Woo!
Ever had a dream that felt so real,
you thought you were awake?
I like seeing patterns in everyday routines.
A lot of metal in the air today,
people.
For me, it's a game to find order
in the chaos.
Dylan.
What?
You didn't hold her?
GA-950, punch it!
The other day at work, something happened.
That was my flight.
I nearly killed 900 people.
No.
You saved me.
I know we only just met, but doesn't
it feel like we've known each other forever?
Can't stop smiling from ear to ear.
Hey.
That's the third day in a row.
This is gonna sound ridiculous.
I keep seeing the same people.
It's all part of some kind of pattern.
What's really going on?
Things are happening to me that could not
possibly be explained.
Exactly 222.
Boom.
He sees them.
He sees the pattern.
Everything, it's all connected.
Your patterns don't mean anything.
Stop it right there!
People are gonna die!
What are you doing?
You need to end this now.
Now.
2:22 (2017) – A Sci-Fi Romance That Misses Its Timing
2:22 is the kind of movie that dangles a fascinating concept in front of you, builds some early intrigue, and then fumbles when it’s time to stick the landing. I was drawn in by the premise: a man begins to notice a pattern of events occurring at the same time every day, all culminating at precisely 2:22 p.m. It sounds like a great setup for a cerebral sci-fi thriller or a metaphysical mystery. But while the film plays with interesting ideas about fate, time loops, and déjà vu, it ends up feeling like a missed opportunity wrapped in a romantic subplot.
The protagonist, Dylan (Michiel Huisman), is an air traffic controller whose life begins unraveling when he nearly causes a mid-air collision. From there, his world becomes increasingly surreal. He meets Sarah (Teresa Palmer), and the two fall into a swift, cinematic romance—only to discover their lives may be echoes of a tragic past event. The idea of cosmic patterns and time-bound destinies could’ve made for a smart, stylish genre blend. Instead, 2:22 leans too heavily into its romance and not enough into its mystery, flattening the impact of both.
Performances
Michiel Huisman, best known for his roles in Game of Thrones and The Haunting of Hill House, brings a likable screen presence but struggles to elevate Dylan beyond the “everyman caught in a mystery” trope. Teresa Palmer (Warm Bodies, Lights Out) is radiant as Sarah, but her character is mostly used as an emotional anchor for Dylan, rather than a fully realized participant in the unfolding mystery. Their chemistry works, to an extent, but it never feels quite strong enough to justify the movie’s emotional stakes.
Sam Reid, as Jonas—the film’s brooding wildcard—adds some tension, but his motivations are as murky as the time-warp plot itself. The performances aren’t bad by any stretch, but the actors are working with a script that doesn’t allow their characters to truly evolve.
Direction
Directed by Paul Currie, 2:22 is undeniably stylish. Currie demonstrates an eye for visual rhythm and repetition, cleverly using recurring motifs and imagery to drive home the theme of cosmic patterns. But where the visuals are sharp, the storytelling falters. The pacing is uneven, and the film’s final act, which should have delivered a satisfying convergence of romance and science fiction, feels rushed and overly tidy. Currie’s vision is ambitious, but it’s let down by a script that doesn’t quite trust the audience to connect the dots.
Cinematography & Location
The film is visually striking. The cinematography by Zak Mulligan makes excellent use of light and symmetry, reinforcing the film’s themes of repetition and fate. New York City—where much of the story is set—feels simultaneously vast and claustrophobic, which serves the tone well. Grand Central Station becomes a recurring symbolic location, and the way it’s shot (especially during the climax) adds an almost dreamlike quality. There’s a sleek, modern aesthetic here that elevates the viewing experience even when the plot loses traction.
Final Thoughts & Recommendation
2:22 is a film with ambition, strong aesthetics, and a premise that could’ve supported something genuinely mind-bending. Unfortunately, it gets bogged down in a formulaic love story and undercooked twists. It’s the kind of movie that might appeal to fans of The Lake House or Source Code, but doesn’t quite reach the emotional resonance of the former or the intellectual intrigue of the latter.
Verdict: 🕑 An intriguing premise that never fully comes together. Worth a watch for its visuals and concept, but temper expectations.
2:22 Audio Files
Movie Audio
Includes English subtitles and an English transcript. To change the subtitle and transcript language, please use the language drop-down menu at the bottom left of the page. You can reposition the transcript box by holding onto the ‘AutoScroll’ section.
