Frequency (2000)

2.5 out of 4

Starring: Dennis Quaid, James Caviezel, Elizabeth Mitchell, Andre Braugher, Noah Emmerich, Shawn Doyle, Daniel Henson

Director: Gregory Hoblit

Time: 118 mins

Time travel stories are some of the most intriguing in fiction. The science is yet to be proven, but what if it is possible? Think about it. The myriad of complications arising when someone travels back in time, and does something to change history, or goes forward into the future, to see what human society has evolved into, offers some of the richest and most tantalising plotlines one can ever imagine. What wouldn't one do to see the future, or to go back in time and do something over again, or in a different way? From H. G. Wells' original The Time Machine, to the more recent Terminator and Back to the Future series, time travel is a fascinating plot device that has been used time and time again (excuse the pun). The new movie, Frequency, is not strictly a time travel story per se, in that someone hops backwards or forwards in time, but it does offer enough plot twists and future-altering dynamics to keep afficionados happy. It is slightly overlong, and contains some inconsistency in the paradoxes that occur in just about every time travel story (and which also usually elicits some of the most intriguing questions), but overall is a fairly entertaining picture with a fairly predictable ending.

John Sullivan (James Caviezel from The Thin Red Line), a cop, finds an old ham radio left by his firefighter father Frank (Dennis Quaid), who died in a warehouse blaze long ago. One night, while playing around with the radio, and during a particularly strong occurrence of the Aurora Borealis (the Northern Lights), he tunes into a signal broadcast from 30 years ago, in 1969, by his father. They strike up a conversation, and while disbelieving of each other at first, they soon realise who they are actually talking to and the time gulf between them. John saves his father's life by alerting him to what happens at the warehouse fire, but then finds out that through his actions his mother Julia (Elizabeth Mitchell) has been murdered by a serial killer. With the help of his father and fellow cop Satch (Andre Braugher), they race against time to find the killer and save his mother.

Time travel stories are handicapped by having an inherently difficult setup. How does one explain the time travel mechanism? In The Time Machine, a scientist built a machine, while Back to the Future employed a souped-up DeLorean and 1.21 gigawatts of electricity (though this and the rest of the series was more about the humour, special effects and coincidences than the time travel aspects). In Frequency, however, the connection between the two different times seems to have been accomplished by something due to the Aurora Borealis. Hmmm. Sci-fi stories usually need a healthy dose of open-mindedness, but this is still pretty weak and unconvincing.

The Back to the Future movies played on the notion that one can change history (or the future) by going back or forward in time. Frequency takes this several steps further. Everything that John or Frank does seems to have a consequence, and not always for the better. While some of the plot twists are clever, in the end some of the occurrences just don't tie up.

Since the science and paradox aspects don't quite work, one must rely on the story itself. As previously mentioned, time travel can be a rich source for invention and creativity. Most of the film's more dramatic sequences, however, such as the warehouse fire where Frank makes a critical decision, are interspersed with some quick and potentially confusing intercutting between John's time and Frank's time, and drag on for a touch too long. Also, once Frequency has set up the sci-fi portion, it suddenly turns into a murder mystery, with the focus on the chase for the serial killer. There are a couple of tense scenes towards the end of Frequency, but these seem more in keeping with a Hitchcockian suspenser than a sci-fi drama. The ending ties up the loose ends nicely, but is fairly easy to spot.

Veteran TV director Hoblit, who previously helmed the thrillers Primal Fear and Fallen, contrasts the bright, sunny 60s scenes with a more downbeat vision in the 90s. This is mirrored in the characters: Quaid is sunny and smiles frequently, while Caviezel's face is forever mired in gloom. As Frank, Quaid brings the right amount of hope and concern to the role. Caviezel is less successful, but at least there is some chemistry between him and Quaid. Elizabeth Mitchell is radiant in her role as John's mother, while Shawn Doyle is suitably villainous as the serial killer.

Time travel stories are always welcome, given the possibilities for paradoxes, twists and sometimes a glimpse into the future, as well as the opportunity to alter history. Frequency explores the altering-history scenario to the hilt, and even throws in a suspense plot to keep viewers glued to their seats. Though it never rises to the same heights as, say, The Time Machine, it is still enjoyable. A trim of about fifteen minutes and a tighter script would have earned it an extra half-star rating.

(c) Joe Wong (6 August 2000)