Future Tense: The 20 Best Time-Travel Movies

Terry Gilliam’s relentlessly inventive time-travel caper stars a young boy and six dwarfs who have swiped a map of the universe and are using it to steal everything they can. Best cameos: Sean Connery as Agamemnon and John Cleese as a daffily aristocratic Robin Hood. God was played by the distinguished British actor Ralph Richardson, who got so into the role that he rejected some of his dialogue, telling Gilliam, “God wouldn’t say that.”

The Star Trek franchise, both on TV and on the big screen, has featured so many time-travel stories, working every possible angle, that eventually the Deep Space Nine show had to introduce a Department of Temporal Investigations just to keep everything straight. This romp was one of Starfleet’s best journeys through time: Kirk and the Enterprise crew head to 1980s San Francisco to bring a humpback whale to the future, and are befuddled by 20th-century concepts such as punk rock, computer keyboards, and exact change.

The crimson-haired Lola (Franka Potente) gets a phone call from her boyfriend: He’s lost a bag with 100,000 deutschemarks, and if he doesn’t find it or replace it in the next 20 minutes, his criminal boss will kill him. So Lola runs through Berlin, dodging bicyclists, causing car accidents, provoking flash-forward sequences of the destiny of various pedestrians, trying to find a way out. Each time she fails, the 20-minute time loop starts again — it seems to be powered by love and the absence of cash.

Probably the funniest time-travel movie ever made: John Cusack, Rob Corddry, Craig Robinson, and Clark Duke head back to the 1980s while at a ski resort, revisiting a time when hair was big, outerwear was neon, and Poison was a big headlining band. (It’s also a time when Cusack was a much bigger movie star; the movie sidesteps that.) Best scene: Robinson having sex in a bathtub so he won’t disrupt the timeline, weeping because he feels guilty about cheating on his wife, even though she’s only nine years old in 1986.

“I’m a sucker for the time-travel genre,” director Rian Johnson told Rolling Stone. “If you’re a nerd like I am, it’s really fun to work out the map of how everything is going to work.” But he made sure this movie, about contract killers snuffing people sent back in time 30 years, didn’t feel like “algebra homework”;  instead, Looper has an aging hitman (Bruce Willis) confronting his younger self (Joseph Gordon-Levitt). For all its sci-fi inventiveness and thrills, the best scene is the two leads meeting at a diner: a young man looking his older self in the eye, determined not to turn into him.

A rigorous, graduate-level time-travel movie, full of confusing plot twists, technical jargon, and duplicate versions of characters trying to outfox each other. But it’s also a thrilling mind-bender, and as soon as you’re done watching it, you want to see the whole thing again to see if it actually makes sense. (It does). Made for an astonishingly low $7,000, director Shane Carruth’s debut is also one of the best movies ever about a tech start-up: When some engineer friends make a working time machine, they skip right over the ethical consequences in favor of the financial rewards.

Funny, thrilling, unbelievably Oedipal: When Marty McFly (Michael J. Fox) travels to 1955 and accidentally prevents his parents from getting together, his mother transfers her affections to him instead. Fortunately, Fox doesn’t have to pluck out his eyes — instead, he labors to make his parents fall in love, so that he will actually be born. Best subtle joke: McFly knocks down a tree in 1955; back in 1985, a shopping center has changed its name from the Twin Pines Mall to the Lone Pine Mall.

The original Terminator (1984) had a great premise: Arnold Schwarzenegger is a killer cyborg (just the way you like him) coming from the future to kill waitress Linda Hamilton so she can’t give birth to the eventual leader of the human resistance. But seven years later, director James Cameron upped the stakes with this sequel — not just blowing out retinas with bigger explosions and more CGI, but wrestling with the philosophical paradox of whether knowing the future removes humanity’s free will.

A gorgeous 28-minute film, told in a montage of black-and-white still photographs and narrated in French, about a man sent back in time to avert an apocalyptic war. He’s obsessed with his childhood memories of a beautiful woman and seeing a man die — inevitably, he gets tangled in the silken cords of time travel. This novella of a movie is pretty much perfect, which didn’t stop Hollywood from making a big-budget feature-length version: 12 Monkeys (1995), directed by Terry Gilliam, and starring Bruce Willis and Brad Pitt.

Time travel doesn’t have to span hundreds of years to be a significant plot element in a movie, of course: it can be hours, or a handful of seconds. Characters can be caught in a loop, or spawn alternate universes, or even kill their grandfathers, depending on the rules the filmmakers set up: at press time, actual time travel was still fictional. The time travel in this Bill Murray comedy, while limited to a single day, still plays into one of the most fundamental reasons for its persistence: the notion that if we had a chance to do our lives over, we could do it better the second time. The movie’s great subversion of that fantasy is the lesson that you could begin your do-over right now, in the present tense, on February 3rd and beyond.