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In Time (2011)
Set in a world where time is life and life is money, only those who can afford to but more time deserve to live. Such is for poor Will Salas.
23 April 1984, Connecticut, USA
28 May 1983, Brighton, England, UK
7 June 1982, San Antonio, Texas, USA
24 March 1988, Washington, District of Columbia, USA
2 March 1986, Los Angeles, California, USA
23 February 1978, Brampton, Ontario, Canada
1 May 1990, Houston, Texas, USA
15 November 1982, Harlem, New York City, New York, USA
15 June 1984, Bronx, New York, USA
4 April 1988, Indiana, USA
March 04, 2013
One long, extended chase sequence interspersed with awkward flirting.
September 22, 2012
There's a lot to like about In Time, but it misses the mark for being an overly memorable experience and ends up being just an adequate sci-fi flick.
October 31, 2011
Niccol's zippy direction, joined to a sleek, rich production design, keeps the movie spinning like a shiny toy.
April 12, 2012
Worry, worry and watch the clock, for 'In Time' wastes what time you've got.
June 22, 2013
Don't let the ads fool you: It has a lot on its mind.
September 18, 2012
"In Time" gets points for putting forth an interesting concept, but because of Niccol's inability to utilize that concept, we get a film that ends up going nowhere.
November 10, 2011
Clever and unsettling.
December 29, 2012
Even with its thoughtful nods to "Bonnie & Clyde" and "Les Miserables," "In time" never delivers that transcendent "Blade Runner" moment, and never rises above cult classic to simple classic.
October 28, 2011
A movie so consistently flat-footed, with pauses between lines of dialogue so vast, that you begin to wonder if the whole thing might be a psychological experiment of some kind.
November 01, 2011
Niccol's major problem is timing: action sequences and dialogue scenes lie flat on the screen, while his tendency to play around with pacing means that any tension quickly dissipates. Life's too short.
June 20, 2013
In Time is so crammed with provocative ideas it begins to feel over-crowded.
October 31, 2011
The film is beautifully shot in chilly blues and grays by cinematographer Roger Deakins, and Los Angeles locales are well chosen for futuristic effect. Most of the time, however, I found myself glancing at the clock on my own wrist.