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An archaeologist (Barry Watson) from 1000 years in the future uncovers a romance novel written in our time. Curious, he journeys back to find out about this thing called "love" from the novel's author (Sara Rue). Set in New Orleans, shooting in Atlanta, Nov 2010 Written by
The character Elizabeth Barrett's name may have been based on the romance poet of the 18th century Elizabeth Barrett Browning. See more »
It's something that happens when you meet someone that you feel deeply connected to. And, it's not like that connection is a product of anything, intentional, but rather, something outside, of yourself. Something that you can't fight. Something that was, just, meant to be. Something that makes you wish you could live forever so you would never have to be without it.
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A Wacky But Entertaining and Surprising Experience Underneath
The movie begins with a credible, time-skewing cultural tilt while it quickly presenting some overly stylized acting and perhaps an overly simplified beginning. Surprisingly Elizabth, the female protagonist, that might not be not the most appealing character, though for some she might grow on them. The main male lead, Pax, on the other hand, is presented with a bland flair which works very in the story. The basic set up is mostly standard fare and presented in the same way (though without it being terrible or awful).
Yet even with these off putting elements, there is an attractive way that "Pax" presents himself to Elizabeth and there is a strong emotive feeling that comes off the screen that actually moves with fascinating tension with irony, with loss, with hope, and even longing connectivity revealing the struggle and implicit obstacles to reach the end. Along the way, the future and past dichotomies are both intriguing and yet at time slightly over-done and irritating as "Pax" continues his script dialogue. Somehow the gender relational dialogue remains uneven, unlike the smoother flow found in Kate and Leopold (2001) another time-travel romantic comedy, or even the time displacement light black-comedy action thriller Demolition Man (1993). The use of futuristic linguistics is quite in-depth though its use may be overly intrusion when compared to Sandra Bullock's more selective and more effective use in Demolition Man, unless like anything odd or new, one gets used to it.
The drunk scenes are typical, but have a subtle, quality comedy to them, a dramatic enhancement infused into the time travel genre that has some genuine insight included with the dialogue that is simple but enlightening and wasn't actually overdone in the loopy comedic fashion. There is a tender moment of irony with the future and the present and varying cultural values, attachments in the making of reparations not usually taken with as much time travel consistency as most movies of this genre. The presentation of the script, acting remains un-full featured movie theatrical with its simplified and semi-predictable seemingly superficial scenes as definitely better presented by the serious substantive drama of 12 Monkeys (1995) or even Timecrimes (2007) of Idaho Transfer (1973). Yet this movie holds its own television charm. The use of the television dialogue when captured in this time travel genre also seems to enhance the simple, perhaps romantic love dribble and transforms the experience into a singularly more pure form of emotive and genuine feeling. Yet overall the dialogue may seem to be pervasive to the point of self-serving attempt to show off a writer's brilliance, as the balance in this movie is tricky. The naïveté and the innocence of Pax's behavior and the supposedly unintended comic consequences can be both manipulatively nauseating, or Elizabeth the apparent dim witted female can frustrating and still if taken in a prolonged and maybe authentic disbelief and world-paradigm shifting way, the movie's portrayal of the plot is some ways is true to life. One nice touch is how the usually bitchy, arrogant male character is played in the movie offering a more balanced-theme script than the more traditional romantic comedy style. As for a romantic comedy, My Future Boyfriends has elements from Enchanted (2007) and even the animated American Tail (1986) with the Oscar nominated song "Somewhere Out There." The government angle is tacky but intriguing in order to add the additional, needed extended movie length, including wacky escapes and chases. Even then, the script writer keeps a certain element of balance in the affairs of state, its emotional tenderness and its consistent credibility, character integrity without stereotyping and thus avoiding the typical negative vibes that usually occur in movies of this nature (often seen in such paradoxical scenes found in such television series Star Trek (original series).
The movie manages to hold together in a fun way. My Future Boyfriend retains its emotional intensity with its simple poignant message as found in Frequency (2000) and physically compelling or drama as say Timecop (1994) or as delightfully more subtle The Lake House (2006) in involving a relationship via letters through time. Though the ending for a somewhat more serious, darker comedic drama that would have had the ending shortened to the scene before the last would probably had a more powerful impact. The best representative relational time travel movie to this movie might be The Time Traveler's Wife (2009) or some similar to the tone of My Future Boyfriend would be Time After Time (1979) but which has the past coming into the future.
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