by Christie Robb
Madeline (Brea Grant, Eastsiders) and her husband Owen (Parry Shen, General Hospital) are two independent scientists working on a time travel device in their garage laboratory. Everything seems to be going well. They successfully moved an orange across time and space. They secured investment capital from their backer Rory (Richard Riehle, Office Space/legendary “that guy”). And they are all set to try experimenting on human subjects.
But one night, Madeline starts coding after she’s had a few too many wines and sends herself into the future only to return and find out that, due to a typo in the code, she and Rory can expect a new Madeline to return from the future every day at the same time for 3,600 days. What to do?
It’s a real conundrum.
Directed by Jason Richard Miller (who produced Frozen—no, not the Disney one) and co-written by Brea Grant, the film manages to entertain despite its minuscule cast of three and limited setting. A lot of the credit goes to Grant, who gives individual quirks to the various Madelines that she embodies.
Matt Akers’s 80s-inspired synth score is also a real delight, providing the entire project with a late-night direct-to-syndication guilty pleasure vibe.
It’s not a movie that can stand up to much logical scrutiny, though. And both the horrific and comedic elements could have been dialed up somewhat. But as an experiment, I think the team is on to something.