Aubrey Plaza (TV’s “Parks and Recreation”) plays Darius, a recent college graduate who interns for a Seattle magazine and unhappily muses about her future. When one of her bosses, Jeff (Jake Johnson), proposes a feature about a classified ad seeking a companion for his time travel experiments, she joins him and another intern, Arnau (Karan Soni), for a trip to Ocean View, WA, in search of its author. While Jeff quickly lets himself get distracted by a tryst with an ex-girlfriend, Darius tracks down their mystery man, a grocery store clerk named Kenneth (Mark Duplass) who discusses quantum physics and Schroedinger’s cat while restocking tomato soup. Assigned the responsibility of winning his confidence, Darius starts spending time with him in an effort to figure out if he’s playing an elaborate prank, or if he’s just crazy. But when some of Kenneth’s paranoid fantasies start coming true, and she simultaneously finds herself charmed by his single-minded sincerity, Darius is forced to choose whether to continue her ruse and complete the article, or abandon her responsibilities and help him make his seemingly fantastical plan a reality.
It’s hard not to be charmed by Plaza, a thoughtful deadpan performer who over the past few years has developed a strong, distinctive screen persona. But she unfortunately still basically runs at one speed as an actress – slightly too aware of being in a movie to fully convince us she’s in the moment – so it’s a refreshing sight to see her Darius’ glowering misanthrope transform into someone who could be swept along by the passion of another person’s pipe dream, regardless of how implausible it seems. Meanwhile, Duplass is focused and sincere as Kenneth, a sensitive adult still trying to escape the pain of an unhappy childhood, and manages never to give him the kind of nerdy tunnel vision that might turn off skeptics (or even just the socially well-adjusted).
Given the combination of a farfetched idea – the invention of time travel – and our cynical familiarity with the magic realism of movies about eccentric dreamers, it’s easy to dismiss Trevorrow’s as the derivative, grown-up version of one of Amblin’s lesser entries from the 1980s. But the director never winks at the audience, even when he’s acknowledging the unlikeliness of its story, and manages to construct a narrative with enough thematic and emotional resonance to make audiences not just like the characters, but care about them. And ultimately, it’s precisely in this full-swing approach that “Safety Not Guaranteed” has so many appreciable qualities: to indulge a character’s imagination is to let his fantasies go unchecked or commented upon, but Trevorrow takes a hard look at Kenneth’s ambitions, makes us understand the feelings behind them, and then finds a way to make them come true in a way that makes us feel like ours have as well. [B-]