. For a great example of how collective activism can make electrifying entertainment, consult the brilliant Netflix series Dark Crystal: Age of Resistance .

The most impressive aspects of 2067 are aesthetic and atmospheric. Audiences are likely to recall the film in sets and moments: the clashing Christmas colours lighting up in splotches of red and green visions of dirty dystopian streets near the beginning, painting a seedy-looking metropolis I would have liked to explore more.

If all the money in the world is no guarantee of a good story, all the technical innovations – the dressing of sets, the creation of effects, the careful management of what is in and out of the frame – is of course no guarantee of one either.

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‘2067’ Review: Kodi Smit-McPhee Visits an All-Too-Familiar Dystopian Future

A generic hero time-travels to save humanity in this well-designed but pedestrian sci-fi adventure from visual effects vet Seth Larney.

By Dennis Harvey

Dennis Harvey

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By now the term “dystopian future” almost seems redundant, at least at the movies — when was the last time you saw a film in which the future wasn’t dystopian? Audiences can swan-dive down that familiar sinkhole once again in “ 2067 ,” an Australian sci-fi adventure that’s the first directorial feature from Seth Larney , whose visual-effects background is evidenced in a good-looking production that gets a lot out of its design aspects for the buck.

In the realms of storytelling and character interest, however, this stock “can our protagonist save the planet that humanity already wrecked?” tale proves less resourceful, bogging down in convoluted, low-boil intrigue despite taking place in both the titular year and 25th century. Though Larner gets sole screenplay credit, publicity materials note involvement of at least four other writers. The result is a movie that seems unaware just how generic the should-be-distinguishing details of its earnest eco-cautionary tale have turned out.

Unfortunately, viewers will be aware, as “2067” lands as the kind of enterprise in which actors do not succeed in making their roles feel more personalized than “Hero,” “Loyal Buddy,” etc., unhelped by dialogue as mind-dulling as “What makes you think you’re gonna find what you’re looking for?” “I have to!” RLJE is releasing to a mix of U.S. theaters and virtual platforms on Oct. 2, simultaneous with a home-turf opening.

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A brief prelude of reportage limns the global ravages of climate change, as fires, floods, deforestation and so forth make one nation after another “go dark.” In those that retain some semblance of society, suicide protestors shout, “Oxygen is not a privilege!” before self-immolating. But it is a privilege, its artificial substitute manufactured primarily by private company Chronicorp.

Ethan Whyte ( Kodi Smit-McPhee ) is an ordinary laborer, whose work in tunnels alongside best mate Jude (Ryan Kwanten) has something to do with maintaining the power sources that now fully extinct plant life and other natural systems can no longer contribute to. Nonetheless, everyone is at risk of the illnesses triggered by deprivation, including Ethan’s blood-coughing wife Xanthe (Sana’a Shaik). These are the death throes of a species that is, it seems, imminently doomed.

Inexplicably summoned to see Chronicorp’s CTO (Deborah Mailman), Ethan is surprised to learn he is Luke Skywalker — or rather, yet another ordinary fella who turns out to be “humanity’s only chance.” It seems the scientist father (Aaron Glenane) who disappeared when he was eight had developed a time machine, and now said machine is not joking when it relays a message from the future reading “Send Ethan Whyte.” (You, however, will probably laugh anyway.) Thus our hero is “thrown” 407 years hence hoping to find “a cure” for ailing Earth that can save his wife — and the rest of humanity.

2574 turns out to be jungle-y, which is good, but also full of Halloween-type skeletons, which is bad. There is a sealed structure to which Ethan eventually gains access (by which time Jude has joined him), and unfortunately we spend way too much of this distant future within the rusty old lab it contains. As elsewhere, everything inside seems to be all about Ethan and his dad, with holograms conveniently revealing past secrets (including a stolen bit of “Batman” origin story), and much unexciting discussion of whether the past can indeed be changed or we’re still screwed.

It’s your basic “The fate of the entire universe somehow rests on your nondescript shoulders, son” concept, and scrawny, boyish Smit-McPhee does not provide much heft or charisma to carry that burden. Nor are the variable supporting players given much to work with. You can tell “2067” has some rather lofty aspirations. But its ways of realizing them are too frequently pedestrian, from the banal dialogue to the notion that our savior might ultimately need reassuring that daddy really loved him. (Admittedly, such was also the end of the cosmic rainbow for Jodie Foster in “Contact” — and a distinct letdown there, too.)

When it’s not stuck in that lab, the film offers up some neat CGI futurescapes and real-world scenery. There’s an attractive general polish from DP Earle Dresner, production designer Jacinta Leong, and other contributors. But it remains the tragedy of our cinematic era that it is apparently easy to conjure up impressive visual elements, yet conversely very hard to write a screenplay that doesn’t feel indifferently sewn together from several prior better ones — or in which people feel like rounded individuals rather than genre stick figures.

Though during the narrative itself, Kenneth Lampl and Kirsten Axelholm’s original score sometimes seems a bit much for the onscreen action, their final-credits accompaniment has an aching beauty. It’s suggestive of a much more mournful, poignant film — one “2067” may well have intended to be at some point. Instead, we get a mashup of influences as diverse as “Stargate,” “The Time Machine” and “Silent Running” in which nothing feels very personal, let alone original.

Reviewed online, San Francisco, Sept. 29, 2020. Running time: 114 MIN.

Production: (Australia) An RLJE Films release of a Screen Australia, XYZ Films, KJFuturism Studios presentation, in association with South Australian Film Corp., Adelaide Film Festival, Create NSW, Elevate Production Finance, Grumpy Originals, Kojo Entertainment, Freedom Films, of an Arcadia production. Producers: Lisa Shaunessy, Jason Taylor, Kate Croser. Executive producers: Alexandra Burke, Claire Yvonne Evans, James Boyce, Michael Rymer, Geoff Clark, Clement Dunn, Josh Pomeranz, Adam Scott, William Gammon, Craig McMahon, Jeff Harrison, Ari Harrison. Co-producer: Bec Janek.
Crew: Director, writer: Seth Larney. Camera: Earle Dresner. Editor: Sean Lahiff. Music: Kenneth Lampl, Kirsten Axelholm.
With: Kodi Smit-McPhee, Ryan Kwanten, Damian Walshe-Howling, Leeanna Walsman, Sana’a Shaik, Matt Testro, Finn Little, Aaron Glenane, Deborah Mailman.

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‘2067’ Tries To Solve A Climate Change-Induced Pandemic Dystopia — With Time Travel

The most consistently compelling thing about 2067 is star Kodi Smit-McPhee’s face itself. The kid from The Road is all grown up now, with striking, deep-set blue eyes set so wide across his face that he looks a little bit like Sid the Sloth from the Ice Age movies, reimagined as a male model, with an impossibly long neck and pronounced Adam’s apple giving him a condor-like quality.

He seems futuristic or otherworldly, which fits in 2067 , set in a fittingly depressing vision of the future (are non-bleak futures even possible to imagine in 2020?) in which climate change has killed all of Earth’s plants. This has lead to an oxygen shortage, and the artificial oxygen the world’s remaining humans have been forced to subsist on is causing a mystery sickness. Wow, climate change and a pandemic? What an imagination, writer/director Seth Larney! (Do you think he hired Kodi Smit-McPhee just so he wouldn’t have the goofiest sounding name on set?)

