TiMER (2009)

Director:

Jac Schaeffer

Writer:

Jac Schaeffer (written by)

Genre:

Comedy | Drama | Fantasy | Romance

Tagline:

You can't hurry love.

Plot:

If a clock could count down to the moment you meet your soul mate, would you want to know?

Plot Keywords:

One Word Title

Awards:

1 win & 1 nomination

Cast

Emma Caulfield	...	Oona
Michelle Borth	...	Steph
John Patrick Amedori	...	Mikey
Desmond Harrington	...	Dan the Man
JoBeth Williams	...	Marion
rest of cast listed alphabetically:
Bianca Brockl	...	Soledad
Cristina Cimellaro	...	Host
Mark Harelik	...	Dr. Serious
Scott Holroyd	...	Brian
John Ingle	...	Dutch
Tom Irwin	...	Paul
Christine Joaquin	...	Cindy
Eric Jungmann	...	Manager Larry
Celene Lee	...	Tammi
Hayden McFarland	...	Jesse
Nicki Norris	...	Delphine
Alan Rice	...	Dude
Kali Rocha	...	Matchmaker Patty
Ho-Kwan Tse	...	Scientist
Katherine Von Till	...	Local News Anchor
Muse Watson	...	Rick
Devin Williamson	...	Brother
Christopher T. Wood	...	News Anchor

Country:

USA

Language:

English

Color:

Color

Filming Locations:

Los Angeles, California, USA

Heartfelt, hilarious, and refreshingly sweet little indie

I attended the World Premiere of "TiMER" at the 2009 Tribeca Film Festival. This is one of those "sweet little indies" I look for at festivals. They are few and far between but finding a film like this makes it worth the effort.

"TiMER" is, on the face of it, a romantic comedy. But its premise is so original and offbeat -- the film crosses over into the science fiction genre -- that, like the best indies, it's hard to pigeonhole. The basic idea (not a spoiler since this is revealed even before the opening credits) is that an implanted device on a person's wrist counts down to the moment the wearer meets his/her true love. It's based on the notion that everyone has one soulmate out there, somewhere, and each person's timer will go off at precisely the same moment when the fateful meeting takes place.

First-time writer/director Jac Schaeffer's script is smart and brilliantly executed by some of the best actors in the business, including Emma Caulfield ("Beverly Hills, 90210, Buffy the Vampire Slayer"), Michelle Borth ("Wonderland"), John Patrick Amedori ("The Butterfly Effect, Stick It, Gossip Girl"), and Desmond Harrington ("Wrong Turn, Dexter").

Emma Caulfield's poignant performance leads the way as the orthodontist Oona, who shares a uniquely powerful bond with stepsister Steph. This gives Steph a private window into Oona's true vulnerability. Caulfield is simply angelic, with a light that shines from within. Steph is a slightly domesticated punk girl, with an acerbic wit to match. Enter John Patrick Amedori as Mikey. To Oona, he appears as a shallow, uneducated supermarket checker with a hopeless future. Mikey is like an unruly dog who's outgrown his puppy years while retaining the innocence of youth which is undeniably appealing to Oona. Amedori wins the comedy award hands down, with the film's funniest lines and the ability to do more with inappropriate facial expressions than any dialogue could. Those expressions elicited the biggest laughs from the festival audiences. Desmond Harrington plays Dan the Man, buttoned-down and well-meaning, with a slightly brash exterior that can be endearing when he makes the effort. The talented supporting cast couldn't be better. Watch for Hayden McFarland as younger brother Jesse, who won the affection of the audience with some of the most heartfelt scenes in the movie.

The dialogue is often hilarious with an authenticity that not only comes from Schaeffer's brilliant script but also from improvised moments between Caulfield and Amedori. Their unlikely relationship and on screen presence is simply magical.

Production values belie the film's low budget. The look is warm and welcoming, with soft lighting and a palette of colors evocative of a stack of fresh linens. Andrew Kaiser's soundtrack sets just the right tone as the opening credits roll, using a theme crafted out of the melodies found in old music boxes and windup clocks. The film is shot by cinematographer Harris Charalambous in a similar fashion, as though each scene, each shot, matches the ticking of a timepiece. Combined with Peter Samet's efficient editing, the pace of the film keeps its timing appropriately consistent.

From the opening shot of a parking meter face, to the numbers on Oona's alarm clock, to the timer signaling that her morning coffee is ready, the film hammers home the message that clocks rule our lives. We rely on these mechanisms to determine our every move. In "TiMER's" alternative universe -- the film actually takes place in a "what if?" present rather than the future -- the question is asked, "what if timers ruled our love lives, too?" Would you obey the predetermined destiny of the device or would you follow your heart?