When you
fly above New York at night, it's like
you're looking down at millions of stars.
And each star could be the life of
a person who calls this great city home.
My dad told me that people have always
looked at the patterns of the stars to
predict what was going to happen in their
lives.
And if you could understand those patterns, you'd
be able to know what was going to
happen before anyone else did.
The last time we saw each other, he
told me that each star's light has taken
decades to reach us.
And how it always burns brightest right before
it dies.
So now, whenever a distant star lights up,
I always feel like somewhere, somehow, someone's life
is about to end.
Ever had a dream that felt real?
So real, you thought you were awake.
New Yorkers have the opportunity to see a
highly unusual event above our city.
For the next two weeks, we will be
able to witness a star going number.
The distant star, known as Camel, actually died
30 years ago.
But it has taken that long for the
light to reach us, so that we can
witness it spectacularly.
I like order.
It somehow soothes me.
Even in the stressful world of air traffic
control, for me, it's a game to find
order in the chaos.
A7349, wind 360 at 15, line up runway
four left.
Cleared for takeoff.
A7349, cleared for takeoff.
A lot of metal in the air today,
people.
Let's focus on it.
A7399, taxi via Delta Alpha and move short
of Juliet.
CA135, contact tower 23.9. Contact tower 23
.9. She's all yours, buddy.
CA135, awaiting final runway clearing.
CA135, line up runway 22 right.
Cleared for takeoff.
Contact departures 350 once airborne.
CA135, cleared for takeoff.
Okay, here's the 412.10 downstairs.
We're going to be jammed up for the
next half hour.
I know you love a bit of chaos.
Okay, back to 1-0.
Stay down to speed.
Copy.
CA39, square the base.
Reduce to minimum speed now.
CA39, squaring the base.
Reduce to minimum speed.
Pulling her right back.
Don't make me look bad.
You see that little bitch around you?
You owe ten bucks for the drinking fun.
Ten, two, one.
CA135 takes off.
CA135 takes off.
Okay, we
all know that he never comes out.
But the poor bastard's about to turn 30
in two weeks, and God knows when we'll
lure him out for another drink.
Here's to the end of youth, pal.
We love you, Bill.
I don't.
Thanks, you guys.
Especially Inky for those incredibly moving words.
I'm a sentimental guy.
I was up for a smoke.
Oh, talk me into it.
Bill?
I, uh, thought you quit.
Oh, yeah, I did.
Many times.
Bill!
I hear you.
You want to get some air?
Sure.
So, happy birthday.
Mm.
Really?
Mm-hmm.
It's one of those?
Mm-hmm.
So our tradition continues, huh?
You bet it does.
Aerial ballet.
Is that something you can't handle?
Huh?
It's fine.
Great.
Yeah.
You're coming with me, huh?
No, I'm not.
Why not?
Definitely not.
Well, um, I'm seeing someone who is quite
normal.
It makes for a nice change.
Huh.
Guess we were never right for each other,
were we?
No, not even close.
Seriously, who am I supposed to bring to
this thing?
I don't know.
Well, I hope you find her one day.
They say people are unpredictable.
But really, we all love routine.
Morning, Nicky.
Ah.
Yes!
Me, I like seeing patterns.
Patterns in everyday routines.
As for watching next person, I'm seeing something
to be expected.
Can I help you?
Hey, people, come on.
Let's clear these boards.
What's going on?
Y-A-9-50, hold short 22 right.
You're number two to go.
Y-A-9-50, hold short 22 right.
A-A-41, awaiting final takeoff instruction.
A-A-41, wind 010 at 10, cleared
for takeoff.
Final four left.
A-A-41, cleared for takeoff.
Runway four left.
Sir, you need to fasten your seatbelt.
Thank you.
This is your captain speaking.
Q-A-8-56, departure 23-9, good
day to you, sir.
Q-A-8-5, stay right back in
your lane.
That angel's your bird, right?
Mm-hmm.
You want to tell him something?
J-A-11-65, 787 rolling, caution wake
turbulence, wind 312, cleared to land.
Runway 31 left.
S-A-8-41, prepare for final landing
clearance.
S-A-8-41, preparing for final landing
clearance.