McPhee plays Ethan Whyte, who lives in future Australia, where most of the world’s remaining population has fled to escape climate catastrophe, and works as some kind of tunnel rat (a “fogger” in 2067 parlance, an occupation it never entirely explains) alongside his adopted brother, Jude (Ryan Kwanten). Outdoors, everyone wears gas mask-type breathing apparati, and desperate urchins murder each other for puffs of sweet, sweet air. Ethan has a wife named Xanthe (the words “Xanthe Smit-McPhee” echoing through my brain uninvited), played by Sana’a Shaik. For her birthday, Ethan gives her a breathing mask, a gift apparently so lavish that she feels compelled not to accept it at first. When she finally does it makes her cough up blood, almost always a harbinger of terminal illness in movies.

Whyte, who has a mysterious iron cuff attached to one wrist that he seems embarrassed of, later gets Shanghai’d by some agents and told by a corporate functionary (Deborah Mailman) that he’s been selected for a special mission. It turns out Ethan’s now deceased, absentee physicist father (Aaron Glenane) — who permanently bolted the cuff through Ethan’s wrist when he was just a boy — had been developing a time machine. They’d been able to send radio waves 400 years into the future. The waves bounced back, in the form of a cryptic message, “SEND ETHAN WHYTE.”

It turns out they have just enough juice to squirt Ethan into the future and maybe find the key to saving humanity (the future folk must surely know-how, considering they’re both alive and capable of texting), but no plan in place for how to get Ethan back once he jumps ahead. So it might be a suicide mission. Will it be worth abandoning his wife in order to potentially save her, humanity, and the rest of this movie?? I’ll let you guess how that one plays out.

It’s an intriguing setup, and 2067 has the world-building and production design of a much more expensive movie. It seems to have all its Macguffins in the right places, and yet, the writing is so vague and the characters’ motivations so murky that the actors end up flailing, trying desperately to breathe life into lines like telling Ethan has to “have faith” for the umpteenth time. Ethan’s father (via flashback) also compares people to the stars in the sky, leading to an eventual explanation that does little to justify the metaphor. Music swells and characters scream at each other (Smit-McPhee often in a feline strangle) but it’s hard to tell what exactly they’re so upset about. The conflict seems imposed. 2067 is an epic score in search of epic action at times.

Ethan’s buddy Jude seems like he might be evil, yet the actual words he says are those of a caring guy (maybe it’s the American accent). Even worse, Jude and anyone who knows Ethan as more than an acquaintance have a terrible habit of calling him “Ethie.” Between the constant repetition of “Ethie” and “Xanthe” I was worried my brain might be getting a lisp. Am I hearing this right or do I have a hearing impedimenthie?

In the end, the timeliness of 2067’s premise is matched only by the clunkiness of its execution. It zooms straight from a convoluted conflict to an ending so headslappingly stupid that the characters in the movie actually call it “the deus ex machina.” Even that doesn’t quite do it justice.

‘2067’ opens October 2nd in theaters and via VOD. Vince Mancini is on Twitter . You can access his archive of reviews here .

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‘2067’: film review.

Kodi Smit-McPhee plays a reluctant time-traveler in Seth Larney's save-the-world picture '2067.'

By John DeFore

John DeFore

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Rarely have sci-fi/fantasy flicks embraced the “chosen one” trope as enthusiastically as Seth Larney’s 2067 , in which a world on the brink of extinction invests every ounce of hope in a time-machine experiment, and, once it’s running, a message from the future comes back: “Send Ethan Whyte.”

And so a nobody who fixes power plants for a living becomes humanity’s hope in this clunky sci-fictioner, which has a couple of interesting ideas up its sleeve but doesn’t know how to reveal them. A more skillful filmmaker could have made this ride less jarring, but as it is, the rushed nature of its action and emotional beats makes 2067 feel like a story that needs the breathing room of a limited-run TV series or a novel, not a feature.

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“2067”: Humanity and technology and fighting ecological collapse

October 1, 2020 By Claire Nickell Leave a Comment

2067 , directed by Seth Larney, is a timely movie about a future Earth ravaged by climate change and ecological collapse. In this darkly dystopian world, humans face the same questions we face now- what can individuals do, if anything, to save the human race. We endure some shaky plotting and dialogue early on, but ultimately 2067 works well to raise questions about the future of humanity and the role each of us chooses to play in the real life unfolding destruction of the world about us.

The movie opens with a voiceover describing this bleak future brought about after disastrous heat waves, floods and ongoing deforestation. We watch the cities of the world go dark as humanity enters a new kind of dark age. As a result of the devastations of the natural world. all plant life has died, and the supply of oxygen is quickly dwindling. Most humans (the workers, really) live on synthetic oxygen, which of course has brought a new and unique health crisis, known simply as “The Sickness”.

We are introduced to the main characters, Ethan Whyte (Kodi Smit-McPhee) and Jude (Ryan Kwanten), as they casually work to fix some clearly near catastrophic nuclear power issue. They are unworried about the obviously looming crisis (great metaphor for climate change) and the issue is fixed at the last minute (a fool’s fantasy if we are extending the metaphor). After their shift ends they ascend into the city. This is our first glimpse into a truly dismal reality. Humans are living in dirty, polluted cities, where oxygen is dispensed from O2TMs (clever!).

One of my favorite elements of this movie was the sets and visual effects that showed us the larger world. From this first glance, to later views of the wider city as it transforms to different realities set the scene and helped the world building.

We meet Ethan’s wife, Xanthe (Sana’a Shaik), who is one of the unlucky ones afflicted with “The Sickness”. This conflict is one of the primary drivers for Ethan: he would do anything to save his wife.

Later, Ethan is summoned to the headquarters of Chronicorp, the main manufacturer of synthetic oxygen. This slick and ultra modern office building is the perfect juxtaposition with the gritty world seen earlier, and a great use of setting to further world building by showing us the wildly divergent lives of the rich and the poor.

Ethan meets Regina Jackson (Deborah Mailman), the CTO of Chronicorp’s research division. Out her window, we glimpse a city skyline, polluted with choking air and dingy light. Regina makes a dizzying offer: “The O2 epidemic will wipe out the human race, what would you say if I told you you could save everyone?” We learn Ethan’s dead father, Richard Whyte (Aaron Glenane) had been working on a time machine, hoping to learn a cure for the sickness from their descendants. Ethan eventually agrees, only after securing the first dose of cure for his ailing wife.

At this point, I struggled with several bits of anachronistic tech. I don’t believe that a society that has advanced enough technologically to build a time machine can’t figure out how to avoid their current dire situation. Most of the tech appears to serve as plot devices rather than a way to present a technologically cohesive vision of the future. It is possible this is an intentional division between the rich and the poor, but it was never made explicitly clear.

The future reveals a series of revelations to Ethan as he explores the transformed world. Ultimately it is in the future that the past is revealed, and Ethan begins to understand his own agency, not as choices and responsibilities forced on him, but by deciding which path to take, and ultimately deciding who he wants to be.

Most of the dialogue early in the movie was disappointing and awkward. In the middle and towards the end I was drawn to the philosophical discussions around time travel as analogies of the issues we face today with climate change.

Conversation between scientist father and his adoring son:

Ethan: Stars? How are we like stars? Richard: Try this. Imagine we are all physically connected by the fabric of the universe, an invisible field that binds us together with everything in the universe: you, me, the stars. We are all connected through time. So you see even when I am not with you, we are always together.

The CTO, as the embodiment of the privileged elite:

“Humans are a virus. The earth needs time without us. We’ll jump ahead to when it is healed. People are going to have to die, it’s not an easy decision but it’s the right one. It’s not what we want, it’s what we need.”

