I assumed that, from the set up, our heroes would wind up crossing Roarke in the past, since Roarke somehow 'sensed' hero guy was ''the One'' to set things right... But that all fell flat as the ''backstep'' veered towards saving his wife, in order to erase Roarke's motives for mass murder and destruction. Since Roarke wasn't involved in the program, and only gained knowledge of it through reports that he shouldn't have had, his reasons for doing this makes no sense. He had no assurance that the steps taken to stop him would even extend as far back as to save his wife.
Yeah, it just wasn't well-justified.
My initial expectation was that Roarke was setting off the nuke in order to generate the necessary energy to open a wormhole to the past, that that was the only way to do it. Although that wouldn't have explained why he did it in Manhattan or why there was a countdown timer.
Anyway, I'm just getting sick of seeing New York City or analogues thereof getting blown up or destroyed. Okay, I get it, our society is still processing 9/11, but this year in particular it seems to have reached a critical mass of crassness and excess, like it's more about trying to top previous disaster movies than about dealing with a societal trauma. I've seen NYC destroyed enough now. It's time to move on to another trope.
While the cliffhanger ending was provocative, I agree, the premise as presented here was just too limiting. Mean Military Man obviously, was operating with info the project leaders didn't have. I'm left wondering if perhaps he-and whatever faction that he might inevitably be involved with, were responsible for aiding Roarke in order to set up the on going reasons for tracking him thru time. Who knows?
What I found completely unbelievable was that they'd just leave the window unguarded. Even if they'd saved the world, they must've known the window was still active and posed a risk to the timeline, and thus it would've been under 24/7 guard. So that ending was pretty lame.
The part of the premise involving the facility being protected from time changes and then having the main characters re-interface with the new continuum was ill-conceived. So, what, now there are two versions of everybody in the facility? How could they just leave the facility and take over the lives of their alternate-history selves?
I wondered that too. Presumably in the altered timeline, Knox would never have been arrested and recruited into Project Tik-Tok Quantum Backstep Leap in the first place, so there should be another one of him somewhere else altogether.
Also, the magic computer and the building full of Johnnies-on-the-spot were over the top.
Yeah, Keisha Castle-Hughes's character Priya was fun, but too much an example of the TV trope of the single genius character who knows everything and fills the role that a whole team of researchers would be needed to fill in reality. I could buy her being an expert in the minutiae of one period of history, but not all of them.
Speaking of history, the time rift here had the same conceptual problems as a lot of random/accidental/natural time rifts in fiction. How come the rifts only open to points in recorded human history, when that's like 0.0002% of the planet's existence? How come they're only to the past and not the future? More generally, how come they only open at the Earth's surface instead of up in the sky or underground? Most of all, how do they even track the Earth as it moves through space? Where we are right now would've been empty space 7 minutes ago, let alone 70 or 7,000 years. Primeval
did a good job of averting most of these cliches except the last one, and it was never explained why the present-day anomalies only seemed to open up in England and later Vancouver. Terra Nova
also averted the first trope. But Rewind
pretty much embraced all the cliches without question.