In the enigmatic universe of Predestination, the first rule is explicit: “Don’t Do It.” Time travel, a concept as tantalizing as it is perilous, takes center stage. Ethan Hawke assumes the role of a “temporal agent,” a guardian navigating the complexities of time to prevent catastrophic events. The Spierig Brothers’ film unfolds with a unique blend of predictability and audacious unpredictability, creating a narrative tapestry that stretches across timelines and defies conventional storytelling.
The movie kicks off with a stark warning about the hazards of time travel. Every time travel trope, from paradoxes to confrontations with one’s past and future self, is laid bare. Yet, Predestination approaches these familiar elements with a fresh perspective, akin to donning a pair of brand-new sneakers. However, it doesn’t stop at embracing the new; it careens headlong into the unknown, akin to running full speed into a brick wall. The audacity is undeniable, and while the film’s twists may seem gratuitous at times, there’s an appreciable gusto in their execution.
Ethan Hawke’s portrayal of the temporal agent, tasked with preventing the ominous “Fizzle Bomber” from wreaking havoc in March 1975, anchors the narrative. The film’s first half, contrary to the expectations set by the trailer, veers away from sci-fi action into a realm of somber inevitability. Sarah Snook’s performance adds an extra layer of fascination to this unexpected turn, creating a captivating atmosphere even when the story seems to deviate from the anticipated trajectory.
Navigating the plot without delving into spoilers becomes a delicate dance, a testament to the film’s commitment to keeping its audience guessing. The trailer, a massive bait-and-switch, leads viewers down a path they never anticipated. This is no Timecop in fancier clothes; it’s a melancholic exploration of fate, self-destruction, and the profound loneliness that accompanies a mission to alter the course of time.
The ouroboros, a symbol of an infinite loop, is invoked multiple times in the narrative. However, rather than a clean and orderly cycle, the twists and turns of the plot create a chaotic mess. The film’s thematic purpose, if any, becomes obscured by its own audacious contortions. Yet, there’s an undeniable allure to the boldness displayed, a morbid curiosity that keeps the audience engaged even when laughter threatens to bubble up at the unintentionally ludicrous moments.
The film’s weaker aspects find redemption in the Spierig Brothers’ unwavering commitment to their story. In a rare departure from the norm, humor is unwelcome here. The tone demands seriousness, and any attempt at levity must be exceedingly wry, reminiscent of the early film scene where the Agent encounters signs with paradoxical messages. It’s a delicate balancing act, where laughter would be akin to disrupting the serenity of a beautiful library filled not with classic literature but with pulp sci-fi comics filled with misspellings.
However, the film’s shortcomings are tempered by the craftsmanship evident in its production. Ben Nott’s cinematography and Peter Spierig’s moody score elevate the visual and auditory experience, enveloping the audience in a world where the boundaries of time are blurred, and reality is constantly in flux.
Predestination, at its core, embodies the essence of good sci-fi. It takes a scientific concept—time travel—and uses it as a lens to explore fundamental aspects of the human condition. The urgency to thwart a terrorist or unveil the future becomes secondary to a more profound narrative. The Spierigs defy expectations, keeping the audience engaged not through adherence to a genre but through a relentless pursuit of unpredictability.
The film refuses to pander to the audience’s desire for a neatly wrapped package of answers. It’s not about guessing the identity of the Fizzle Bomber or the two shadowy figures engaged in a shootout in the opening scene. Instead, it revels in the uncertainty, challenging viewers to keep pace with its erratic twists without offering a comforting nod or wink.
In the grand tapestry of time travel narratives, where cautionary tales abound, Predestination emerges as a wild ride fueled by bad ideas. Time travel, the very concept that serves as a warning, becomes the catalyst for a story that defies logic and embraces the chaotic beauty of the unknown. The film’s resolution may leave heads shaking, but there’s an undeniable admiration for the unbridled insanity that unfolds, a testament to the fact that, occasionally, bad ideas can lead to the most exhilarating journeys.
