X
- 2023
- R
- Well Go USA Entertainment
- 1 h 44 m
- 2023
- R
- Well Go USA Entertainment
- 1 h 44 m
Summary Since losing her husband Mal (Edi Gathegi) in a drunk-driving incident, Sophie (Judy Greer) has struggled to manage crippling grief, a full-time job, and the demands of parenting her devastated teenage daughter (Faithe Herman). When her husband’s best friend Jabir (Payman Maadi), a former physicist, reveals that he has been building a ti...
Directed By: Jared Moshe
Written By: Jared Moshe
- 2023
- R
- Well Go USA Entertainment
- 1 h 44 m
- 2023
- R
- Well Go USA Entertainment
- 1 h 44 m
Aporia
60
6.3
Where to Watch
Summary Since losing her husband Mal (Edi Gathegi) in a drunk-driving incident, Sophie (Judy Greer) has struggled to manage crippling grief, a full-time job, and the demands of parenting her devastated teenage daughter (Faithe Herman). When her husband’s best friend Jabir (Payman Maadi), a former physicist, reveals that he has been building a ti...
Directed By: Jared Moshe
Written By: Jared Moshe
Where to Watch
Top Cast
Metascore
Mixed or Average
Based on 11 Critic Reviews
60
64% Positive
7 Reviews
7 Reviews
36% Mixed
4 Reviews
4 Reviews
0% Negative
0 Reviews
0 Reviews
Metascore
Mixed or Average
Based on 11 Critic Reviews
60
64% Positive
7 Reviews
7 Reviews
36% Mixed
4 Reviews
4 Reviews
0% Negative
0 Reviews
0 Reviews
Moshe is not the first filmmaker to grapple with theories surrounding the manipulation of the fabric of time but his intimate approach, coupled with strong performances, make this an intelligent homespun take on a familiar subject.
Writer/director Moshé (South by Southwest 2017 selection The Ballad of Lefty Brown) grounds the tension of the various ethical dilemmas in Aporia by focusing more on his characters than on the gimmick of his delightfully lo-tech time murder machine.
User Score
Generally Favorable
Based on 8 User Ratings
6.3
50% Positive
4 Ratings
4 Ratings
50% Mixed
4 Ratings
4 Ratings
0% Negative
0 Ratings
0 Ratings
User Score
Generally Favorable
Based on 8 User Ratings
6.3
50% Positive
4 Ratings
4 Ratings
50% Mixed
4 Ratings
4 Ratings
0% Negative
0 Ratings
0 Ratings
The basis for the ability to affect time is thin at best, but this turns out to be not so important as this us is a story about the moral and psychological effects of impacting the timeline (for lack of a better term) and of grief and guilt as well. It’s not showy, and small scale, which works in its favor. Judy Greer is a standout in a cast of good performances.
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Conquering time travel may be a big deal, but Greer’s affecting portrait of a woman processing a second chance keeps the miracles of Aporia grounded and not flashy — a portal to human epiphanies, not digitally rendered spectacle.
While the narrative is rooted in the use of a sci-fi device, the film is rather light on traditional elements from the genre, relying almost entirely on the personal relationships of the characters and their shared memories to tell a story about the ripple effect one life can have on even the tiniest details of the world around them.
In Aporia, drama takes center stage and bells and whistles are few and far between. The production value is simple but effective, as are the performances. By the time the credits roll, Moshe’s film makes its point and, crucially, does not overstay its welcome.
The conclusion has a rough logic to its consequences, but seems arrived at abruptly. Big emotions we expect never quite arrive after that first “machining.”
A deeply silly time-travel weepie buoyed solely by the soapy warmth of its performances.
IN A NUTSHELL:
Since losing her husband, Sophie has struggled to manage grief, a full-time job, and parenting her devastated daughter, but when a former physicist reveals a secret time-bending machine, Sophie will be faced with an impossible choice for a chance at happiness again.
The film was directed and written by Jared Moshe. Well done, Jared! Already, the film has been nominated for "Best Film" at the Fantasia Film Festival.
It's helpful to know that the word "aporia" means an irresolvable, internal contradiction or logical disjunction in an argument or theory (Oxford Dictionary). It's the perfect title for this film.
THINGS I LIKED:
I've been a fan of Judy Greer for decades. She always gets roles as the best friend or some supporting character, so I'm happy to see her as the lead in this movie. She absolutely crushes it.
