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In Time (2011)

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In a future where people stop aging at 25, but are engineered to live only one more year, having the means to buy your way out of the situation is a shot at immortal youth. Here, Will Salas finds himself accused of murder and on the run with a hostage - a connection that becomes an important part of the way against the system.



942 ( 44)
2 nominations. See more awards »



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Cast overview, first billed only:
Rachel Salas
Nick Lashaway ...


Welcome to a world where time has become the ultimate currency. You stop aging at 25, but there's a catch: you're genetically-engineered to live only one more year, unless you can buy your way out of it. The rich "earn" decades at a time (remaining at age 25), becoming essentially immortal, while the rest beg, borrow or steal enough hours to make it through the day. When a man from the wrong side of the tracks is falsely accused of murder, he is forced to go on the run with a beautiful hostage. Living minute to minute, the duo's love becomes a powerful tool in their war against the system. Written by Twentieth Century Fox

Plot Summary | Plot Synopsis


His crime wasn't stealing time. He was giving it away. See more »

Motion Picture Rating (MPAA)

Rated PG-13 for violence, some sexualty and partial nudity, and strong language | See all certifications »

Parents Guide:





Release Date:

28 October 2011 (USA)  »

Also Known As:

I'm.mortal  »


Box Office


$40,000,000 (estimated)

Opening Weekend USA:

$12,050,368, 30 October 2011, Wide Release

Gross USA:


Cumulative Worldwide Gross:

See more on IMDbPro »

Company Credits

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Technical Specs



Aspect Ratio:

2.35 : 1
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Did You Know?


In a movie about people who would stop aging at 25 years old, many of the actors, including Cillian Murphy and Justin Timberlake, were in their late 20s and early 30s. Amanda Seyfried, however, really was 25 years old during filming. See more »


When the lead is being chased and a police roadblock is setup, the gauntlet is staggered so that the car can drive right through -no barrier at all. they are being shot at at an angle, the front windows are all open and not one bullet from a hail of machine gun fire makes it in. See more »


[first lines]
Will Salas: I don't have time. I don't have time to worry about how it happened. It is what it is. We're genetically engineered to stop aging at 25. The trouble is, we live only one more year, unless we can get more time. Time is now the currency. We earn it and spend it. The rich can live forever. And the rest of us? I just want to wake up with more time on my hand than hours in the day.
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Referenced in The Tonight Show with Jay Leno: Episode #20.90 (2012) See more »


Underneath Your Spell
Written by Tony Dimito (as Tony Di Mito) and Ami Bet Ariel Margoles
Performed by Patron Saints of Jazz
Courtesy of Patron Saints of Music
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Frequently Asked Questions

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User Reviews

A disappointment
22 September 2014 | by See all my reviews

Given the pedigree of the director of this film (notably GATTACA which I'd rate as one of the best science fiction films ever made and criminally overlooked), I really expected more.

The production is very much in the same mould - the 'future' world is understated, in many ways a retro-styled present day bereft of any CGI or flashy special effects. That's in keeping with the high concept underpinnings of the film, which much like GATTACA is based on extrapolating the ramifications on human living of a development of medical science.

So far, so good and it certainly seems to hold promise initially. Unfortunately the subtlety of the earlier film is quickly lost as the plot leads not toward a considered analysis of social implications, but instead a heavy handed adventure thriller which succumbs to a misguided appeal to popularism (or perhaps its stars' vanity), by becoming a melodramatic action-flick.

I can't lay too much blame at the feet of Tiberlake, Murphy and the rest of the cast as the material really doesn't lend itself to credible performance from its cast.

I find myself left to ponder if this is one of those pieces of cinema which started out as something which would have been thoughtfully considered and delivered a genuine emotional resonance, that was then ruined by the desires of producers, actors or other influence to present something which might attract a greater box-office. In the end the effect was just to butcher something of potential into a dog's breakfast of an offering that satisfies as neither a piece of escapist entertainment, nor a work making serious points about serious issues.

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