The movie mirrors reality, as the elite bide their time in luxury and safety while the majority are left in unhealthy and dangerous living conditions. What are the elite waiting for? Deus Ex Machina: some brilliant billionaire (one of their own, natch) to come up with an idea that will save the world without the need to sacrifice their ultra-luxury. In this case the answer is TIME TRAVEL! While this feels like a weak plot move, it is an accurate depiction of reality.

What is not an accurate depiction of reality is that the elite are almost exclusively people of color. I can’t imagine the world so completely reversed from the current racial hierarchy without the complete twin reversal of issues around climate change and public health.

Time travel is often used to help us explore the question of whether human beings have agency or if we are bound to fates and futures already written. 2067 incorporates this theme into the plot, and asks our protagonist what he believes.

Jude (to Ethan)- “The future is written, we are just turning the pages.” Richard (to Ethan)- “Make a choice to believe in something bigger, believe in people.”

By the year 2067, Earth has been ravaged by climate change and humanity is forced to live on artificial oxygen. An illness caused by the synthetic O2 is killing the worlds’ population and the only hope for a cure comes in the form of a message from the future: “Send Ethan Whyte”. Ethan, an underground tunnel worker, is suddenly thrust into a terrifying new world full of unknown danger as he must fight to save the human race.

Starring: Kodi Smit-McPhee, Ryan Kwanten, Aaron Glenane, Sana’a Shaik, Deborah Mailman Written and Directed: Seth Larney

User Review

About Claire Nickell

I grew up in Colorado, was educated in Canada, and currently work in Phoenix, AZ. I have always loved watching movies, and was ecstatic as an adult when I realized I could watch more than one movie a day!

I love movies in most genres, from Brazil to Rushmore to Galaxy Quest to The Parking Lot Movie to Beyond Sunrise, and so on. I am also an avid reader and love to write (fiction and non-fiction). Twitter: @claireinphx

[…] “2067”: Humanity and technology and fighting ecological collapse […]

[…] “2067”: Humanity and technology and fighting ecological collapse Interview: “2067”: Seth Larney on fiction becoming real […]

2067 Review: Cerebral Science Fiction Loaded with Twists & Tears

A nuclear technician tries to save humanity from an ecological disaster in the smarter than expected 2067, starring Kodi Smit-McPhee.

2067 is a cerebral sci-fi thriller from Australian writer/director Seth Larney. The film is set in a dystopian future where climate change has eradicated all plant life. Humans survive by breathing synthetic oxygen, but at a terrible cost. The artificial air causes a "sickness" that is killing the remaining population. 2067 's detailed plot has several intriguing mysteries at its core. They unfurl slowly while the primary character faces an existential crisis. It's an interesting journey, but saddled with melodrama. 2067 gets bogged down and weepy at critical junctures.

Kodi Smit-McPhee stars as Ethan Whyte, a technician that works underground on the last city's unstable nuclear reactor. He volunteers for as many shifts as possible. His beloved wife (Sana'a Shaik) is dying from the "sickness." She needs the highest quality oxygen to survive. Ethan's father, Richard Whyte (Aaron Glenane), was a renowned scientist who predicted the coming apocalypse. He died when Ethan was a child, but left his son a truly bizarre gift.

Ethan and his lifelong best friend ( Ryan Kwanten ) are summoned from the dark depths to the gleaming headquarters of Chronicorp, the producers of synthetic oxygen . The company's CTO (Deborah Mailman) has a shocking proposal. They have engineered a solution that could possibly save humanity. But for an unknown reason, Ethan must be the one to use the device. He is forced to make a fateful choice. Stay with his wife in a dying world, or leave everything behind for a chance to save it.

2067 cuts back and forth to pivotal moments in Ethan's life. We see these scenes from other perspectives as he uncovers the truth. The unanswered questions that drive the story will keep you guessing until the very end. The film tries to balance the intricate narrative with heavy philosophical themes. Problems arise when the characters struggle with the emotional toll. Kodi Smit-McPhee spends a good chunk of the runtime bawling his eyes out. The supporting characters also join the cry fest. The downbeats become too prevalent.

2067 is an indie that looks like a big-budget Hollywood film. It has an impressive production design and special effects. Seth Larney ( Tombiruo ) worked extensively as a visual effects supervisor. His considerable experience is evident from the opening frame. We watch as the world succumbs to ecological disaster. The aftermath is a bleak hellscape of industrial pollution, oxygen ATMs, and blood-sputtering death. Larney then switches gears completely to a lush green setting. The change is striking and artfully done within the context of the story.

Hard sci-fi fans and abstract thinkers will appreciate Seth Larney's conclusion. I could have done without the onslaught of tears, but liked the story's sophistication. The puzzle comes together for an exhilarating, surprisingly deliberative finale. The line between faith and science is not always clear. Both are needed to achieve the extraordinary, especially when facing the dire consequences of climate change. 2067 is a production of Arcadia, Futurism Studios, and Elevation Production Finance. It will be available October 2nd on demand from RLJE Films .

Flickering Myth

Geek Culture | Movies, TV, Comic Books & Video Games

Movie Review – 2067 (2020)

October 14, 2020 by Robert Kojder

2067 , 2020.

Written and Directed by Seth Larney. Starring Kodi Smit-McPhee, Ryan Kwanten, Leeanna Walsman, Deborah Mailman, Matt Testro, Damian Walshe-Howling, Aaron Glenane, Sana’a Shaik, and Finn Little.

One man’s journey to the future to save a dying world.

It’s one thing to go on a journey attempting to find a cure for a loved one, but it’s another thing entirely when that adventure involves time travel into the future and being confronted with evidence that despite the promise of returning home with a solution, the mission was a failure. Of the many resplendent sights found within visual effects artist turned director Seth Larney’s (this is his second narrative feature), 2067 , this is one of the more haunting realizations and the scene my mind races back to whenever I internally debate whether I would recommend the sci-fi mind-bender or not.

Kodi Smit-McPhee is Ethan Whyte, an underground worker living in the titular future that has been ravaged by climate change, deforestation, and just about every other way human beings continuously fuck up planet Earth. Such abuse on mother nature has rendered oxygen nonexistent, meaning that society now uses artificial oxygen to get by, but mostly just walk around wearing masks. Some have been able to adapt to such a dramatic change, while others such as Ethan’s wife Xanthe (Sana’a Shaik) are slowly dying from not having the real thing as if she is suffering from a terminal illness.

Committed to being a working man and provider carrying out underground construction jobs with longtime friend Jude (Ryan Kwanten), Ethan is only concerned with doing right by Xanthe in her time of need. She’s not so much a character as she is motivation for Ethan, but that also points to a larger problem within 2067 as a whole; it’s more interested in world-building and pushing the general plot forward rather than getting us emotionally invested into these characters. Nevertheless, Ethan vows to never leave Xanthe’s side.

That is until some scientists led by Regina (Deborah Mailman) inexplicably receive a transmission from the time machine they are building that explicitly says “send Ethan Whyte”. The plan is to go into the future where Earth has re-corrected itself and become naturally inhabitable again, with the intention of bringing back a way to heal the current world. Initially, Ethan is hesitant to go and leave behind Xanthe, but also because he has his own baggage stemming from his father that did something similar to his mom and never came back to the family.

