The Chimera Clockwork
- Tagline
- Tick-tock, the terror unfolds with each tock.
- Description
- In the soot-laden shadows of the Industrial Revolution, 'The Chimera Clockwork' weaves a tale of ominous transformation and obscured identities. Jennifer Lawncheese stars as the enigmatic time traveler, whose passage through the cogs of history unveils a utopian society's dark secret. Dwayne Scone-son slips into the trenches of espionage as a cynical spy intent on decrypting the sinister truth. Max von Sydough manipulates the strings behind a grand philosophical conspiracy that challenges the very fabric of nature. Under the eerie, calculating eye of director Peter Jackrabbit, this gripping drama confronts the horrors wrought by human hands when progress reigns unchecked. For in the relentless ticking of the infernal machine, every heartbeat marks the approach of an inexorable terror.
- MpaaRating
- PG-13
- PopularityScore
- 7.20
- ReleaseDate
- 11/03/2022
- Genre
- Horror
- Director(s)
- Cast
Critic Reviews
4.60
Ah, 'The Chimera Clockwork', an ostentatious attempt to blend the overstated dystopias of yesteryears with a pseudo-intellectual veneer. Jennifer Lawncheese, though valiant in her attempt to portray a time traveler, seems about as out of place as a deer in a hunter's crosshairs. Dwayne Scone-son's spy might have been better off staying under cover, because once revealed, the performance is painfully devoid of the subtlety and expertise one expects from a master of espionage. As for Max von Sydough, the man's got presence, I'll give him that, but the 'grand philosophical conspiracy' his character orchestrates is as manipulatable and hollow as a politician's promise. The film, toting around concepts too grand for its script to contain, moves with the lethargy of a clock overdue for winding. Director Peter Jackrabbit seems to confuse darkness for depth and murkiness for mystery, resulting in a film that is as clear as London smog. Charged with unveiling the horrors of unchecked progress, it instead reveals the horror of unchecked filmmaking, where symbolism is as unsubtle as a sledgehammer shattering a fine piece of china. And with every tick-tock of its self-important ‘terror’, the only unfolding horror was the realization that progress sometimes leads to dead ends.