The Future

2011

The Future

Critics Consensus

A dark and whimsical exploration of human existence that challenges viewers as much as it rewards them.

72%

TOMATOMETER

Reviews Counted: 106

54%
liked it

Audience Score

User Ratings: 4,264

TOMATOMETER

N/A
All Critics | Top Critics
Average Rating: N/A
Reviews Count: 0
Fresh: 0
Rotten: 0

AUDIENCE SCORE

54%
Average Rating: 3.2/5

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Movie Info

When Sophie (Miranda July) and Jason (Hamish Linklater) decide to adopt a stray cat, their perspective on life changes radically, literally altering the course of time and space and testing their faith in each other and themselves. -- (C) Official Site

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Critic Reviews for The Future

All Critics (106) | Top Critics (40)

  • You end up feeling sorry for the cat but not for Sophie and Jason, who seem unable to deal with life, love or, in fact, anything.

    Nov 4, 2011 | Rating: 2/5
  • July's film-making is a taste I have yet fully to acquire, but she has a distinctive vision, a style, placed before you on a take-it-or-leave-it basis. I took it.

    Nov 3, 2011 | Rating: 3/5 | Full Review…
  • A playfully self-aware dig at the emptiness of some modern lifestyles that will make you check your own.

    Nov 3, 2011 | Rating: 4/5 | Full Review…
  • Not a crowd-pleaser by any measure, but a mature, bold and recklessly inquisitive film, however unpleasant it is to consume in the moment.

    Nov 1, 2011 | Rating: 3/5 | Full Review…

    David Jenkins

    Time Out
    Top Critic
  • Miranda July may be a bit too weird for her own good. On the other hand, it is a glorious weird.

    Sep 2, 2011 | Rating: A | Full Review…

    Tom Long

    Detroit News
    Top Critic
  • Provides plenty of material for July junkies as well as July detractors.

    Aug 25, 2011 | Rating: 2/4

Audience Reviews for The Future

½

Didn't hold my attention but I felt like it should have. I want to give it another chance simply because it has a guy stuck in time trying to move the moon and a cat that talks before getting put down with an extremely sad monologue.

Curtis Lilly
Curtis Lilly

Super Reviewer

Another eccentric film from director, performer, and actress Miranda July. That's the nicest thing I can say about this film without getting clouded in debate, because for all the impressive and interesting aspects of this film, it is painfully uneven. As a test of cinema, of the ideals behind getting to the middle road of one's life and not liking where you are it was great conceptually. You have a couple in their thirties, both happy to be together, but disinterested with their outcomes in life. They have one month before they adopt a damaged cat from a shelter (a decision that is never explained or warranted) to do whatever they want. For some reason they both quit their jobs and try falling into habits and causes. It doesn't come easy, and they both drift apart, which is something I generally like about the film. I love that they try to explore the world around them and actually make an effort in changing themselves and find that only trying without passion, or experiencing the world isn't the thrill ride they expected. What I ended up having problems with were the choices made to wrap up the existential conflicts that both characters evidently come to. Instead of really speaking about what happens after the bubble bursts, July goes very formulaic by breaking them apart and developing a side relationship, which was intentionally uncomfortable but also clichéd. The flighty, dispassionate artistry to some of the dialogue is distracting, as is a puppet cat. The cat tells the story of how they adopted it and would be coming back, which happens intermittently in most annoying way possible. I did like the very end of the cat and how it told of how it was unloved but always waiting. Still, this film left me exhausted and annoyed without any explanation for why it did what it did. July needs to not make commercial films and make films that speak to human nature preferably.

Spencer S.
Spencer S.

Super Reviewer

½

In one way we should envy the caveman. When he looked at all the possibilities of his life, there couldn't be many, and he may have been content with he and his family just surviving, day by day. Today, in deciding life's journey, that nearly identical caveman has to wrestle all the possibilities and abstractions of developed language, ideologies, and technology. Reason has defeated religious portrayals of a purpose beyond this life - we can easily panic over our limited time here. How do we spend this time? How do we know when we have seen the answer? When we stop asking the question. Every scene in this film is making an observation - not a statement, just observations of feelings born from self awareness in the modern age. I've responded to only one here, kick-starting the open discussion this movie is begging to have with me. It will continue, and I suggest any philosopher to initiate their own with this wonderful movie.

Matthew Slaven
Matthew Slaven

Super Reviewer

"They petted me and I accidentally made that sound that said, 'I am a cat and I belong to you,' and upon making the sound I felt it to be true." When a couple decides to adopt a stray cat their perspective on life changes radically, literally altering the course of time and space and testing their faith in each other and themselves.

REVIEW
A 35 year old couple, Sophie and Jason (Miranda July and Hamish Linklater), goes through odd challenges trying to reach a peace in their self-examined life. That they are too similar in their deadpan defeatism is offset by their quirky eccentricity, giving lightness to the otherwise dark, sometimes dryly comedic deconstruction of the dull life. My summary takes no account of the lame, narrating cat they plan to adopt, Jason stopping time, and the shifting space as their life together progresses slowly from quiet contemplation to banal challenge. PawPaw the cat gives a philosophical overview about waiting for life to happen as it awaits the couple's adoption, just as the couple awaits the future with an old-fashioned hippy-like concentration on the small parts of life and a dangerous naiveté. Other magical occurrences place this lyrical but snail-paced film in the formalist mode including Jason's talking to the moon and Miranda's envisioning friends' children growing up before her eyes. July makes it work; so childlike and fantastic at times is the couple that the audience joins in the fantasy hoping to see more clearly the arc of life in order to arrange it more felicitously.

Lorenzo von Matterhorn
Lorenzo von Matterhorn

Super Reviewer

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