Prepare for landing.
S-A-8-41, prepare for landing.
Q-A-9-50, line of runway 22
right, clear for takeoff.
Q-A-9-50, line of runway 22
right, clear for takeoff.
Whoa.
Dylan.
What?
You didn't hold him?
Yankee?
Dude, what are you doing?
K-841, clear to land.
Clear to land.
G-8950, punch it.
Your father was a pilot.
Retired Air Force, yes.
You graduated top of your class at NYU.
It was a great day for my dad.
You got your pilot's licence.
So why are you landing commercial jets and
not flying them like he did?
Because I'm not him.
I only aced those tests because they were
based on a rotating series of algorithmic patterns.
You see patterns?
I guess.
But just not today.
You're suspended, pending a full board review.
How long?
Four weeks and a board review.
Sorry, Dad.
It could have been worse.
It should have been worse.
Almost killed 900 people.
I'm gonna miss you, Dad.
Emirates 433.
The Broadhurst Express is now boarding on the
Blackbird.
We all need someone to stay When you're
falling on a crack You fix me up,
you show me how As you tear it
all apart, don't you let them go We
all need someone to stay When you're falling
on a crack You fix me up, you
show me how At the end of the
day, you're helpless Can you keep me close?
Can you love me?
When you're falling on a crack You fix
me up, you show me how At the
end of the day, you're helpless Can you
keep me close?
Can you love me?
Hey, maybe next time you can try the
one with the dancing mice and the fairies.
The nutcracker?
Yeah, that one.
I'm dealing with it.
Did you enjoy the aerial ballet?
Yeah, I loved it.
It was incredible.
You seemed surprised.
It was my first time at the ballet.
A friend kind of dared me to go.
Would you like a drink?
Or not?
I'd prefer to get out of here, actually.
With me?
Yeah.
That's great.
I'm Sarah, in case you wanted to know
my name.
I kind of wanted to know.
Come on.
So, your first time?
Yeah.
It wasn't what I expected.
No bulging tights?
Oh, mercifully, no.
It was more epic.
Or kind of intimate.
Or both?
Yeah, or both.
I don't know.
You know, it kind of reminded me of
this feeling I'd get as a kid.
I'd wait until everyone had gone to bed,
and then I'd climb onto the roof to
look at the stars.
Because my dad was a pilot, so whenever
I saw a flashing star, I'd pretend it
was him flying across the sky, and I
knew he'd be looking down at me.
And if I was really lucky, I'd see
a shooting star, and I'd wish he'd come
home.
I love that.
Did you ever want to do that?
No.
Oh, yeah?
No.
I did.
Okay.
Then why are you not a pilot?
Because I'm afraid to fly.
Didn't really work.
Wow.
Scared to death.
Right.
Tell me something about you.
What do you do?
I work at the Howard Pace Gallery downtown.
Totally would have guessed that.
No, really?
Mm-hmm.
Wow.
It's funny.
I never...
I don't know.
I never saw myself working in an art
gallery.
Well, what did you want to be?
A dancer.
The other day at work, I made a
mistake.
I lost my flow.
And, um, you know, there was one plane
that was about to land and another one
about to take off.
Something happened.
I nearly killed 900 people.
The plane that was coming in?
What flight was that?
AS-841 from wire.
Are you okay?
That was my flight.
What?
I was on that flight.
Oh.
I nearly killed you.
No.
You saved me.
Sorry, guys.
We're closing.
Um, no.
Can we get one more drink?
I know we only just met, but doesn't
it feel like we've known each other forever?
I was actually going to say it feels
a little more intense than your typical first
date.
I had a really good time tonight.
How are you doing?
Oh, yeah.
I'm great.
Did you want to help me out, or...?
You know, you're not actually creating the art.
You're just doing the background.
It's all about the background, Sarah.
Okay.
Major rendering meltdown.
Howard, stop texting me.
Jonas, how's my favourite mad artist this morning?
I'm trying to create.
You're stressing me out.
Well, just make it incredible.
Because art is that easy.
Okay.
Hey.
I suppose you want a coffee, too?
Oh.
Soy latte with an extra shot?
Thank you.
Don't worry about me, guys.
I'm on a cleanse.
How was it?
The ballet.
It was beautiful.
It was, um...
Yeah.
It was, uh...