Naturally, Ethan is convinced to take the leap of faith as there is potentially a chance at saving the world alongside the one he loves. Visually, 2067 is stunning (especially given that this is a low-budget special-effects heavy film from RLJE) taking us from a steampunk future and then 400 years farther where nature has reclaimed the planet with eye-popping beauty. The locations here are truly outstanding, whether it’s your standard futuristic depictions of machinery and holograms or Ethan stumbling around a forest trying to uncover his greater purpose in this save-the-world narrative.

Where Seth Larney somewhat fumbles is with the revelations of what’s really going on. Upon successfully traveling 400 years into the future Ethan immediately discovers that real oxygen has returned, but disturbingly finds his own deceased body alongside a cryptic final audio log from himself. There’s a lot of dots to connect here between Ethan, his family, his friends, the scientists, and the time-traveling device at the center of this time loop. Disappointingly, most of the big twists can be seen coming from lightyears away, but there is some admiration in that Larney is able to effectively utilize these tropes. It also helps that Kodi Smit-McPhee gives a winningly determined performance, resilient to give up, and always pushing forward putting the pieces together. Even if the story is basic sci-fi stuff, 2067 is certainly always pleasant to look at and zips along with urgency and brainy thrills.

Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★

Robert Kojder is a member of the Chicago Film Critics Association and the Flickering Myth Reviews Editor. Check here for new reviews, friend me on Facebook, follow my Twitter or Letterboxd , check out my personal non-Flickering Myth affiliated Patreon , or email me at [email protected]

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One man's journey to the future to save a dying world.
A lowly utility worker is called to the future by a mysterious radio signal, he must leave his dying wife to embark on a journey that will force him to face his deepest fears in an attempt to change the fabric of reality and save humankind from its greatest environmental crisis yet. — Calmirio
In the year 2067, Earth has been devastated by climate change and an ongoing nuclear war. Only one city in the ruins of Australia has been able to hold out against these catastrophic changes, thanks to synthetic oxygen; this oxygen is tainted and gradually causes a deadly affliction known as "The Sickness". Ethan Whyte (Kodi Smit-McPhee) is a citizen who works as a manual laborer and who cares for his wife Xanthe (Sana'a Shaik), who is afflicted with the Sickness. One day, Ethan is called before Regina Jackson (Deborah Mailman), the Chief Technology Officer (CTO) of Chronicorp, a large corporation, who explains that the Sickness will eventually wipe out the remainder of humanity. During a test of the "Chronical", a prototype time machine that quantum physicist Richard Whyte (Aaron Glenane), Ethan's late father, had worked on before his death 20 years earlier, the scientists received a radio signal from over 400 years in the future with a message to specifically send Ethan to them. In hopes of preventing the extinction of humankind, Ethan is asked to be sent into the future. He refuses, as he resents his father for abandoning him and his mother, but Xanthe and Ethan's guardian and work colleague Jude (Ryan Kwanten) manage to change his mind. After surviving the traumatic time displacement, Ethan finds himself in a lush rain forest, with a hand-held computer named Archie and a wrist device given to him as a child by Richard as his only surviving pieces of equipment. He finds the entrance to a bunker-like structure, and a skeleton wearing his jumpsuit, a decaying Archie and the wrist device, and with a bullet hole in its skull. Shocked by the discovery of his apparent death in the near future, and sick from eating poisonous berries, Ethan is rescued by Jude, who followed him through time after his life readings, transmitted through the Chronical, were failing. After sharing their findings, they follow Archie's directions to another, still-functional door, which leads to the Chronical lab. Ethan's wrist device is revealed to be a DNA analyzer specifically made to grant him access to the Chronical, which sets itself for automatic reactivation in four hours. From a holographic recording left by Richard, the duo learns that the Chronical project originally entailed the reactivation of an atmospheric monitoring station which would ascertain the Earth atmosphere's breath-ability in the future and then transmit the data back to the past. When first activating the machine, Richard was surprised to receive a message to send his own son to the future, so despite his misgivings, he prepared Ethan's wrist analyzer. However, an immediate follow-up mission was rendered impossible because safely sending living matter through time required an operational link from both sides and the data showed a power failure in the year 2474. The Chronical's activation triggers a malfunction in its nuclear power core, threatening to unleash a nuclear explosion before the countdown is completed. Ethan and Jude make their way to the power core, which is located beneath the overgrown ruins of their home city. Finding the ruins littered with skeletons, including Xanthe's, they conclude that a cure against the Sickness was never found. When Jude attempts to comfort him, Ethan recognizes Jude's voice from a recording he found on the decaying Archie, taken moments before his future self was killed. Claiming that he's saving Ethan from himself, Jude directs Ethan at gunpoint to the reactor's control room. Unable to activate the emergency override, Ethan decides to go inside of airlock and pull the lever. With 37 minutes to spare, the duo return to the Chronical lab, where Ethan finds another exit that opens the entryway next to his skeleton. Ethan suffers a nervous breakdown and implores Jude to kill him, which Jude refuses to do. Jude then confesses that there was no actual hope of ever changing the future. Refusing to believe that, Ethan locks Jude in a room and plays back his father's log from the day that Richard died. Ethan learns that his mission was a sham from the beginning: Regina Jackson intended to flee from her dying time into the future with a "chosen few", while Richard maintained hope for humankind. To prevent its abuse, Richard keyed the time machine to Ethan's DNA, but when Richard's colleague announced that the machine could be rigged to send a person into the future one-way, Jackson killed Richard. Jude was appointed as Ethan's guardian to ensure that Ethan would be sent forward in time to repair the power failure and stabilize the time portal; once Ethan returned to 2067, Jackson would have him killed. Ethan tries to shut the Chronical down, but Jude moves to stop him. When Ethan refuses to fight him, Jude, guilt-ridden, commits suicide. Just before Jackson can put her plans in motion, Ethan sends the "Send Ethan Whyte" message into the past along with a copy of Richard's recorded murder on Archie, hundreds of live jungle plants, and a farewell gift to Xanthe. He destroys the Chronical, which changes the time-line: In the past, Jackson is arrested by the police after Archie transmits the recording to a news station, and the plants are used to revitalize the planet. In the future, Ethan's corpse is gone, and Ethan discovers his formerly ruined city 400 years in the future is advanced with architecture that is more harmonious with the natural environment. However, any future humans do not appear to be shown in the city.

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2067 Ending, Explained

VFX wizard Seth Larney’s (‘The Matrix Reloaded’ and ‘ Star Wars: Episode III – Revenge of the Sith ’) second directorial venture, the high-concept science fiction film ‘2067’ pulsates with ambition and optimism from beginning to end of its nearly 154-minute runtime. The Australian film clearly doesn’t have the budget of a typical Hollywood sci-fi blockbuster, but the depth it lacks in the pockets of its producers is easily compensated with the daring vision of its director. There have been plenty of messiah-like characters in films that are thematically similar to ‘2067’, for instance ‘Interstellar’ and ‘Twelve Monkeys’. What is unique about Ethan Whyte (Kodi Smit-McPhee) is his sheer ordinariness and how he eventually utilizes the same trait as a hero for the entire humanity. SPOILERS AHEAD.

2067 Plot Summary

Set in the eponymous year, the film depicts a dystopian world in which humanity is close to extinction. With the complete disappearance of the trees, the natural oxygen doesn’t exist any longer. People must rely on its synthetic variation, but because of its exorbitant price, the poor can hardly afford it. The first half of the film takes place in the only city in the world in which electricity is still available. Ethan lost his parents quite early in his life. His father apparently killed himself not long before his wife’s death in a shooting incident. Since then, he has been brought up by Jude (Ryan Kwanten), a man whom Ethan regards as his older brother. Ethan’s wife, Xanthe (Sana’a Shaik), has a condition known simply as The Sickness, which gradually makes a victim’s body unable to process the artificial oxygen. Ethan and Jude work at the world’s only active nuclear power plant. Ethan’s apparently normal if bleak existence is interrupted when the corporation that he works for tells him that he is needed to save the world.

