Casper (Rhys Darby) has traveled to the past, and now he’s trapped. Understanding this, he attempts to make a life for himself, make friends, including Holly (Gabrielle Graham), and find ways to ensure that the future plays out how he knows it. Casper likes to tell people “Relax, I’m From the Future,” but his existence, and him constantly getting involved in things that he shouldn’t is causing crazy things to happen in the future–whether he knows it or not.
Political and social undertones are made clear from the start of the film, so it’s not a surprise that the film, later on, transitions into something blatantly political and social in terms of content. There are hints here and there throughout the course of Relax, I’m From the Future, and I preferred that tactic to the more aggressive one that came later. Regardless of this, however, the film remains on a path toward success regardless of the political and social pieces of the puzzle.
Aside from those parts of Relax, I’m From the Future, I’m really impressed with the finished product. The thing that impressed me the most was the editing–as it does such a wonderful job of propelling the film forward and keeping things as linear as possible in a time-traveling film. Viewers see split screens, abrupt transitions, and more as we move from place to place throughout the narrative. While it seems that an abundance of techniques might cause Relax, I’m From the Future to become frumpy, this couldn’t be further from the truth. Writer-Director Luke Higginson puts himself in the unique situation where, because there are so many things going on, and the story can become a tad convoluted, he has to do something to ensure that viewers can follow along. The way in which the film is edited helps to keep the film as linear as possible–and while it may be a unique way to make things work–it most certainly does.
The film bounces back and forth between overacting and even keeled acting–but the nature of the acting almost always reflects the situation creating a good balance and an effective expression of tone. Relax, I’m From the Future has its silly moments, and it has its moments of drama (which I wish would have been a little more powerful)–and the actors are the ones that allow these moments to shine, to reach viewers. Through the constant shift in style of acting, the film lays itself out nicely for viewers to understand and appreciate the intention behind the film. Led by Darby and Graham, Relax, I’m From the Future hinges on whether they are able to effectively convey emotion in a combination of sincere and idiotic ways. They are effective, and the film does its job as a result.
I really do wish that those dramatic moments were heavier than what actually transpired throughout the course of Relax, I’m From the Future, as they just don’t deliver the right amount of gusto. That’s not, in any way, a result of the acting, but rather the writing. By the end of the film it leans a little too heavily into social and political escapades when it should have stayed true to its originally more subtle approach. There’s a lot going on in Relax, I’m From the Future, and it runs the risk of being too convoluted. All of these things working against it, and it’s still successful. I truly enjoyed the film, hiccups and all, and found that Higginson appeared to stay true (for the most part) to his goal of attacking social and political conventions without being too aggressive or straying too far off the beaten path.
Written & Directed by Luke Higginson.
Starring Rhys Darby, Gabrielle Graham, Julian Richings, Janine Theriault, Zachary Bennett, etc.
⭐⭐⭐⭐⭐⭐⭐/10
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