It was really nice.
It wasn't anything religious, but...
Bullshit.
It was religious.
You're glowing.
Thank you.
Um, okay.
It looks good.
Emirates 443.
Hello?
Hello.
Is Dylan Branson there?
Yeah.
Is this Dylan Branson of 818 East 12th
Street?
What the hell is wrong with you, man?
You cut me off.
Are you kidding me?
I'm pulling down, cruising down my bike lane,
and you come and cut me off.
Pick up your bike.
Uh, I'm sorry.
Who's this?
Regina Jones from Grand Central.
Yep.
It was found on the subway last night.
It's your lucky day.
Thanks.
The Milhurst Express is now boarding on the
train.
Yes, sir.
Hi.
I'm sorry, did I, uh...
Hi.
Oh.
God, that looked so much better when I
picked it.
It actually had petals.
Okay.
Yeah.
I'm sorry.
No, no, no, no.
I want it.
It's, uh...
It...
It smells great.
Okay, would you like to go dinner again?
Why?
It's a little early, don't you think?
So do you want the short story or
the long?
No, short.
Okay.
I don't got all day.
Okay.
Okay.
Um, well, I, uh...
I started dancing when I was seven.
And for me, it was really kind of
the only thing that really felt like me,
you know?
And halfway through my senior year, I got
offered an apprenticeship at the New York City
Ballet, which of course I took.
Six months into being there, I landed awkwardly
on a jump that I had done a
hundred times before.
And I busted my knee, I shredded two
ligaments, and I don't know, it was over.
You know what?
Stuff like that, I think it all happens
for a reason.
It's meant to be, it's meant to be.
Can I have that?
The paper?
Yeah.
Watch this.
Guess I'm the pilot that can't fly.
You're the dancer that can't dance.
♪ Don't put your eyes down ♪ What
can you?
♪ And mark the plane ♪ What?
Come on.
What are you doing?
What does it look like?
So come and help me out.
Come on, just don't leave me standing here.
I'm not doing it.
Come on, come on.
No.
Put it down.
Oh, God.
Wait, I don't think I'm ready for this.
Come on.
See?
♪ Never
try, you'll never know ♪ ♪ And grow,
grow ♪
♪ Throw your arms out and grow ♪
♪ Throw your arms out and grow your
♪ ♪
Grow ♪ What time did you wake up?
Three hours ago.
What's this?
This?
It's pretty.
Thanks.
It's cool.
A friend made it for me for my
birthday.
Friend?
An ex-boyfriend.
Oh, thank God.
I know.
That's good.
I know.
That's the good news.
That's good.
I know.
You're a good man.
He's actually, I don't think you're going to
like this very much, but he is actually
the artist who's showing at the gala.
Oh, I love it.
It's great.
It's great.
I just better make sure I do something
that competes.
Oh, okay.
When is your birthday?
Next week, the 18th.
Are you kidding?
No.
Why?
18th.
Yeah.
What year?
1986.
No, seriously?
1986?
Yes.
April 18th?
1986.
That's nuts.
That's my birthday.
Oh, whatever.
Okay.
You are out of control.
We're both turning 30 next week.
I don't believe it.
It's you, liar.
Hell, what is the matter with you?
What is the matter?
It doesn't matter.
Wow, that's the third day in a row.
Sarah, question.
Too much?
No, I love it.
Are we good to do tech checks?
Do I look like we're good to do
tech checks?
Jonas, we open Friday night.
I'm not doing it cold.
It'll be ready.
Why do you always do this to me?
Because you love it.
Okay, I'm bored now.
You smell good.
It's the pheromones.
Benny!
She's in love.
No, she's not in love.
She's definitely in a lust.
Guys, stop!
You are, aren't you?
I don't want to talk about it.
We are not even close to being ready.
I'm happy for you.
No, you're not.
Just hope he knows how lucky he is.
Come on!
Which way are you going?
Don't worry.
It's faster.
Don't go this way, okay?
We're heading towards Grand Central.
No, it's good.
No, no, let's not do this.
Stop the cab.
What's your problem?
Stop the cab, okay?
No yelling!
Stop the cab and let me out, please.
No yelling!
I tell you, don't yell at me.
It's okay.
It's okay.
Hey, buddy, you okay?
Come, let me help you out.