Ethan is told by the company that his father was working on a time machine, which gives them access to a particular point in time 407 years into the future. Initially, they sent out radio waves through the machine. When they returned, they carried the encrypted message that asks them to send Ethan to the future. The contemporary people come to believe that if humanity still exists several hundred years later, it is likely that they have found solutions to all the problems plaguing their reality. They think that people of the future want to share their scientific advancements with them, so they can save more victims of the oxygen shortage. As for Ethan himself, he is very skeptical of all this. But ultimately also knows that his world is dying, and so is his wife, and this is perhaps the only chance he will get to save both. So he bids farewell to Xanthe and Jude and travels to the future.

The time-traveling scene is an innovative composition of close shots and special effects. When Ethan reaches his destination in 2474, with only an A.I. device, named Archie, for company, he finds that the world has completely changed. Humanity seems to have truly gone from the world, and in its absence, the Earth finally had some time to heal itself. The trees are back, and with them, the natural oxygen. But Ethan’s mission is rapidly turning out to be a failure as he hasn’t been able to locate the person who sent back the message. Furthermore, as the original plan was for Ethan to seek local help to get back to his time, he is basically stuck there.

After he mistakenly eats a poisonous berry and begins hallucinating, Jude arrives from the past and saves his life. He later explains that he saw Ethan’s heart stop after he had consumed the berry, prompting him to travel to the future. Together, they find the source of the encoded message, which turns out to be the same facility from where they left in the past. After confirming Ethan’s identity by DNA analysis through the bracelet-like device his father had given him all those years ago, the time machine gets activated, giving Ethan and Jude four hours until they can travel back to the past. Ethan is increasingly confused by all this. He checks the system log of the time machine, and a hologram of his father appears before them to explain that there is a weather monitoring device embedded in the time machine that is programmed to send the data back to the past when the world becomes habitable once more. As the log continues, Ethan watches his father receiving the message about him from the future.

The Skeletal Remains of Ethan Whyte

Not long after he arrives in the future, Ethan discovers the skeletal remains of a man wearing the same jacket as him. He even finds an old and barely functional Archie beside him. There is a bullet-shaped hole in his skull, indicating that whoever this man was, his end had been violent. The last recording on his Archie seems to support this. Ethan is horrified, believing that this is the fate that awaits him. When Jude arrives and sees the remains, he dismisses Ethan’s fears, claiming that he has already saved his life from the poison.

As the system starts having electrical problems, they come to know that they have to fix the nuclear reactor. They then make their way through the ruined and desolate city. It is then that Ethan suddenly realizes that it is Jude’s voice that can be heard in old Archie’s recording before the other Ethan is killed. It is later revealed that he will shoot him after they get back to the past. Regina (Deborah Mailman), the high-ranking executive who recruited Ethan for the mission, is behind all this. The log reveals that she plans to leave her time with a few others and settle in the future when the Earth has finished recuperating. She killed Ethan’s father when he refused to do her bidding and told Jude to kill Ethan’s mother and then take care of Ethan as his blood is the only key that can unlock the time machine in the future. Confronted by his own guilt, Jude kills himself.

The Encoded Message

Ethan eventually comes to understand that he is the one who sends that message to the past, triggering everything that happens afterward. He sends the message, and then hundreds of plants through the time machine, before destroying it. Back in the past, humanity gets a second chance as with those plants, ecological regeneration can be started. Ethan also sends the footage of Regina murdering his father and a real flower for Xanthe. The film ends on an incredibly high note. Ethan can sense that something is changing around him. When he goes to investigate, he finds in place of the desolate and ruined city, stands a sprawling and lush-green metropolis.

Johnny Oleksinski

‘2067’ review: a boring, time-traveling climate change film.

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In a classic scene from Mel Brooks’ 1987 comedy “Spaceballs,” President Skroob of Planet Spaceball frantically reaches into his desk drawer for a can of “Perri-Air” canned oxygen. The doofus has overseen the decline of the world’s air supply, so he keeps a six-pack of the stuff to chug in private.

It’s a hilarious gag that has been beefed up into an awfully self-serious science fiction movie called “2067.” It could really use Joan Rivers as a wise-cracking robot.

The earth of “2067” has also just about run out of air and, for the most part, out of humans. The only folks left are a community of Australians working way down under — beneath the planet’s surface — and subsisting on one corporation’s artificial oxygen that is beginning to sicken some who use it.

“The O2 rejection epidemic is going to wipe out the human race in a handful of years,” says a shady leader who’s also sort of a villain. For those of you who think this plot is a realistic cautionary tale for our messy century, wait till I get to the part where, a mere 47 years from now, we’ve invented time travel.

Yes, in Oz there is a temporal portal — straight outta “Stargate” — which has informed the earthlings that 400 years in the future, air has somehow returned to their hurting home. The test run also comes back with a mysterious message: “Send Ethan Whyte.” All right, then. Ethan (an appealing but shout-happy Kodi Smit-McPhee), the spindly son of a scientist, is suited up and whooshed into the 25th century to discover the secret to saving mankind.

The revelation he has is right up there with what’s inside Al Capone’s vault.

Kodi Smit-McPhee and Ryan Kwanten in a scene from "2067."

From there, the movie alters course from a finger-wagging climate change disaster flick to a confounding climate change disaster flick. On the 2467 Earth, Ethan discovers trees and refreshing breezes and, unfortunately, his own skeleton and a recording of his death. He figures he must’ve failed his mission and learns more about his fatal predicament when his friend (Ryan Kwanten) shows up. Can he change his fate? Who knows? Nothing is worse in time-travel movies than when the script tortures you into trying to understand its creaky logic.

Most of this film is humorless and with not so much of a score as a subwoofer. But one joke got me. Ethan carries a mobile device with a Siri-like assistant called Archie. In her crispy British accent, Archie walks him through making a fire using a stick and some kindling: “Rub rub rub. Easy peasy. Now blow. Blow, blow, blow, blow.” The final twist, while a touch twee, is also clever.

Another achievement from director and co-writer Seth Larney is that his film manages to look full-bodied regardless of its relatively small budget. But even if the aim is size and political relevance, it’s not a crime to let your hair down. “The Day After Tomorrow” is fun to watch; “2067” is not.

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Review: In ‘The Fall Guy’ with Ryan Gosling and Emily Blunt, what’s a stuntman to do? Shake it off

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I must confess that before seeing the crowd-pleasing “The Fall Guy,” I had no idea that the movie takes its title from the niche of stunt performers who specialize in leaping from great heights and was only dimly aware that it was based on an ’80s TV series that I didn’t see because I was in college and spent most of my free time sipping watery beer in the left-field pavilion of Dodger Stadium, wondering why Tommy Lasorda would let Tom Niedenfuer pitch to Jack Clark with an open base.

“The Fall Guy” has a much happier outcome than that 1985 playoff series, but not for the reasons you might imagine. Being that director David Leitch is a former stuntman, doubling for A-listers like Matt Damon and Brad Pitt , you expect that the film will boast exceptional stuntwork — and it does. At its best, though, it’s a romantic comedy that coasts on the charisma of its two appealing leads, Ryan Gosling and Emily Blunt. You may come for the cannon rolls . But afterward, you’ll remember Blunt‘s character calling out Gosling‘s for crying to Taylor Swift .

