2:22
Directed by Paul Currie
- science fiction
- mystery
- thriller
- romance
The story
Two planes almost collide after a blinding flash of light paralyzes air traffic controller Dylan Branson for a few seconds. Suspended from his job, Dylan starts to notice an ominous pattern of sounds and events that repeats itself in exactly the same manner every day, ending precisely at 2:22 p.m. Also drawn into a complex relationship with a woman, Dylan must figure out a way to break the power of the past and take control of time itself.
What it’s like
Cool, grey-blue Manhattan daylight does most of the work in 2:22, with its cramped apartments, subway platforms and glassy air-traffic control rooms framed in tight, anxious medium shots. Paul Currie's camera stays close to Michiel Huisman's Dylan, and the palette leans on steel, slate and faded warmth, with a few amber-lit interiors to hint at the romance. The score is a restrained, pulsing electronic thrum that swells when the day's loop repeats, so the sound design itself becomes a countdown. The mood is moody, time-anxious and quietly romantic, closer to cool unease than dread, and it suits a rainy weekday evening, a late-night watch alone, or a slightly edgy mystery when you want something to keep you guessing. Pacing is brisk and puzzle-driven, with a man stuck in a repeating day slowly rebuilding trust with an ex and confronting what he has lost. Violence is limited and mostly implied by the crash threat, with a few tense moments and no gore; the romance is warm but not explicit. It is for viewers who enjoy time-loop puzzles and tender, slightly melancholy love stories with a sci-fi edge.
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