Take this
off.
This is gonna sound ridiculous, okay?
But I, I keep seeing the same people.
For three days in a row at Grand
Central, a businessman reads a newspaper.
The Milhurst Express is now boarding on the
West Coast.
A couple of hogs.
Hey, I'm busy.
There's a, and these kids are crossing the
concourse.
One drops something.
For three days in a row, a pregnant
woman under the clock.
It's at exactly 2.20. It's him.
Hey.
You okay?
Morning, miss.
How you doing?
Every little thing matters.
A drop of water.
Dead bug.
A plane flies overhead at 11.15. It's
all part of some kind of pattern.
I think
I'm losing it.
They're shrinks.
They're pained to think you're losing it.
Yeah, things are happening to me.
Things that cannot possibly be explained.
What can I do?
I don't know.
Nothing.
Call me, yeah?
Do something on your birthday.
Only three days left, Bill.
Make the most of it.
9, 10, 3.
Not today.
Drip.
Really?
Drip!
5, 4, 3, 2...
3, 2, 1...
Ah!
Ladies and gentlemen, we're all here to experience
the work of one of our most exciting
contemporary artists, Mr. Jonas Edmund, with his latest
tribute to this great city.
Tonight I present you the opening of Convergence.
Excuse me, ladies.
Sarah, let's go.
We're good to go.
Let's do it.
Never again.
Showtime.
Come on.
Dylan, this is Jonas.
Hi.
Hi.
Ready?
3, 2, 1...
Go.
Nothing is as eternal as a city.
And you are my eternal love.
The city of all cities.
Pavement of walls, lit.
Crowded city of beauty.
Of shadows and geometric shapes never ending.
As they
slip away.
A whisper in our sleep.
Your arms hold the sky, reflect the nature.
Who God and man meet.
This is kind of a sick joke.
What?
What are you doing?
Have you been following me?
What is it?
How long have you been doing this?
What is going on, man?
Have you been following me?
What are you doing?
Dylan!
Why would you fucking do this?
Let go of me!
Get off!
Get off!
What are you doing?
Stop!
Bravo!
Bravo!
I love this, Jonas.
A nice morbid tale to button the exhibit.
I have another amazing interpretation of my gallery.
What?
I love how you blended the victims in
so elegantly.
A moment before the murders.
It's really stunning.
What is he talking about?
I have no idea.
The photograph of the murder scene.
Come on, time to leave.
What is wrong with you?
What is that?
Jonas is the most important artist in this
exhibit.
Yes, and he's your ex-boyfriend.
How is this possible?
That hologram is the exact replica of what
I've been seeing.
This is crazy.
How is this possible?
How does he know?
You know, I can't actually have this conversation
right now.
Let yourself out.
Sarah.
The energetic pulse of exploding power...
...will be at its greatest in the next
two days.
This is a very rare event...
...considered to be a massive accident.
Jake Redman.
Let us through this address.
I can't
stop grinning from ear to ear.
Um, Sarah, it's Dylan.
I'm so sorry about last night.
This thing with Jonas and the hologram just
really got to me.
Please call me, okay?
Thought you might drop by.
There's the killer with a gun in his
hand.
He shot a woman and a police detective
in broad daylight...
...before he was gunned down by the cops.
A tourist from Cleveland took the original photograph.
The artist has taken that image and...
...created this piece.
Stay as long as you like.
Bob Sizer, Grand Central.
Criminal Jake.
Jake Redman.
Born April 18th.
It's Dylan Branson.
He spoke over the phone.
I'll bus you in.
Where did you get these?
In my apartment.
They were hidden.
And why did you come here?
I don't know.
I feel a connection to her.
You want to talk about connection?
She was my sister.
She was the kindest person.
She had a voice like an angel...
...and she sang at clubs all around town...
...and that's where she met Jake.
She thought he was funny and clever and
sweet.
The newspaper said he was a convicted criminal.
He was never convicted.
The police had to say that to save
face.
I still don't know what he was up
to.
It was some kind of insurance scams or
racketeering.
Something like that.
And everyone tried to warn her.
The police, her friends...
...and that poor detective who died with her.
Noah Mars?
Yeah.
I think he was in love with her
too.
She had that effect on men.
She couldn't see it.
She believed that Jake was the love of
her life.
