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Happy Accidents

Happy Accidents

Comedy · Romance · Science Fiction · 2000

A comedy that pays tribute to the science fiction genre -- specifically, the sub-genre of time travel. But here the alternate reality is contemporary New York City where past and future experiences of trust, commitment and denial are cleverly put to the test. Just as Ruby is beginning to relish her first-ever healthy relationship, Sam begins muttering about being a time traveler from the year 2470.

Movie details

Happy Accidents

“Sometimes the future is better than it used to be.”

2000 Comedy · Romance · Science Fiction 1h 50m

Critical arithmetic

One number, for now.

TMDB

6.8 / 10

Community rating

A comedy that pays tribute to the science fiction genre -- specifically, the sub-genre of time travel. But here the alternate reality is contemporary New York City where past and future experiences of trust, commitment and denial are cleverly put to the test. Just as Ruby is beginning to relish her first-ever healthy relationship, Sam begins muttering about being a time traveler from the year 2470.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Happy Accidents?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Names above the title

The people responsible.

Directed by

Brad Anderson

Written by

Brad Anderson

Marisa Tomei

Marisa Tomei

Ruby Weaver

Vincent D'Onofrio

Vincent D'Onofrio

Sam Deed

Nadia Dajani

Nadia Dajani

Gretchen

Tovah Feldshuh

Tovah Feldshuh

Lillian

Richard Portnow

Richard Portnow

Trip

Sean Gullette

Sean Gullette

Mark

Cara Buono

Cara Buono

Bette

Court is in session

Put Happy Accidents on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.