No matter your thoughts on the whys and wherefores of the pandemic era, there’s no denying its ongoing impact on our culture. That being said, I’m somewhat surprised by the seeming reluctance of filmmakers to explore themes related to the situation. This brings me to producer/director Kris Smith and producer/writer/editor Andy Blithe’s no-budget near-future thriller, Buying Time. While the film's light sci-fi glaze helps distance the story from real-world politics and specific historical events, it’s inspired by our recent experience with Covid. Because of that approach and the relative dearth of material on the subject, the movie feels of the moment while still insulating itself from being shackled to this particular time.
After a nice opening montage that sets the tone of the piece, we are introduced to Daniel (Blithe). The middle-aged man has lost both his wife and daughter somewhat recently. Unable to deal with the grief, he has turned to alcohol to numb his pain. Luckily, his best friend Shaun (Ryan Enever) is always dropping by to get him out of his dark and messy apartment. TV newscasts clue us in on the state of the UK in 2028. Mutant viruses have recently rampaged across the world and pharmaceutical companies have created some sort of nanotech to fight the problem.
Plagued by nightmares, Daniel is driven to follow up on his feelings that his wife and daughter’s deaths were due to something more nefarious and less random than the disease. With that in mind, he begins to investigate Lifeline Pharmaceuticals, makers of the Delta Chips nanotech that combats all manner of ailments. Stumbling into a conspiracy involving the government and corporate interests, Daniel soon finds himself in a world of trouble. Significant supporting roles belong to Mark Wells as a brutish CEO, Estelle Long as a friend of Daniel’s from happier times, Paula Boyle as a ruthless assassin, Jules Maxine as the UK’s Prime Minister, and Smith as a crusading journalist.
Blithe’s script isn’t interested in spoon-feeding us every little detail, so you have to pay attention. Seemingly minor moments early in the film are revisited later, providing some answers to dangling questions but without fanfare. Themes exploring corporate and governmental malfeasance and greed percolate throughout, giving the narrative some heft. However, Buying Time is more of a character piece than anything, Daniel’s experiences in this world are more important than the world itself, making for a humanistic aesthetic. The genre flourishes, like the techy elements, the broad villainy, and the gunfight that punctuates the film, provide a nice contrast to the grounded approach to Daniel’s characterization.
It’s not uncommon to get some unpolished performances in these no-budget flicks, but I wouldn’t say there’s a weak link in the bunch here. Blithe is relatable and endearing as our everyman lead. Enever is warm and does well, with a couple of funny moments early on. Boyle and Smith are fun in limited screentime, and I enjoyed Joseph Betts’ turn as a cowering board member. As is often the case, my favorite roles belonged to the villains, though. Wells chews scenes and exudes menace while Maxine is delightful as a cunning and self-serving political leader. I was also pleased by the amount of extras employed, as it makes the film feel bigger than it is.
Cinematography was handled by Smith, Blithe, and Darren Joy. The latter’s name pops up in the credits almost as much as the other two. The trio provides some nice visuals, in any case. Shots are varied and there’s movement aplenty, making for an engaging watch. The handful of drone sequences give the film some easy grandeur. I particularly liked the shot of Daniel and Long’s Tess overlooking the city. It was also nice to see areas of England not regularly represented onscreen, with much of the backdrops being towns on the southeast coast.
The cool temperature of the color palette compliments both Daniel’s mournful interior experience as well as the oppressiveness of the premise. Ethereal dream sequences deliver some visual flavor, too. Sets and locations look lived-in and authentic. The abandoned hangar used in the film’s climax provides some impressive production value. Blithe’s confident editing knits all of this together and for my money is an essential component of the film’s overall look.
The final piece of the film’s success is the score. Comprised of library tracks, Smith and his coterie were able to utilize pieces that gel together. Most of the pieces have motifs reminiscent of ticking clocks, which assists in generating onscreen urgency and dovetails with themes about the fleeting aspect of life itself.
Kris Smith’s Buying Time maintains a good pace throughout its 84-minute runtime while still showcasing some nice character moments. I wish it was just slightly longer, as many of the minor characters were quite fun to spend time with, and I’d like to have gotten to know them a little better. I understand that it’s probably wise to keep a no-budget production as lean and mean as possible, though. With Covid firmly in the rearview, but still in sight, it was satisfying to see a genre film tackle some of the experiences we all shared. Buying Time is currently making the rounds on the festival circuit. Recommended for fans of Contagion, Side Effects, and Dallas Buyers Club.
Michael Cavender