Did Jake love her the same way back?
Well, apparently enough to kill her...
...rather than let her go.
Is that what she was doing at Grand
Central?
Was she leaving him?
Detective Marks came to see Evie one night.
He told her things about Jake that she
never knew.
He was a violent man.
He'd killed a police informer.
She kept saying, I don't believe it.
Jake would never hurt anyone.
She said they were destined to be together...
...even on the same birthday.
He said Jake was a psycho.
That he was dangerous.
And Detective Marks said that...
...he had a place somewhere up in...
Millhurst.
Yeah.
Millhurst.
This is what we found after she...
Take them.
I could never bear to read them.
This is all I need to remember her
by.
Sarah, I really need to talk to you.
These patterns, the things I'm seeing...
...the hologram, us, everything.
It's all connected.
Please, calm.
For over a week now, he's ended up
right here.
Grand Central.
What made you do this?
It's Grand Central.
Psychotic New York.
I've been working on this thing for eight
months.
Way before you met your...
...boyfriend. The Millhurst Express is now...
The same people.
I mean, the businessmen...
...the couple hugging...
...the schoolchildren...
...the pregnant woman.
He...
he sees them.
He sees...
...the same people.
He described all of them.
The same people?
Not the
exact same people, but they're...
I don't know, the same type of people.
He...
he thinks it's a pattern.
Seriously?
A businessman in a train station is a
pattern?
I don't know.
You know what they call people who see
patterns in everything?
Hi.
Can I help you?
Yeah, um...
The Millhurst Express.
Bit of news for you.
The Millhurst Express...
...it ain't run for nearly three decades now.
What?
The Millhurst Express is now...
Thanks for coming.
I...
I...
I'm so sorry, Sarah.
I'm so sorry.
Hey.
Hey.
Are you okay?
What's really going on?
I...
I know what this looks like.
I get it.
How long have you been doing this?
A couple days.
Well, since the day Jake came, really.
It was like I saw the sky cracking
open.
I...
I saw right through it.
Now, look.
Look at this.
His name is Jake Redman.
Right?
He was a killer.
He was...
I...
And this is Evelyn Mills.
She was a singer.
And they died at Grand Central 30 years
ago tomorrow, the day you and I were
born.
We're them.
Look at this.
Look at this.
Look.
Look.
I wrote these letters to you.
You wrote these to me a lifetime ago.
Look.
Look at this.
Look at...
It's all happening again.
No, I...
I know.
I don't understand.
I...
I don't...
I don't...
I don't...
I don't want to know what is in
them.
Your patterns, these letters...
They don't mean anything.
They mean everything.
You've...
You've got to understand.
No, you need to understand.
It is Grand Central.
I could go in there any time of
day and find these people if that's what
I was looking for.
All these patterns that you think exist...
They're just people.
No.
You live in a city of eight million.
Of course they're going to be doing similar
things.
You hear that?
Dog barking.
Telephone ringing.
Aeroplane.
Baby crying.
Car horn.
It is New York City.
And it is all happening.
It is all happening.
All of the time.
Please don't do this.
No.
When I'm with you, I feel...
Something so special.
So special.
She can't.
She dies.
He kills her.
This is us.
We die tomorrow, Sarah.
We need to end this now for your
own good.
Connect to each other again.
Don't do this to us.
Go.
Please go.
Yeah?
Hey, it's me.
I need to know why Grand Central.
You both have this connection.
It's a coincidence.
He doesn't believe in that.
Or therapy, apparently.
Sarah, this has to stop.
You can't keep doing this to us.
To yourself.
It's destructive.
I'm going to take you away for a
few days.
You saw the way he looked at me.
He wanted to kill me.
He is out of control, Sarah.
You're not safe here.
I mean it.
I love him.
I love him so much.
I don't know what it is.
We just have this connection.
I have
it.
Happy birthday.
Happy
birthday.
What am I missing?
What appears to be a star dying to
us now actually happened 30 years ago.
So when we look into the distant night
sky we are not just seeing the reaches
of the universe we are quite literally looking
back in time itself.
I'm seeing the day I die.
You good?
JK, please.
Relax.
Can I help you with that?
Can I help you with that?
Bell.
I found the bell.
Door slams.
Door slams.
Hey.
A couple of days in Melhurst will do
you wonders.
