A rare atmospheric phenomenon allows a New York City firefighter to communicate with his son 30 years in the future via HAM radio. The son uses this opportunity to warn the father of his impending death in a warehouse fire, and manages to save his life. However, what he does not realize is that changing history has triggered a new set of tragic events, including the murder of his mother. The two men must now work together, 30 years apart, to find the murderer before he strikes so that they can change history--again. Written by
The TV series Frequency (2016) is based on this movie, but there are several key difference in the TV show. Frank Sullivan is a police detective, instead of a firefighter. In the TV show he has a daughter named Raimy, instead of a son. Also Frank ends up separated from his wife, who ends up murdered, instead of still being happily married. See more »
The 1969 world map does, correctly, indicate the Soviet Republics as distinct "countries" good for various radio awards. However, it looks like Rio de Oro (which in 1976 became Western Sahara after the Spanish left) is the same color as Morocco, which has occupied Western Sahara since soon after. In 1969, Rio de Oro would have had its own color. See more »
You on the job?
Long time ago. Do I know you?
Do I look familiar?
No. What house you work?
No, just working the job. As a matter of fact, I caught a case that goes back to your day. One of the Nightingale murders.
No. Missing teenager, disappeared back in '68. Found her bones last week buried out by some old diner by Dyckman Street. Mary Finelli. Yeah, talk about dumb luck. The odds of anyone finding that 30 years later and the chance of hitting a dental? ...
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How far we've come! In the old days a final plot twist was a surprise, with the best being a surprise insight. Remember `No Way Out?' More recently we've had end twist insights that reinterpret the movie. In that case, what you learn at the end has you going over the whole film as you leave, wondering about which of your prior understandings need to be modified: `Sixth Sense,' and `Usual Suspects' come to mind.
But in those cases, the film is a story apart from your perception of it. Here now we have a story where your reinvention of what you know changes the story from the perspective of both you the viewer and the hero in the film. And it doesn't just happen at the end, but all through the last half. A new high in self-reference and experimentation with the role of the viewer in the narrative.
Worth seeing for this step in the evolution of the art.
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