In a world made uninhabitable by the Third World War, a prisoner is chosen as being the only person with vivid enough memories of the past to travel through time and return with salvation.

This 28-minute photo montage with about 1,200 words of narration has a nice seed of an idea, but I find it insulting to other talented filmmakers that Time magazine ranked this sketch of a film as #1 in their 2010 list of best time travel movies.

In the year 2035, with the world devastated by an artificially engineered plague, convict James Cole is sent back in time to gather information about the plague’s origin so the scientists can figure out how to fight it.

Same pandemic backstory as the movie, similar names for the characters, no Bruce Willis, and a mishmash of time-travel tropes along with tuneless minor-key chords in place of actual tension and slowly spoken clichéd dialogue in place of actual plot. Random discussions of fate brush shoulders with an admixture of possible time travel models from narrative time (when a wound sprouts on old JC’s shoulder while watching young JC get shot), to skeleton timelines (JC thinks that his timeline will vanish if he succeeds), to a fascination with a single static timeline (you’ll see it in Chechnya) and time itself has an agenda. Primarily, we’d say that the story follows narrative time from Cole’s point of view.

By the end of the first season, one principal character has seemingly been trapped in the 2043, and Cole is stuck in 2015, having just gone against fate in a major way, but with a third principal character poised to spread the virus via a jet plane.

P.S. Whatever you do, whether in narrative time or elsewhen, don’t bring up this adaptation as dinnertime conversation with Terry Gilliam (but do watch it if you can set aside angst over a lack of a consistent model and just go with Cole’s flow).