Dans l'espoir de modifier les événements du passé, un inventeur du XIXe siècle voyage dans le temps mais se retrouve 800 000 ans dans le futur, où il découvre l'humanité divisée en deux race... Tout lireDans l'espoir de modifier les événements du passé, un inventeur du XIXe siècle voyage dans le temps mais se retrouve 800 000 ans dans le futur, où il découvre l'humanité divisée en deux races en guerre.Dans l'espoir de modifier les événements du passé, un inventeur du XIXe siècle voyage dans le temps mais se retrouve 800 000 ans dans le futur, où il découvre l'humanité divisée en deux races en guerre.
- Nommé pour 1 oscar
- 2 victoires et 4 nominations au total
Histoire
Le saviez-vous
- AnecdotesThe director Simon Wells is the great-grandson of H.G. Wells, who wrote the 1895 novel upon which the film is based.
- GaffesAt the very beginning of the movie, a clock on the wall strikes three o'clock. In the next scene, when Philby reminds Alexander of his date with Emma, Alexander asks what time it is with Philby responding that it's close to five o'clock.
- Citations
Über-Morlock: We all have our time machines, don't we. Those that take us back are memories... And those that carry us forward, are dreams.
- ConnexionsFeatured in HBO First Look: The Time Machine (2002)
- Bandes originalesSweet Rosie O'Grady
Written by Maude Nugent (as Maude Nugent Jerome)
Commentaire en vedette
When Victorian scientist Alexander Hartdegen sees his fiancé murdered during a petty robbery, he throws himself into his work while all even his closest friends know is that he is doing nonsense research and physics. Four years later though and Alexander has created his machine a time machine that he plans to use to return to the fateful night and save his true love. Somehow he cannot do it though and, in despair, he drives himself forward into the future to find progress beyond his wildest dreams. This progress though, comes with costs and risks both of which Alexander is very aware of as he moves into a world where mankind has changed beyond all recognition.
This film was wildly derided when it came out in the cinemas and I never bothered to go and see it, preferring to let time pass and pick it up for free on television in a few years. That time came recently and I watched a version of HG Wells' Time Machine that is loosely based on the source material. It starts with potential but all too quickly it becomes obvious and surprisingly heartless almost making a conscious decision that the effects will be what people come for and that doing a solid job on those will be enough. Sadly that is not the case but, were it, the effects are already superseded and do not look as impressive as they once may have done. With the humanity and the emotion built into the story, the delivery is quite stiff and dull and I found myself surprised by how little interest I had it the story even when I was far into it. Not totally sure where the problems lie with this but script is certainly one of them (some of the dialogue and exposition is terribly clunky) while the overall production did appear effects driven.
It is a shame because Guy Pearce frequently offers more from his performance and his potential but the film never really takes him up on it and it leaves him isolated, trying to be a character in a film that would seem to just prefer an action hero. Mumba looks good (if you ignore that at times her face is chimp-like, and no it is not racist to say so) but she cannot act for toffee she didn't even run and scream all that convincingly. God knows what about the film made Irons decide to do his poor character but he is not alone as other famous faces such as Bloom and Addey show up.
The Time Machine is not the awful film that some say but it is just very heartless and dull. Some of the effects are good and the plot did have potential but the script and design never let this come out, seemingly more interested in visual bang-for-buck than they were about producing an effective and engaging story.
This film was wildly derided when it came out in the cinemas and I never bothered to go and see it, preferring to let time pass and pick it up for free on television in a few years. That time came recently and I watched a version of HG Wells' Time Machine that is loosely based on the source material. It starts with potential but all too quickly it becomes obvious and surprisingly heartless almost making a conscious decision that the effects will be what people come for and that doing a solid job on those will be enough. Sadly that is not the case but, were it, the effects are already superseded and do not look as impressive as they once may have done. With the humanity and the emotion built into the story, the delivery is quite stiff and dull and I found myself surprised by how little interest I had it the story even when I was far into it. Not totally sure where the problems lie with this but script is certainly one of them (some of the dialogue and exposition is terribly clunky) while the overall production did appear effects driven.
It is a shame because Guy Pearce frequently offers more from his performance and his potential but the film never really takes him up on it and it leaves him isolated, trying to be a character in a film that would seem to just prefer an action hero. Mumba looks good (if you ignore that at times her face is chimp-like, and no it is not racist to say so) but she cannot act for toffee she didn't even run and scream all that convincingly. God knows what about the film made Irons decide to do his poor character but he is not alone as other famous faces such as Bloom and Addey show up.
The Time Machine is not the awful film that some say but it is just very heartless and dull. Some of the effects are good and the plot did have potential but the script and design never let this come out, seemingly more interested in visual bang-for-buck than they were about producing an effective and engaging story.
- bob the moo
- 10 sept. 2008
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Détails
- Date de sortie
- Pays d’origine
- Langue
- Aussi connu sous le nom de
- The Time Machine
- Lieux de tournage
- New England Building, Vassar College, Poughkeepsie, New York, États-Unis(Interior Opening Scene)
- sociétés de production
- Consultez plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 80 000 000 $ US (estimation)
- Brut – États-Unis et Canada
- 56 832 494 $ US
- Fin de semaine d'ouverture – États-Unis et Canada
- 22 610 437 $ US
- 10 mars 2002
- Brut – à l'échelle mondiale
- 123 729 176 $ US
- Durée1 heure 36 minutes
- Mixage
- Rapport de forme
- 2.35 : 1
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