Connect with us
Trippy visuals and historical context ground this ambitious science fiction film.


TIFF 2019: Benson and Moorhead Bend Time in the Psychedelic ‘Synchronic’

Trippy visuals and historical context ground this ambitious science fiction film.

Bringing together trippy science fiction and the grit of New Orleans, Justin Benson and Aaron Moorhead continue their streak of grounded genre-fare with Synchronic. With another exploration into concepts of time and reality, Synchronic plays out like a cross between Martin Scorsese’s Bringing out the Dead and Shane Carruth’s Primer. Though not as nuanced in its characters as previous entires in their filmography, Benson and Moorhead provide another delight for genre fans, and a compelling idea that never gets too far out of their grasp, despite its ambitiousness.

Focused on two paramedics, Synchronic finds Steve (Anthony Mackie) and Dennis (Jamie Dornan) driving through New Orleans and stumbling upon several drug overdoses in the city. The only connection between the overdoses is that all of the victims took a new designer drug called Synchronic. As the incidents start piling up, the two become entangled in the mystery of the drug’s effects after Dennis’ teenage daughter (Ally Ioannides) takes it and goes missing. While Dennis tries to find his daughter, Steve takes it upon himself to learn what exactly Synchronic does to the user, which ultimately leads to the film’s surreal and genre-bending narrative.

Tensions between the two escalate as Dennis contends with his failing marriage, which is only made worse when their daughter disappears, while Steve hides a terminal illness that leads him to experiment with Synchronic. As an isolated alcoholic who is dying, Mackie is probably the best he’s ever been in a role that doesn’t really offer him much in terms of character development but still puts him in situations where his charisma brings magnitudes. Hefty amounts of emotional baggage are dropped on him, and he does a significant job elevating the material. Meanwhile, Dornan continues to be bland, and his chemistry with Mackie feels forced every time they banter. In fact, almost all of the emotion in Synchronic comes up short because of this lack of chemistry and Dornan’s poor acting.

Despite that, Synchronic is enjoyable because of where its science fiction concept is willing to reach. The visuals are otherworldly as different time periods blend into each other, and Benson and Moorhead continue to show what can be done on a modest budget. While the film’s trippy concept is explored thoroughly enough, there are facets that desire extrapolation, such as the personal ramifications of taking the drug — which isn’t explored, despite drugs with hallucinatory and psychedelic effects tending to take the user into account. Instead the drug here has the same effect on everyone, with any deviations dictated by external factors. However, the film casually explores Steve’s character within the guise of this, making for a riveting — but not all that deep — look at the past to see how much better things are now.

Synchronic doesn’t quite live up to the neat package that The Endless was, but Benson and Moorhead pare down the scope of the film in order to keep it neater and more controllable. Otherwise, not only would it have been a messy venture, but the dull characters would deny any thrills. Thankfully, Mackie does wonders in a very subdued emotional performance that complements the visually arresting imagery. Synchronic is a solid genre flick that will keep Benson and Moorhead on the rise in the genre community, and will satisfy fans of a psychedelic premise rooted in the real world.

The Toronto International Film Festival runs September 5 – September 15

Written By

Chris is a graduate of Communications from Simon Fraser University and resides in Victoria, British Columbia. Given a pint, he will talk for days about action films, video games, and the works of John Carpenter.

Click to comment

Leave a Reply

Your email address will not be published. Required fields are marked *



2001: A Space Odyssey 2001: A Space Odyssey

2001: Clarke and Kubrick’s Odyssey of Discovery


The Best Movies of 1973 The Best Movies of 1973

The Golden Year of Movies: 1973



Spider-Man: Across the Spider-Verse Is a Dazzling Web of Unbridled Creativity


The Zone of Interest The Zone of Interest

Cannes 2023: Jonathan Glazer’s The Zone of Interest is a Manicured Vision of Hell


Jeanne Du Barry review Jeanne Du Barry review

Cannes 2023: Maïwenn’s Great Hair Goes to Great Lengths in Jeanne Du Barry


Asteroid City: A Gimmicky Vanity Project Asteroid City: A Gimmicky Vanity Project

Cannes 2023: Wes Anderson’s Asteroid City is a Gimmicky Vanity Project


Black Flies Gripping Black Flies Gripping

Cannes 2023: Black Flies— Gripping Descent into the Underbelly of New York’s Urban Misery 


Four Daughters Four Daughters

Cannes 2023: Four Daughters: A Family’s Journey From Goth to Niqab


La Passion de Dodin Bouffant: La Passion de Dodin Bouffant:

La Passion de Dodin Bouffant: Surfeit Cooking Drama Most Inane Film at Cannes


BlackBerry movie review BlackBerry movie review

BlackBerry Is a Wonderfully Canadian Account of a Dying Tech Dream


Godzilla 1998 Godzilla 1998

Godzilla at 25: When Hollywood Made a Manhattan Monster Movie, with Disastrous Results


The Mother Jennifer Lopez and Lucy Paez The Mother Jennifer Lopez and Lucy Paez

Jennifer Lopez’s The Mother is Eerily Similar to Enough, But That’s Not a Bad Thing


Discovery channel Discovery channel

The Head-Scratching Moves Discovery Has Been Making


Sean Connery Sean Connery

60 Years Later, Dr. No Remains the Paragon of Bond


Starling Girl Starling Girl

The Starling Girl is a fine exploration of love, religion, and coming of age


The Matrix Reloaded The Matrix Reloaded

20 Years Later: The Matrix Reloaded was Underwhelming, but Still Underrated