All of the cast members did a great job and include Edi Gathegi, Peyman Moaadi, and Faithe Herman.
Like a lot of films these days, this one tackles the human perspective of the multiverse. I love time travel movies and loops.
I love twists, and this movie forces you to think deeply about choices and consequences.
Most movies lately tell audiences to just do whatever makes YOU happy, with no regard for responsibility or consequences. I really like that this film explores those ideas deeper.
The color palette looked muted, which I thought was a great choice because the story takes a look at reality and alternate realities. The choices weren't always clear either.
THINGS I DIDN'T LIKE:
The mechanical contraption that the former physicists built looks ridiculous.
The film completely glosses over the daughter's reaction to how her father is now alive. How is it determined who will have memories and who will not? There are some plot holes like that, so try not to overthink the story too much.
The film moves quite slowly.
I didn't feel a lot of chemistry between the leading couple.
There was a rumor that this film is related to the Cloverfield franchise, but it's not.
TIPS FOR PARENTS:
Young kids will be very bored.
Profanity and F-bombs
Talk of a drunk driver who killed a man
Some alcohol and cigarettes
People talk about killing other people.
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Queria que esse filme fosse dirigido pelo Nolan, uma brincadeira de mexer em coisas do passado trazendo consequências para o presente. Embora careça de uma explicação melhor e cheio de furos no roteiro, o filme mantém o interesse para saber até onde irão as consequências, e o que é melhor,esse interesse é mantido mesmo após o término da sessão.
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Even when its concept doesn't sound so original anymore, especially when dealing with plots about grief and loss, Aporia tries, but its specific fantasy involving time travel just recites the same old trope where you know with absolute certainty that things are going to go wrong for the characters involved, so with such a well-worn plot device, you need a script that changes the concept a bit.
Does Aporia pull it off? No, not really. The sci-fi appeal doesn't require anything outlandish to work outside of the dramatic intentions the story seeks to develop. It departs from the complexities of similar reality-altering plots, its stakes are centered on moral quandaries. So, if you're expecting a more spectacularly inclined adventure, forget it, this film concentrates on drama, rather than delving into convoluted ramifications.
It never quite loses its grip so that it ends up falling apart into pieces, but its exploration of the consequences of tampering with time has been exhaustively probed, and the moral implications never change.
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For those unfamiliar with the term “aporia,” it refers to a state of puzzlement or bewilderment, especially in philosophical and ethical discourse. And, in the case of this latest effort from writer-director Jared Moshé, it’s equally applicable to the essence of this film’s existence. This romantic sci-fi saga of a nurse, Sophie (Judy Greer), who loses her engineer/physicist husband, Mal (Edi Gathegi), to a drunk driver follows the efforts to bring him back to life with the assistance of her late spouse’s best friend, Jabir (Payman Maadi), a fellow scientist with whom he was working on a time machine. Unfortunately, the device doesn’t function as intended, but it is nevertheless capable of sending a deadly subatomic particle through time whose impact is capable of killing someone – in this case, the proposed target being the motorist who killed Mal. The prospect poses a daunting ethical dilemma, but Sophie agrees to it, and she soon finds herself back in the company of her husband. But changing the past carries consequences, many of them unforeseen and difficult to deal with. The film presents an intriguing premise, to be sure, but one not unlike what was previously examined in “The Butterfly Effect” (2004). What’s more, this offering is plagued by a number of issues, such as needlessly slow pacing, insightful but overlong ethical debates and a stunningly unsophisticated temporal device that looks like one of Rube Goldberg’s comical contraptions. The biggest problem by far, though, is one of narrative credibility – not from a scientific standpoint but from a moral one: It’s hard to believe that these three supposedly intelligent individuals can be so casual and cavalier when it comes to their ethics and morals. I find it unfathomable how a supposedly compassionate caregiver like a nurse could so willingly go along with a harebrained plan to willfully kill someone for self-serving purposes; it’s a hallow, contrived and patently unbelievable story arc. And, when efforts to make up for this transgression surface, the plot truly starts to go off the rails. Indeed, the logic behind this tale truly needs to be rethought and reworked, because, as it stands now, it genuinely leaves philosophically minded viewers in a deep state of aporia, especially when it comes to figuring out why they bought a ticket to watch it in the first place.
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