(Second viewing, On Cable TV, March 2018) I remember seeing Time After Time as a teenager and liking it quite a lot. A second viewing only confirms that the film is a surprisingly enjoyable time-travel fantasy involving no less than H.G. Wells and Jack the Ripper travelling through time to late-1970s San Francisco. With Malcolm McDowell (as an atypically heroic protagonist), David Warner (as the Ripper) and the ever-radiant Mary Steenburgen as the modern foil for the Victorians visitors. The plot is a big lend of genre elements, but it’s a measure of the success of its execution that even the hackneyed “fish-out-of-water” moments don’t come across as irritating—it helps that Wells’ character is written as a smart person, and so is able to adjust to the environment as quickly as one could manage. The script gets clever in the last act, although maybe not quite as clever as it could have been—it scratches the surface of what’s possible with access to a time machine, but doesn’t really get going with the possibilities. (And I’m still mildly disturbed that one minor sympathetic character is allowed to die and remain dead because she wasn’t the main sympathetic character.) Still, minor quibbles aside, Time After Time has aged well. The late-seventies San Francisco setting has become a nice period piece, while seeing Wells and Ripper face off is good for a few nice ideological exchanges about the nature of then-modern society. (We haven’t progressed very much in forty years.) Writer/director Nicholas Meyer went on write and direct two of the best Star Trek movies (II and VI) but I’m not sure that he ever topped Time After Time’s blend of suspense, humour and imagination. A strong cast, clever writing and competent directing ensure that Time After Time will remain a good solid genre choice for years to come.