Supercut: “How Time Travel Works”

 originally published on Flavorwire - September 26, 2012



About halfway through Looper , Rian Johnson’s electrifying new time travel actioner, Bruce Willis and Joseph Gordon-Levitt, who play the same man thirty years apart, sit at a diner and try to hash out their situation. The younger version of “Joe” starts asking questions about how his actions will affect his elder version, particularly now that they’re both in the same place, but before that conversation can get anywhere, Willis shuts it down: “If we start talking about it, we’re gonna be here all day, talking about it, makin’ diagrams with straws.”

It’s a fair point: it seems like every time travel movie — and there are plenty of them — is required to throw in a scene where some egghead tosses around a lot of jargon about the “space-time continuum” or something in order to explain how time travel works. Other movies keep it simpler: “This is what makes time travel possible: the flux capacitor!” Whatever your preference, we’ve pulled clips from over two dozen time travel movies to present this month’s video essay, “How Time Travel Works.”

How Time Travel Works from Flavorwire on Vimeo.

CREDITS: 

Edited by Jason Bailey 

Music by Edvard Grieg

FILMS (in alphabetical order): 12 Monkeys (Terry Gilliam, 1995) Austin Powers in Goldmember (Jay Roach, 2002) Austin Powers: The Spy Who Shagged Me (Jay Roach, 1999) Back to the Future (Robert Zemeckis, 1985) Back to the Future Part II (Robert Zemeckis, 1989) Bill & Ted’s Excellent Adventure (Robert Zemeckis, 1989) The Butterfly Effect (Eric Bress, J. Mackye Gruber, 2004) Déjà Vu (Tony Scott, 2006) Donnie Darko (Richard Kelly, 2001) Escape from the Planet of the Apes (Don Taylor, 1971) The Final Countdown (Don Taylor, 1980) Hot Tub Time Machine (Steve Pink, 2010) The Jacket (John Maybury, 2005) My Science Project (Jonathan R. Betuel, 1985) Peggy Sue Got Married (Francis Ford Coppola, 1986) The Philadelphia Experiment (Stewart Raffill, 1984) Primer (Shane Carruth, 2004) Somewhere in Time (Jeannot Szwarc, 1980) Star Trek IV: The Voyage Home (Leonard Nimoy, 1986) The Terminator (James Cameron, 1984) Time After Time (Nicholas Meyer, 1979) Time Bandits (Terry Gilliam, 1981) The Time Machine (George Pal, 1960) The Time Machine (Simon Wells, 2002) Timecop (Peter Hyams, 1994) Timecrimes (Nacho Vigalondo, 2007)

Comments

Post a Comment

Popular posts from this blog

Celebrating the Least Influential Element of the Very Influential ‘Silence of the Lambs’

Image
Originally published on Flavorwire, 2/11/2016 The Silence of the Lambs , which hit theaters 25 years ago Sunday, was one of the most influential films in recent memory – you can see its bloody fingerprints on pretty much every serial killer thriller that followed, on film and television, good ( Seven, Zodiac ), bad ( Jennifer 8, Hannibal Rising ), and indifferent ( Copycat, The Bone Collector ). But much of its success was unpredicted, and unprecedented; it’s one of only three films to win the “Big Five” Academy Awards of Best Picture, Best Director, Best Screenplay, Best Actor, and Best Actress, and despite the Academy’s notoriously short memory, that sweep came a full year after its theatrical release. (As the recent anniversary of  Taxi Driver  reminded us, there was once a time when studios would release serious movies for grown-ups year ‘round, rather than just in the  traffic-jammed fall .) What’s more, Anthony Hopkins won his Best Actor prize for less than 20 minutes of screen t
Read more

Here's a Bunch of SXSW Reviews

Image
  AUSTIN, TX: Well, I'm back at SXSW, which I've attended every year (well, every year they've had it here) since 2012 and have said, more than once, is my favorite film festival. And I'll say candidly that it's not necessarily for the quality of the films (which are frequently very good) but for the quality of the food and drink and vibe in Austin (which is always  very good).  I reviewed seven world premieres for The Playlist this year: ‘Late Bloomers’ Review: Karen Gillan Is Hilarious And Heartbreaking In A Predictable But Enjoyable Dramedy [SXSW] ‘Parachute’ Review: Brittany Snow Makes a Fine Directorial Debut With A Candid & Nervous Romantic Drama [SXSW] ‘Self Reliance’ Review: Jake Johnson’s Directorial Debut Is A Suitable Vehicle For His Shaggy Comic Energy [SXSW] ‘Bottoms’ Review: Emma Seligman’s Sophomore Feature Is No ‘Shiva Baby,’ But Still Delightfully Subversive [SXSW] ‘Hypnotic’ Review: Robert Rodriguez & Ben Affleck Team For An ‘Inception’-Ish
Read more