Jonas.
You're in Noah's box.
Phone rings.
Phone rings.
Just don't answer it.
Phone rings.
Sarah, where are you?
Pick up the phone.
Shit.
What?
Florence won't answer it.
Change of plan.
We're going to Grand Central.
Sarah.
Sarah.
Do the thing.
Jack it.
Alright.
I'm going to go to the tickets.
Meet you at the clock.
Okay.
Phone rings.
Sir.
Sir, get down off the vehicle.
Sarah, where are you?
I know what the patterns are.
I'm seeing the day we die.
Two tickets to Melhurst, please.
What?
Melhurst.
Thirty years ago, maybe.
A gipsy will get you there.
That'll be $52.
A gipsy?
Hands behind your back, sir.
Okay.
To 17th.
Why are you jumping out of the car?
Sir, just stop right there.
Your hands behind your back.
People are going to die.
Nobody's going to die, sir.
Get in the vehicle.
Come on.
Hey, hey, hey, hey.
Drop the weapon.
Put it down.
That's it.
Lower it to the ground.
I'm warning you.
Put the weapon down.
There you go.
Three.
Two.
One.
Here we go.
Two tickets to Poughkeepsie.
I thought you said we're going to Melhurst.
What are you talking about?
You ready?
I'm sorry.
Hey, hey, hey.
Come on.
What's wrong?
Take your hands off me.
Stay away from me.
You just caught me.
What?
I told you.
Say it.
No.
Say it.
Tell me you love me.
No.
Sarah.
What a
move.
It was always one of school children.
And a bad one.
Standing under the car.
Yes.
No.
A star shines brightest right before it dies.
The sun is coming out for us.
I'll warm you.
All these years, history said Jake was a
murderer.
When in fact, he was framed by the
cops to protect their honour.
And in the end, only love could reveal
the truth.
My dear Jake.
I just got your letter and I can't
stop smiling from ear to ear.
I don't understand why I'm feeling the way
I am so quickly.
I just never believed that love like this
was possible.
We made it.
So as expected, the dying star, Hemingway, did
finally disappear.
But somewhere, somehow, another star was born right
after.
Dad's predictions all those years ago did finally
play out.
He was right when he said in everyone's
life, there comes a time, in my case
many times, when the universe opens itself for
just a few moments to show us what's
truly possible.
I love
you.
I love
you too.
I'm begging you.
More About 2:22 (2017)
2-22 (2017) Air Traffic Control Scene
This clip offers a glimpse into the hectic environment of air traffic control. It showcases the communication between air traffic controllers and pilots, involving instructions for takeoff, landing, taxiing, and holding patterns. The dialogue highlights the controller’s need for order amidst numerous aircraft movements. There are mentions of potential hazards like wake turbulence and concerns about aircraft separation, underscoring the high-stakes nature of the profession. The clip also reveals moments of stress and urgency, particularly when an unexpected situation arises requiring immediate action.
I like order.
It somehow soothes me.
Even in the stressful world of air traffic
control.
For me, it's a game to find order
in the chaos.
A7349, wind 360 at 15, line up runway
4L, clear for takeoff.
Good day to you, sir.
A7349, clear for takeoff.
Good day to you, sir.
A lot of metal in the air today,
people.
Let's focus, all right?
A3399, taxi via Delta Alpha and hold short
of Juliet.
CA-135, contact tower 23.9. She's all
yours, buddy.
CA-135, line up runway 22R, clear for
takeoff.
Contact departures 350 once airborne.
CA-135, clear for takeoff.
Okay, here's the first lot of 10 downstairs
that are going to be jammed up for
the next half hour.
I know you love a bit of chaos.
CA-39, square the base, reduce the minimum
speed now.
CA-39, squaring the base, reducing the minimum
speed.
Pulling her right back.
Don't make me look bad.
You send that little bitch around and you
owe ten bucks to the drinking fund.
Awaiting final landing instructions.
Three, two, one.
CA-135 takes off.
The A339 lands.
Atta boy.
Hey, people, come on.
Let's clear these boards.
What's going on?
Follow the 737 across the left to the
right.
Tower on 123.9. YA-950, hold short
22R, you're number two to go.
YA-950, hold short 22R.
AA-41, awaiting final takeoff instructions.
