We need more directors willing to take risks with films like Get Out.
One of the most difficult and challenging puzzles in filmmaking is to tell a story in flashback, and it is a test that Nicolas Roeg fails in his new film, "Bad Timing."
That's a little surprising, since Roeg has proven himself a master of labyrinthine story lines in such movies as "Don't Look Now" and "Performance." Those films, though, had a reason for being told out of chronological sequence—particularly "Don't Look Now," which was about precognition and so, of course, contained events that "happened" before they happened.
With "Bad Timing," though, it's hard to say why Roeg decided to begin at the end and jump around in chronology. The movie contains no revelations that look different the second time around, and so the editing seems merely fancy footwork, or Roeg showing us that he had done this before and can do it again.
One other possible motive for the extremely complex editing in "Bad Timing" may be Roeg's desire to camouflage the fact that his story would be thin and his characters shallow if they were just seen straight through from beginning to end.