Frequency (2000)

Réalisateur:

Gregory Hoblit

Scénariste (WGA):

Toby Emmerich (written by)

Date de sortie:

28 avril 2000 (USA)

Genre:

Action | Crime | Drame | Science-Fiction | Thriller

Accroche:

What would you do if you could change the past?

Intrigue:

An accidental cross-time radio link connects father and son across 30 years. The son tries to save his father's life, but then must fix the consequences.

Plot Keywords:

New York City | Death | Fire | Serial Killer | Murder

Récompenses:

Nominated for Golden Globe. Another 2 wins & 6 nominations

Avis des utilisateurs:

Unique and interesting premise

Ensemble

Dennis Quaid	...	Frank Sullivan
James Caviezel	...	John Sullivan (as Jim Caviezel)
Shawn Doyle	...	Jack Shepard
Elizabeth Mitchell	...	Julia 'Jules' Sullivan
Andre Braugher	...	Satch DeLeon
Noah Emmerich	...	Gordo Hersch
Melissa Errico	...	Samantha Thomas
Daniel Henson	...	Johnny Sullivan (6 Years)
Jordan Bridges	...	Graham 'Gib' Gibson
Stephen Joffe	...	Gordo Hersch (8 Years)
Jack McCormack	...	Commander Butch O'Connell
Peter MacNeill	...	Butch Foster
Michael Cera	...	Gordy Jr. (10 Years)
Marin Hinkle	...	Sissy Clark
Richard Sali	...	Chuck Hayes

MPAA:

Rated PG-13 for intense violence and disturbing images.

Durée:

118 min

Pays:

USA

Langue:

Anglais

Couleur:

Couleur

Rapport de forme:

2,35 : 1

Son:

DTS | Dolby Digital | SDDS

Classification:

Australia:M | Iceland:14 | Iceland:16 (video rating) | USA:PG-13 (certificate #36846) | Malaysia:U | Brazil:12 | Philippines:PG-13 | Argentina:Atp | Chile:TE | Denmark:A | France:U | Germany:12 | Hong Kong:IIB | Netherlands:12 | New Zealand:M | Norway:15 | Spain:7 | Sweden:15 | Switzerland:12 (canton of Geneva) | Switzerland:12 (canton of Vaud) | UK:15 | South Korea:12 | Singapore:PG | Portugal:M/12 | Finland:K-16

Lieux de tournage:

New York City, New York, USA

Société:

New Line Cinema

Anecdotes:

W2QYV, Frank Sullivan's Ham Radio call-sign, actually belongs to the Niagara Radio Club in Lewiston, NY

Goofs:

Anachronismes: In the 1969 scene where Frank is about to enter the warehouse, you see the fire truck lower hydraulic legs and you see a framing saw a bit later in the scene, neither of which existed at this time.

Guillemet:

John Sullivan: You gotta be more careful, cause I can't lose you again. Not like that.
Frank Sullivan: You won't John. You won't. I swear to God, no matter what. You got it? You hear me?
John Sullivan: I hear you.
Frank Sullivan: So how old are you?
John Sullivan: I'm 36.
Frank Sullivan: 36. You're all grown up. You must be married and everything.
John Sullivan: No, I'm not married.
Frank Sullivan: What? Too busy playing ball?
John Sullivan: It didn't work out. I gave it up.
Frank Sullivan: What happened?
[...]

Connexions De Film:

Références It's a Wonderful Life (1946)

Bande son:

When You Come Back to Me

Unique and interesting premise

This unique and interesting film is actually more of a suspense thriller than a science fiction, although I think fans of both genres will be pleased.

Dennis Quaid plays a heroic firefighter who was killed trying to rescue a runaway from a burning warehouse during the days of the Amazing Mets' World Series victory in October 1969. Jim Caviezel ("The Thin Red Line") plays his son, now a cop, thirty years later. Through some quirk of physics involving abnormal solar activity and the Aurora Borealis, the two make contact with each other across the 30-year span over a ham radio. The son is able to prevent his father's death, but changing the past also turns out to have unexpected consequences with which the two must deal.

The film really works on all levels with good action sequences and suspense, a nice dose of humor and some very touching exchanges between father and son. It explores the "what if" scenario of one's being presented with the opportunity to change an event in the past and the way in which those affected must deal with the consequences in a very intelligent and thought-provoking manner.

The acting is uniformly strong, with Quaid very appealing as the courageous firefighter and loving father who has an almost-childlike love for baseball (he even pulls off a Brooklyn accent nicely!); Caviezel is equally good as the present day version of Quaid's character's son. Caviezel brings a subtle sadness to the character, a quality one might expect from someone whose life hasn't quite worked out quite as well as it might have, possibly due to a void created by the absence of his father. One of the strongest aspects of Caviezel's performance was a subtle shift in personality following the changing of events in the past (a change which left him with memories both of his father's death and of time spent with his father in the intervening years).

I have a good feeling about this film and think it has a chance to be a real surprise hit. It's certainly one of the best films of the year thus far.