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Frequency (2000)

PG-13 | | Crime, Drama, Mystery | 28 April 2000 (USA)
An accidental cross-time radio link connects father and son across 30 years. The son tries to save his father's life, but then must fix the consequences.

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ON DISC
Nominated for 1 Golden Globe. Another 2 wins & 7 nominations. See more awards »

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Cast

Cast overview, first billed only:
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Gordo Hersch
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Samantha Thomas
Daniel Henson ...
Johnny Sullivan (6 Years)
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Graham Gibson
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Gordo Hersch (8 Years)
Jack McCormack ...
Commander Butch O'Connell
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Butch Foster
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Gordy Jr. (10 Years)
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Sissy Clark
Richard Sali ...
Chuck Hayes
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Storyline

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 <jgp3553@excite.com>

Plot Summary | Plot Synopsis

Taglines:

A son's only hope to stop a murder is the father who's been dead for 30 years. See more »


Motion Picture Rating (MPAA)

Rated PG-13 for intense violence and disturbing images | See all certifications »

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Details

Official Sites:

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Release Date:

28 April 2000 (USA)  »

Also Known As:

Prava frekvencija  »

Filming Locations:

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Box Office

Budget:

$31,000,000 (estimated)

Opening Weekend:

$9,025,584 (USA) (28 April 2000)

Gross:

$44,983,704 (USA) (8 September 2000)
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Company Credits

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Technical Specs

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Sound Mix:

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Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

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 »

Goofs

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 »

Quotes

John Sullivan: You on the job?
Jack Shepard: Long time ago. Do I know you?
John Sullivan: Do I look familiar?
Jack Shepard: No. What house you work?
John Sullivan: 7-4 homicide.
Jack Shepard: Hot shot.
John Sullivan: 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.
Jack Shepard: No kidding.
John Sullivan: 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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Connections

References Sea of Love (1989) See more »

Soundtracks

Suspicious Minds
Written by Francis Zambon
Performed by Elvis Presley
By Arrangement with The RCA Records, Label of BMG Entertainment
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User Reviews

Twister
25 May 2000 | by (Virginia Beach) – See all my reviews

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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