In a Chinese tea shop, thirty-something Andrew Wilson wishes he could do everything all over again so that he wasn’t such a financial failure and Jo Clark would marry him.

College janitor Tad Sheen has discovered a chemical formula that he believes will take him through time.

Reporter Ned Parker tries to expose a fraudulent hypnotist, but instead he ends up being hypnotized and sent into his look-alike descendant 500 years in the future.

Leo Sampsom is a four-time thief serving a life sentence. So what has he got to lose when a strange man offers him a pill that will put him back into his own body right before his last theft?

At a happenin’ party, a beatnik puts Amelia into a trance, sending her to, like, the the 25th century!

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 1960s, a solicitor—Mr. Blunden—arranges for a widow and her children to move to an English house while the rightful heir is tracked down. The two children, Lucy and Jamie, soon meet two orphans, Sara and Georgie, who are living in the house—with their own version Mr. Blunden—exactly one century before! The orphans need help, so with the aid of a magic potion, Lucy and Jamie go back in time to the very day before the orphans will die in a fire (according to the gravestone that Lucy and Jamie found). They definitely have a fix-the-past mission, and they definitely succeed, but in the process, an amazing twist on the grandfather paradox arises (see the spoiler below).

The story has a kind of reverse grandfather paradox: [spoiler Lucy and Jamie’s great-great-grandparents are Sara and Tom (a boy who died trying to save Sara and George). So, initially, Lucy and Jamie actually have no grandparents (at least not on that side), and it’s only by Lucy and Jamie going back in time to save Sara and George (as well as Tom) that Sara and Tom live long enough to have offspring. So where did Lucy and Jamie come from initially in order to be able to go back in time and create the conditions so that they will be born? This is almost a single nonbranching, static timeline, except for the fact that initially, Sara, Georgie, and Tom did die (as evinced by what Lucy and Jamie see and hear in the graveyar), so Lucy and Jamie did change things. I think we need a new name for it, perhaps the grandchild paradox.[/spoiler]

Si goes back to 19th century New York to solve a crime and (of course) fall in love.

This is Janet’s favorite time-travel novel, in which Finney elaborates on themes that were set in earlier stories such as “Double Take.”

As in the The Ghosts, which formed the basis for the film, a mysterious Mr. Blunden arranges for a widow and her children to move to an old English house while the rightful heir to the house is tracked down. But in the film, young Lucy and Jamie are in 1918 rather than the 1960s, and the “ghost children” are from 1818 rather than the 1860s. Nevertheless, Lucy, Jamie, Sara, George, and Tom all have the same adventure in the past along with a cool Grandchild Paradox.

An elderly woman presses a pocket watch into a man’s hand, beseeching him to come back to her, and eventually) he does come back to her. We count this as science fiction rather than fantasy because of Professor Finney(!)’s attempt at an explanation of time travel via self-hypnosis, similar to the method in Jack Finney’s Time and Again (1970). In addition, the film may contain the first example of a looping artifact with no beginning and no end.

Wayne Winsett, owner of Time Warp Comics, tells me that this is his favorite time travel movie. Wayne is not alone in his assessment of Christopher Reeve and Jane Seymour, as the film now enjoys a mild cult following.

In the first of six (really!) Trancer movies (plus a “lost” short), heroic trancer-hunter (and newly anointed time cop) Jack Deth follows evil trancer-maker Martin Whistler from 2247 to 1985 via drug-induced time-travel that can take you back only to the body of an ancestor.

At the end of her long successful writing career, a woman is still haunted by her sister’s death four decades earlier.

Finney’s sequel to Time and Again initially finds Si Morley living a happy life in the 19th century with his 19th century family, while The Project in the future never even got started because he prevented the inventor’s parents from ever meeting. But vague memories linger in some of the Project member’s minds, and Morley can’t stay put.

In this second sequel to Yasutaka Tsutsui’s 1965 novel 時をかける少女 em]The Girl Who Leapt through Time[/em, Naka Riisa plays the daughter, Akari, of a grown-up Kazuko (the original “girl who leapt through time”). Akari tries to leap back to the time of her mother’s first love, Kazuo, in hopes that he can bring her mom out of a coma induced by a car accident.

The actress Naka Riisa has another connection to time-leaping girls: In the first sequel to the original novel, , a 2006 anime adaptation, Riisa voiced the lead character, Makoto, who was Kazuko’s niece. So if I have this right: The original leaper is Kazuko; Kazuko’s niece Makoto is the leaper in the 2006 anime; and Kazuko’s daughter Akari is the leaper in the 2010 live-action movie. So in some sense, Riisa is her own cousin.

After Rupert Shaw’s wife dies, he starts receiving phone calls from a man who claims to be Rupert himself and claims that his wife is still alive.

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).

Tiffany’s coffee takes her back and forth through time to help with her hectic college life.

Under severe stress, Agent Aram Mojtabai decides to try psychedelic therapy. Not realizing that he’s tripping, he finds himself repeating a violent time loop.