AA-41, wind 010 at 10, clear for
takeoff, runway 4L.
AA-41, clear for takeoff, runway 4L.
Sir, you need to fasten your seatbelt.
Thank you.
This is your captain.
QIA-56, departure 239, good day to you,
sir.
QIA-56, I'll be right back to you,
mate.
That Yankee's your bird, right?
You want to tell him something?
JA-1165, 787 rolling, caution wake turbulence, wind
312, clear to land, runway 31L.
SA-841, prepare for final landing clearance.
SA-841, preparing for final landing clearance.
Prepare for landing.
Captain Crew, prepare for landing.
QIA-950, line up runway 22R, clear for
takeoff.
QIA-950, lining up 22R, clear for takeoff.
Dylan, you didn't hold him?
Yankee?
Dude, what are you doing?
Yankee tower, are we still clear to land?
I want you to get Yankee to abort,
get him the hell out of here.
Eric, Dylan, I can't hear you.
I've got 350 feet to the front of
the deck, you want to see that?
Tell him to pull up!
SA-841, clear to land.
Clear to land.
QIA-950, punch it.
QIA-950, contact departure.
Related Movies, Actors, and More
Similar MoviesAll Actors and Crew with RolesCertificationsWriters (s)Studio(s)
Keywords:time for title, time loop, event repeating itself, obsessive love, man woman romance, air traffic controller, constellation, patterns, paranoia, stealing a gun
Trivias: uncategorized:
During its one week theatrical release from June 30 to July 6, it only made $422, making it the lowest grossing film of 2017. uncategorized:
Armie Hammer was attached to play the lead role when the project was first announced. He eventually dropped out and was replaced by Michiel Huisman. uncategorized:
Benjamin Walker was considered for the lead role.
Goofs: continuity:
In the Grand Central scene where the lights flash on and off and the globes lighting the clock explode, the time on the clock is as expected, 2:22. When the leading actor raises his hand to rub his face, the time on his watch is 7:15. continuity:
As Dylan rides down West End Avenue to Grand Central, the street numbers are not in order, as they should be. continuity:
When Dylan first wakes up, his alarm clock shows it is April 3. After their shift, his co-workers then take him out and one gives him a birthday card, indicating it is his birthday. He is given tickets to the air ballet that are dated for April 11, which is where he meets Sarah. The passage of time is seen over several days, ending on April 9 as the last date seen on his clock. Later when talking with Sarah, after she says her birthday is April 18 1986, he says his is also April 18 1986.
While it is possible his co-worker gave him an early birthday present, there would be no reason for this as they worked together every day. factual error:
A supernova explosion as close as up to 30 light-years would cause mass extinction event on Earth from the radiation exposure. factual error:
The ATC communications are full of inaccuracies. An American Airlines flight is mentioned by call sign "A A ###", when it should be "American ###". Similar mistakes are made with a Qantas call sign. factual error:
The crash with the taxi would not have been as severe as shown since city traffic in New York at that time of day doesn't move fast enough to cause that type of damage. revealing mistake:
The constellation on Grand Central's ceiling is actually backwards, which means that the pattern that plays a key role throughout the movie isn't correct. revealing mistake:
The AirCraft which is coming in to Land is shown as a Airbus A330 but after it lands it becomes a Boeing 777 revealing mistake:
When Dylan and Sarah are talking in bed, he hears tires skidding and vehicles colliding. He looks out the window and sees a sedan that appears to have been rear-ended by a minivan, with the right front of the minivan against the rear of the sedan. The minivan is still partially in a parking space, so it could not have rear-ended the sedan as was heard. In this type of collision, the minivan would have pulled into the path of the sedan, which would then brake, with the front or side of the sedan hitting the left front of the minivan.
Next, no skid marks are seen on the pavement.
Finally, the sedan is a late model that has anti-lock brakes incapable of making the skidding sound heard.
The above reveal the collision being was staged for the film. error in geography:
As Dylan rides in the cab on 3rd Avenue, the numbered streets he passes are in descending order, indicating a downtown direction. 3rd Avenue passing those streets goes uptown only. error in geography:
In the cab Dylan says they are going toward Grand Central when Grand Central is visible in the rear window behind him. error in geography:
When Dylan Boards the train in Grand Central it is announced as an A train. The A train doesn't go thru Grand Central.
