{"id":1508,"date":"2015-02-04T07:35:54","date_gmt":"2015-02-04T06:35:54","guid":{"rendered":"https:\/\/www.senses.se\/en\/review-project-almanac-cinema\/"},"modified":"2025-05-09T14:21:10","modified_gmt":"2025-05-09T12:21:10","slug":"review-project-almanac-cinema","status":"publish","type":"post","link":"https:\/\/www.senses.se\/en\/review-project-almanac-cinema\/","title":{"rendered":"Review: Project Almanac (cinema)"},"content":{"rendered":"

David, along with his group of technically inclined friends, discovers a blueprint for a time machine, initially conceived by his late father. They decide to pursue the project, successfully implementing the technology and ultimately activating the device. However, time travel soon proves to be a complex and perilous endeavor, fraught with unintended consequences when altering past events. Initial intentions of making minor improvements or resolving personal matters escalate as David is compelled to journey further back in time, leading to unforeseen and undesirable outcomes. Dean Israelite directs Project Almanac<\/em><\/strong>, which bears a striking resemblance to Chronicle<\/em>, substituting superpowers with time travel.<\/p>\n

The premise closely mirrors that of Chronicle<\/em>, released several years prior, with the key difference being the presence of the time machine. The two films share stylistic and narrative similarities, notably the consistent use of a handheld camera perspective, ostensibly operated by a character within the scene. Furthermore, Project Almanac<\/em> exhibits characteristics common to Chronicle<\/em>, such as rapid editing, heightened emotional outbursts, and music video-esque visuals. While technically polished, the film’s aesthetic is undermined by its frenetic and overwhelming presentation.<\/p>\n

It is frustrating to witness the squandering of a promising concept. Time travel remains a captivating subject in film. Having viewed the Back to the Future<\/em> trilogy, Time Machine<\/em>, and, more recently, the compelling Predestination<\/em>, I believe I possess a reasonable understanding and appreciation of the genre. Regrettably, the potential of the concept is diminished, seemingly in favor of appealing to a younger, broader demographic than that targeted by films such as Predestination<\/em>.<\/p>\n

Project Almanac<\/em> appears to prioritize a visually appealing, high-energy presentation akin to a music video, infused with familiar high school movie tropes. The handheld camera technique, reminiscent of Paranormal Activity<\/em>, feels contrived and detracts from the experience. A more conventional filming style, coupled with a more serious exploration of the ramifications of time travel and the importance of preserving the past, could have yielded a more compelling result. Instead, Project Almanac<\/em> devolves into a typical teen film. The ubiquitous romantic subplots within the school setting are unengaging and the portrayal of manufactured chemistry and relationships between the young actors is unconvincing.<\/p>\n

The narrative possesses inherent potential and, with better execution, could have served as the foundation for a genuinely engaging and entertaining film. However, the film either fails to capitalize on this potential, or such ambition was absent from the outset. Project Almanac<\/em> is undeniably stylish, featuring competent visual effects and an intriguing core concept. However, it is difficult to disregard the pervasive teenage movie atmosphere and the poorly implemented handheld camera perspective, which raises questions about the characters’ priorities. Ultimately, Project Almanac<\/em> is a largely absurd, poorly acted, and predictable film, despite its stylish presentation. Viewers born after 2000 may find it more entertaining, but this should be considered before viewing. I would recommend Ethan Hawke’s performance in Predestination<\/em> instead.<\/p>\n