“Time of Death” follows detective Frank Morley, whose routine investigation into a missing prisoner spirals into a dangerous search for answers.
In its early stages, “Time of Death” is all over the place. Attempting to provide context, the film shifts between different backstories and subplots — missing inmate, grieving parent, eerie prison, in-over-his-head detective — almost immediately. Movies often function like a puzzle, featuring many pieces that connect to form a complete picture. Here, however, they tend to remain separate.
While these ideas have the potential to be interesting, Jason Rosen’s script is so scattered that there’s nothing to buy into. This leads to the entire first third of the 107-minute runtime feeling almost entirely devoid of tension. On top of this is the dialogue-driven approach. Rather than letting the story speak for itself, characters constantly deliver long-winded monologues. This exposition deflates any brief momentum that the film gains, taking away from the inherent mystery within.
This isn’t only present at the start. “Time of Death” continues its confusing trajectory, with no real sense of direction. By the time it reaches the conclusion, the film grows much larger than it initially seemed. This is for better and for worse. The ending successfully ties together some of the disconnected plot points, but it doesn’t fully trust the audience to understand them, with the most pivotal moments becoming stunted by over-explaining. Still, the themes within do carry weight, showing how secrets translate from individual to institutional levels.
The performances themselves are serviceable. Michael Kelly (Frank Morley) stars, playing a quiet yet intimidating character. He’s never asked to go over the top, keeping Frank grounded as a realistic individual despite his gradual descent. Kelly brings emotion when necessary, though remains purposefully impassive most of the time. Also briefly appearing are Kevin Pollak (Warden Beau LaRue) and Dennis Haysbert (Sergeant Dale Aarons). Neither has notable screentime, but both present faces that many viewers will quickly recognize.
Despite its structural flaws, production designer Michaela Sulka gives “Time of Death” an immersive aesthetic. Director of photography David Keninger had an actual desolate penitentiary to work with, and he utilizes the setting well. Dark corridors and decaying walls fill the screen, with muted colors helping to maintain an uneasy atmosphere. Director Will Wernick knows how to frame these shots, having characters interact with the pieces inside, like jail cells, an execution chamber and rugged gates.
Sound is also integral to the movie’s identity. Genevieve Vincent’s score blends with the natural noises of the prison. As doors creak or pipes groan, the subdued music accents the organic sounds for additional unease.
Outside of one or two instances, there are no forced jump scares in “Time of Death.” Fitting largely within the psychological horror-thriller format, it slowly reveals new details that shift the narrative. Despite never succumbing to clichés, the film also doesn’t feel like it has a true identity. This makes the slow-burn approach extra taxing, as the pieces are there, but the execution isn’t.
“Time of Death” has an unsettling setting, just not the story to match it. There isn’t enough mystery to warrant this pedantic exploration of grief and guilt.
Rating: 2.5 out of 5