Why is Gosling sobbing? He’s playing a stuntman. They don’t usually get up in their feelings. But Gosling’s Colt Seavers has good reason for shedding some tears. For years, he worked as a stunt double for prima donna action star Tom Ryder (Aaron Taylor-Johnson, offering an amusing amalgam of Tom Cruise and Matthew McConaughey), until a high fall went horribly wrong. Embarrassed, he turns his back on Hollywood and the woman he loves, camera operator Jody Moreno (Blunt).

A man seated on a movie crane speaks to a woman in a car.

Eighteen months later, Colt gets a call from Ryder’s meddling producing partner, Gail (“Ted Lasso’s” Hannah Waddingham), begging him to come to the Sydney set of the star’s latest movie, a silly sci-fi epic called “Metalstorm,” which just happens to be Jody’s directorial debut. Ryder has gone missing. Gail needs Cole’s help to find him and, as long as he’s there, maybe execute a few stunts and, who knows, win back Jody’s love.

The movie’s screenwriter, Drew Pearce, knows a thing or two about action flicks (and, quite likely, action divas and studio interference), with credits that include “Iron Man 3” and Leitch’s “Hobbs & Shaw”). He fills the breezy first hour of “The Fall Guy” with clever, self-referential riffs on big-budget filmmaking, the proper use of split screens and the curious lack of an Oscar category for stuntwork . (If there was one — and there should be — this movie’s stunt designer, Chris O’Hara, would win it in a walk.)

In one of the movie’s most inspired sequences, Jody makes Colt explain why he ghosted her, through the guise of explaining “Metalstorm’s” love story, all while putting him through take after take of a stunt where he’s set afire and slammed against a boulder. Who needs a revenge song when you can just repeatedly call out “Action”?

The stunt crew pulls off an explosive stunt on the set of "The Fall Guy"

It’s time for an Oscar for stunts. ‘The Fall Guy’ is the best argument for it

Director David Leitch tops himself with his new action-comedy starring Ryan Gosling and Emily Blunt, but his greatest legacy may be ahead of him — if the motion picture academy takes notice.

April 17, 2024

It’s one of several scenes where the film smartly uses stunts to reveal character, advance the story and make good use of Gosling’s gift for physical comedy. If Colt can’t signal thumbs-up at the end of a stunt, it’s not just a blow to his ego. He’s working his way through a bewildering cloud of confusion — not to mention being a suspect in a murder investigation — that even a pitcher of spicy margaritas (nobody says “spicy margarita” better than Emily Blunt) with his lovely lady won’t be able to solve.

The two leads enjoy such an easygoing groove that you’re soon dreaming about the time when their characters can once again go looking for that lost shaker of salt. But then the movie sidelines Blunt and completely focuses on the action, employing boats, helicopters and trash-bin trucks in an undeniably impressive series of stunts — all to diminishing effect. One of the running jokes in “The Fall Guy” has Jody trying to solve “Metalstorm’s” third-act issues. You sense that Leitch and Pearce ran into the same wall. But unlike Colt and his stunt brethren, they didn’t quite manage to dust themselves off.

Or, more likely, in their minds, they did and made precisely the movie they intended. Given Leitch’s background, it’s not surprising that “The Fall Guy” ends up landing as a big old bear hug to stunt performers, a way to shine a spotlight on a profession that, by definition, requires anonymity. The closing credits feature behind-the-scenes footage of the movie’s stunts being performed, showing that a good (and safe) time was had by all. Its fraternal spirit reminded me of the blooper reels you’d see at the end of the Burt Reynolds movies made by director Hal Needham who, yes, began his career as a stunt double.

'The Fall Guy'

Rating: PG-13, for action and violence, drug content and some strong language Running time: 2 hours, 6 minutes Playing: In wide release May 3

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‘Wildcat’ Review: Seeing Flannery O’Connor Through Her Stories

Ethan Hawke teams up with his daughter, Maya Hawke, for an unconventional and somewhat muddled portrait of a singular author.

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A woman reads a letter at a country roadside mailbox labeled O’Connor.

By Brandon Yu

Bedridden and anguished, the writer Flannery O’Connor is visited by a priest (Liam Neeson in a cameo) in “Wildcat,” starring Maya Hawke. Tormented by spiritual agony and the systemic lupus that would kill her at 39, O’Connor, a lifelong Catholic, beseeches him: “I long for grace,” she cries. “I see it, I know it’s there, but I can’t touch it.”

There’s the seed of a good film in this scene, but the filmmakers can’t quite latch onto it. These intriguing wisps of ideas — about O’Connor’s struggle with faith and purpose — never coalesce into a coherent portrait in the movie (directed by Maya Hawke’s father, Ethan), which is presented as being based on O’Connor’s short stories.

The film is meant to animate her life through her work, with its observations about religion, violence and society’s hypocrisy, but that adventurous conceit can’t be fulfilled without some elements of a biopic. What we are left with is a movie that flits between incidents from the life of this National Book Award-winner, writing on the family farm in Georgia, among other places, and a distracted supercut of her particular, and often darkly comic, brand of Southern Gothic fiction. Half-sketched and sometimes hard to follow, the stories glimpsed here ultimately fail to produce a fully legible or consistently engaging arc of what must be a roiling inner world.

Maya Hawke’s performance, in turn, is muddled; she can be strong as O’Connor, but in the fictional pieces, her portrayals are often reduced to clumsy caricatures. The period re-creation is striking and helps generate occasionally spellbinding imagery, but the enduring sense of the film is of a family project that is by turns frustrating and briefly enlightening.

Wildcat Not rated. Running time: 1 hour 43 minutes. In theaters.

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The 15 Best Movies Of 2024, According To Metacritic (So Far)

By Mat Elfring on May 2, 2024 at 11:55AM PDT

GameSpot may receive revenue from affiliate and advertising partnerships for sharing this content and from purchases through links.

Typically, when it comes to movie releases, the general public tends to focus on the summer blockbusters. They're comfort food. Those are the films that can launch us into a fantasy world where we can forget about the day-to-day tedium that comes from the other aspects of our lives. Life can be tough, so we're allowed to enjoy a two-hour movie where things blow up, but those films may not be the films that are "the best."

According to many critics, when it comes to movies, quality is much more important than escapism. Sure, there are occasions where both critics and the general audience agree a movie is wonderful, like Oppenheimer . Neither summer blockbusters or critically-acclaimed movies are bad if you enjoy them by any means, but when it comes to the quality of the film--the story, the acting, the cinematography, etc.--that's something that the masses can measure or at least critics can.

Looking over at GameSpot sister site Metacritic, a review aggregate that takes the scores of critics' reviews and gives movies and TV shows a score based on the average of said reviews, we found out what critics loved in 2024. You may not know some of these films, but you may want to check them out on your own. So let's dive right into the top 15 critically reviewed movies of 2024. Already, there have been a few changes to this list since it was first published. Make sure to keep coming back to GameSpot and this list to see how it changes throughout the year.

Disclosure: Metacritic is owned by Fandom, the same parent company as GameSpot.

15. Janet Planet

Release date: June 21

What it's about: In 1991, an 11-year-old spends a summer at home, wanting the attention of her mother.

14. Chicken for Linda!

Release date: April 5

What it's about: In this stylish, animated film, a woman wants to make up an unjust punishment for her daughter. So she makes her daughter a chicken dinner that leads to a series of outrageous events.

