Tim Travers and the Time Traveler’s Paradox Review
Time-travel films are notoriously difficult to pull off. They often collapse under the weight of their own logic or get lost in convoluted rules. Tim Travers and the Time Traveler’s Paradox takes a refreshingly different approach. Its central premise is simple but unsettling: a man travels back in time to kill his younger self in the hope of unmaking reality. Instead of the universe imploding, it calmly carries on, leaving him to confront something far more disturbing – himself.
What follows is a film that’s as funny as it is strange. It leans heavily into a comic-book sensibility, with on-screen titles appearing as characters vocalise their thoughts, and a tone that feels deliberately heightened. It’s playful without being lazy, absurd without tipping into nonsense. Think a Chris Pratt-esque lead dropped into a world that feels part It’s Always Sunny in Philadelphia, part Mickey 17.
Samuel Dunning, as the titular character, is a genuine standout. He carries the film with an ease that suggests real star potential. There’s a natural charm to him, confident without arrogance, and it’s easy to imagine him fitting comfortably into larger studio projects down the line. His ability to play so many different versions of his character, all in a unique way was extremely impressive. Joel McHale is equally enjoyable as an eccentric, bubbly radio host, fully leaning into his energy and elevating every scene he’s in.
Felicia Day is a particular highlight. Her performance recalls a sassy, sharper version of a Doctor Who companion- quick-witted, self-aware and grounding the chaos around her. The script gives her plenty to work with, and she makes the most of it.
Written and directed by Stimson Snead, the film’s biggest strength is its dialogue. It feels witty, natural, and confident, with jokes that land without feeling forced. Comedy is incredibly hard to balance, too much and it becomes cringey, too little and it falls flat, but this film finds that sweet spot. It’s genuinely funny and unapologetically odd. There’s even a scene involving an orgy with multiple versions of the same person, which is as unhinged as it sounds – and somehow works.
The film isn’t without flaws. The cinematography and colour grading let it down slightly, giving parts of the film a sitcom-like look rather than a cinematic one. Despite its strong ideas, the 95-minute runtime feels a little indulgent, and the film would flow better if around twenty minutes had been cut. As it stands, it drags in places. Still, the originality of the concept and the strength of the performances carry it through.
Overall, it’s a clever, strange, and very funny take on time travel – and one that suggests everyone involved has a bright future ahead.
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