13. A Real Pain

Release date: October 18

What it's about: Two cousins honor their grandmother by traveling to Poland together.

12. Close Your Eyes

Release date: August 23

What it's about: A Spanish actor disappears, and his body is never found. The police say it was an accident and his body was lost at sea. Years later, a TV series digs into his disappearance and the mystery surrounding it all.

11. Ghostlight

Release date: June 14

What it's about: A construction worker joins a local production of Romeo & Juliet and finds the classic story is a mirror of his own life.

10. Pictures of Ghosts

Release date: January 26

What it's about: Set in Recife, Brazilian, Pictures of Ghosts examines the landscape and its history, which includes the city's love of cinema and filmmaking.

9. About Dry Grasses

Release date: February 23

What it's about: An art teacher is working in a remote village in Anatolia. He wants to get away from this life, but after a turn of events, he seems to be stuck where he's at.

8. I Saw the TV Glow

Release date: May 3

What it's about: A teenager is introduced to a late-night television show, highlighting the world of the supernatural. This show changes the teenager's view of reality.

7. La Chimera

Release date: March 19

What it's about: The film follows a man named Arthur searching for a woman he lost, with the backdrop being set around archeologists and the black market of historical artifacts.

What it's about: A seven-year-old named Sol and her mother, aunts, and other relatives prepare a birthday party for Sol's father. However, there is something else going on with her father and a reason for this birthday party being so important.

5. Ryuichi Sakamoto | Opus

Release date: March 15

What it's about: Legendary composer Ryuichi Sakamoto has one last performance on piano before passing away. This isn't a fictional movie. It's a saddening and beautiful concert.

4. Sugarcane

Release date: August 9, 2024

What it's about: This documentary follows the Sugarcane Reserve and the investigation into missing children and abuse at an Indian school in British Columbia, Canada.

3. Inside the Yellow Cocoon Shell

Release date: January 19

What it's about: A man leaves Saigon after his sister-in-law dies, leaving behind a five-year-old nephew. He ends up in his rural hometown.

2. Do Not Expect Too Much From the End of the World

Release date: March 22

What it's about: A production assistant must drive around Bucharest in order to film casting for a workplace safety video.

Release date: February 4

What it's about: Here follows a construction worker who lives in Brussels and is preparing to head home to Romania. He meets a Belgian woman working on a doctorate on mosses. He becomes interested in her and delays his decision to go home.

Leave Blank

'The Fall Guy' review: Ryan Gosling brings his A game as a lovestruck stuntman

In “Barbie,” Ryan Gosling ’s job is Beach. In “ The Fall Guy, ” it’s Stunt and he’s pretty great at his gig.

Gosling nicely follows up his Oscar-nominated Ken turn as an embattled Everyman who falls 12 stories, gets thrown through glass and pulls off an epic car jump, among other death-defying moments in the breezily delightful “Fall Guy” (★★★ out of four; rated PG-13; in theaters Friday).

Director David Leitch, former stunt double for a fella named Brad Pitt, revamps the 1980s Lee Majors TV show as an action-comedy ode to the stunt performers who never get their due, while Gosling and Emily Blunt dazzle as likable exes who reconnect amid gonzo circumstances.

"I'm not the hero of this story. I'm just the stunt guy," says Colt Seavers (Gosling) in voiceover as we first meet him. Colt is considered Hollywood's best stuntman, doubling for egotistical A-lister Tom Ryder (Aaron Taylor-Johnson) and fostering a flirty relationship with camera operator Jody Moreno (Blunt). However, a stunt goes accidentally awry in his latest movie, breaking his back as well as disrupting his love life, mental health and entire status quo.

'The Fall Guy': Ryan Gosling and Emily Blunt talk 'epic' 'I'm Just Ken' Oscars performance

A year later, down on his luck and confidence still shaken, Colt is parking cars as a valet at a burrito joint when he gets a call from producer Gail Meyer (Hannah Waddingham). Jody, now an on-the-rise director, needs him in Sydney to work on her first huge sci-fi epic “Metalstorm.” He gets there and after a gnarly cannon roll in a stunt car where he takes out a camera, Colt learns that not only did Jody not ask for him, she doesn’t want him around at all.

Still, the old spark's there and it turns out she does really need him: Tom has befriended some shady dudes and gone missing, and Gail tasks Colt to both keep Tom's disappearance a secret and also find the dude. Alongside stunt coordinator and pal Dan Tucker (Winston Duke), Colt uncovers a criminal conspiracy and in the process goes undercover as Tom in a nightclub (wearing some Ken-esque shades and cool coat), gets so high he sees unicorns and teams up with a dog that only takes commands in French.

Colt is put through the physical ringer during his twisty hero's journey, and it’s impossible not to love him through every punch, kick, stab and dangerous feat because of Gosling’s offbeat charisma. Before “Barbie,” he showed his considerable comedic talents in “The Nice Guys” and “Crazy, Stupid, Love,” yet marries them well here with a healthy amount of vulnerable masculinity and sublime nuance. With him, a thumbs-up – the stuntman’s go-to signal that everything’s OK – is also a way for Colt to try and hide his sensitivities.

Like Leitch’s other movies, from “Bullet Train” to “Atomic Blonde,” “Fall Guy” is filled with fights, explosions and assorted derring-do for Colt to (barely) live through. One mayhem-filled car chase scene has Gosling’s character tussling with a goon on an out-of-control trailer interspersed with Blunt singing Phil Collins’ “Against All Odds.” (It's essentially a two-hour argument for a stunt Oscar category.) The movie sports a definite musical heart, with an amusing scene between Jody and a weepy Colt set to the Taylor Swift lovelorn jam “All Too Well,” and is also interestingly timely considering a plot point about deep fake technology.

The one downside with this sort of stunt spectacular is Colt’s mission to find the narcissistic Tom and getting into hazardous shenanigans takes away from his romantic stuff with Blunt. Playful and quick with the zingers, their characters awkwardly rekindle their romance – in one sequence, she spills all sorts of tea about their past relationship in front of their crew – and you miss them when they're not together.

For ’80s kids, Majors was the “Fall Guy” – and Leitch’s movie pays tribute in multiple ways to the show and its scrappy spirit – but Gosling makes for a fabulous heir apparent. He’s not just Ken. He’s also Colt, and Gosling’s not done showing us the true extent of his talents.

IMAGES

2067 (2020) Movie Review
Movie Review: '2067' Starring Kodi Smit-McPhee and Ryan Kwanten
Chronical: 2067 (2020) Movie Review
2067 movie review & film summary (2020)
2067
2067: Blu-Ray Review

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2067 Full Movie Review and Facts
Review Film 2067 Part 5 #AgenSpoiler #alurceritafilm #2067 #reviewfilm #faktafilm #alurfilm #film
2067 Full Movie Explain
2067 MOVIE
2067 world without oxygen sci-fi movie explain in Hindi.// 2067 फिल्म हिंदी में समझाएं

COMMENTS

2067 movie review & film summary (2020)
2067. Seth Larney 's "2067" is more frustrating than the average indie sci-fi misfire because there's so much potential embedded in this clever story. The bare-bones storytelling here is engaging and interesting in a way that recalls " 12 Monkeys " in how it plays with the future and time travel. The optimistic, twisting core of ...
2067
Dec 27, 2022. Feb 16, 2021. Rated: 2/5 • Dec 1, 2020. When Earth's air becomes unbreathable, a message from the future sends a man on a dangerous mission to an unknown world to save the human race.
2067 (2020)
2067: Directed by Seth Larney. With Aaron Glenane, Kodi Smit-McPhee, Ryan Kwanten, Finn Little. One man's journey to the future to save a dying world.
2067 review: The best time travel movie since Avengers: Endgame
2067's indie budget (given a boost thanks to the Australian government) does hold the movie back in some places. Ethan's future walkabout probably lasts longer than it needs to before the plot ...
2067
David Stratton The Australian. TOP CRITIC. It all looks great, with outstanding photography by Earle Dresner. But 2067 gets bogged down with the sort of time-shifting debate beloved of many sci-fi ...
2067 (2020)
Indications are that the corpse is of Ethan itself. There are great special effects in 2067 but it has terrible dialogue. It is too overlong and Kodi Smit-McPhee struggles to hold attention because the movie is too hackneyed. As a corporation is involved, some of the twists are going to be obvious. 3/10.
2067
By the year 2067, Earth has been ravaged by climate change and humanity is forced to live on artificial oxygen. An illness caused by the synthetic O2 is killing the worlds' population and the only hope for a cure comes in the form of a message from the future: "Send Ethan Whyte". Ethan, an underground tunnel worker, is suddenly thrust into a terrifying new world full of unknown danger as ...
2067 review
The visual effects supervisor-cum-writer/director Seth Larney's time travel sci-fi 2067 (the opening-night film at this year's Adelaide film festival) joins the fold, presenting a devastated ...
'2067' Review
The result is a movie that seems unaware just how generic the should-be-distinguishing details of its earnest eco-cautionary tale have turned out. ... '2067' Review: Kodi Smit-McPhee Visits an ...
2067 (film)
2067 is a 2020 Australian science fiction film directed and written by Seth Larney from a treatment by Gavin Scott Davis ... On Rotten Tomatoes the film has an approval rating of 32% based on reviews from 31 critics, with an average of 4.9/10. ... Jake Kleinman of Inverse titled his review "The best time travel movie since Avengers: ...
'2067' Review: A Climate Change-Ravaged Planet Tries To Save Itself
The conflict seems imposed. 2067 is an epic score in search of epic action at times. Ethan's buddy Jude seems like he might be evil, yet the actual words he says are those of a caring guy (maybe ...
'2067': Film Review
Rarely have sci-fi/fantasy flicks embraced the "chosen one" trope as enthusiastically as Seth Larney's 2067, in which a world on the brink of extinction invests every ounce of hope in a time ...
"2067": Humanity and technology and fighting ecological collapse
2067, directed by Seth Larney, is a timely movie about a future Earth ravaged by climate change and ecological collapse.In this darkly dystopian world, humans face the same questions we face now- what can individuals do, if anything, to save the human race. We endure some shaky plotting and dialogue early on, but ultimately 2067 works well to raise questions about the future of humanity and ...
2067 Review: Cerebral Science Fiction Loaded with Twists & Tears
2067 is an indie that looks like a big-budget Hollywood film. It has an impressive production design and special effects. Seth Larney ( Tombiruo) worked extensively as a visual effects supervisor ...
2067 Movie Review
Our review: Parents say ( 1 ): Kids say ( 3 ): This sci-fi tale intrigues for a while with its mystery story and striking visuals, but its long, dull setup and unsatisfying conclusion reveal a tendency for sermonizing over character or story. 2067 takes a full half-hour to get Ethan into the future, and that time isn't particularly well spent.
Movie Review
2067, 2020. Written and Directed by Seth Larney. Starring Kodi Smit-McPhee, Ryan Kwanten, Leeanna Walsman, Deborah Mailman, Matt Testro, Damian Walshe-Howling, Aaron Glenane, Sana'a Shaik, and ...
2067
2067 movie rating review for parents - Find out if 2067is okay for kids with our complete listing of the sex, profanity, violence and more in the movie. Home; ... I've found the "Our Take" reviews and ratings for each movie to be right on the money every single time. I've referred dozens of friends to this service because my #1 resource for ...
2067 (2020)
Synopsis. In the year 2067, Earth has been devastated by climate change and an ongoing nuclear war. Only one city in the ruins of Australia has been able to hold out against these catastrophic changes, thanks to synthetic oxygen; this oxygen is tainted and gradually causes a deadly affliction known as "The Sickness".
2067 (Movie Review)
2067 (Movie Review) Kodi Smit-McPhee and Ryan Kwanten star in the epic Sci-Fi odyssey 2067, which arrived in select theaters, as well as to On Demand and Digital, on Friday, October 2, 2020 via RLJE Films. Written and directed by Seth Larney (Hipsters documentary series, Tombiruo 2017), 2067 explores a future in which environmental neglect has ...
2067 Ending, Explained
VFX wizard Seth Larney's ('The Matrix Reloaded' and 'Star Wars: Episode III - Revenge of the Sith') second directorial venture, the high-concept science fiction film '2067' pulsates with ambition and optimism from beginning to end of its nearly 154-minute runtime. The Australian film clearly doesn't have the budget of a typical Hollywood sci-fi blockbuster, but […]
'2067' review: A boring, time-traveling climate change film
It's a hilarious gag that has been beefed up into an awfully self-serious science fiction movie called "2067.". It could really use Joan Rivers as a wise-cracking robot. The earth of "2067 ...
Official Discussion
A message to the past is just as potent as a time traveler to the past in enforcing a causal loop. That part of 2067's plot that is different from Terminator and STFC is Ethan's encounter with his own skeleton. In a warm, humid climate with worms and insects, a body can decompose into a skeleton in as little as 3 weeks.
'I Saw the TV Glow' Review: How We Used to Escape
"I Saw the TV Glow" is set in 1996, right at the moment when entertainment was about to dive over the cliff and become what media theorists sometimes refer to as convergence culture.Back then ...
'Evil Does Not Exist' Review: Nature vs. Nurture
The scene, one of the longest in the movie, is emblematic of Hamaguchi's understated realism, which he builds incrementally. The meeting takes place in a basic community center crowded with ...
'The Fall Guy' Review: Ryan Gosling Goes Pow! Splat! Ouch!
The actor charms as a swaggering stunt man, alongside an underused Emily Blunt, in the latest skull-rattling action movie from David Leitch.
'The Fall Guy' review: What's a stuntman to do? Shake it off
The movie's screenwriter, Drew Pearce, knows a thing or two about action flicks (and, quite likely, action divas and studio interference), with credits that include "Iron Man 3" and Leitch ...
'The Fall Guy' review: Ryan Gosling doesn't reach the ...
Superhero movies have seen better days at the box office, but an action-comedy based on a 1980s TV show still feels like an unlikely candidate to kick off the summer. Buoyed by the lure of what ...
'Wildcat' Review: Seeing Flannery O'Connor Through Her Stories
Bedridden and anguished, the writer Flannery O'Connor is visited by a priest (Liam Neeson in a cameo) in "Wildcat," starring Maya Hawke.
The 15 Best Movies Of 2024, According To Metacritic (So Far)
Looking over at GameSpot sister site Metacritic, a review aggregate that takes the scores of critics' reviews and gives movies and TV shows a score based on the average of said reviews, we found ...
'Fall Guy' review: Ryan Gosling movie proves he really isn't just Ken
'The Fall Guy' review: Ryan Gosling brings his A game as a lovestruck stuntman 15 must-see summer movies, from 'Deadpool & Wolverine' and 'Furiosa' to 'Bad Boys 4' Former pirate Johnny Depp ...