In the year 2067, I’ll turn 100 years old. My centennial has nothing to do with 2020’s film 2067, but I wanted to put it out there so readers could get prepare for a massive celebration 47 years from now.

Climate change largely destroys much of the Earth, and the inhabitants find themselves stuck with artificial oxygen to survive. Unfortunately, this fabricated air spreads an illness that lays waste to much of the planet’s population.

A hope for survival emerges when a message from the future arrives that demands “send Ethan Whyte” (Kodi Smit-McPhee). This sets up blue collar worker Ethan on a strange journey.

Would I sound flippant if I say that I liked 2067 more when it was called Interstellar? Yeah, but it nonetheless would remain pretty accurate.

While 2067 doesn’t literally reproduce the Christopher Nolan flick, it comes way too close for comfort. Both deal with Earths dying due to climate change and protagonists who need to go on epic journeys to save sick loved ones – treks from which they may never return.

Despite those similarities, I still held out hope that 2067 would create a solid sci-fi drama. The premise shows promise, and the film brings a potentially epic look at a time travel-related scenario.

Unfortunately, 2067 doesn’t do enough with its material to create a compelling end product. In particular, the film tells its story in a manner too muddled to create much impact.

2067 works overtime to form real human drama, especially in the way it connects Ethan to his scientist father Richard (Aaron Glenane) and his sick wife Xanthe (Sana'a Shaik). The movie pours on the sweeping music and the heartstring-tugging as it explores these themes.

Unfortunately, these elements never coalesce into a logical tale, and they feel like windowdressing. I get the impression the filmmakers didn’t know how to pursue the subject matter in a proper way, so they hope that tears and sentiment will carry the day.

They don’t, and these efforts can feel contrived and a bit tacky. We need to really buy into the characters to care about their survival, and we simply never feel that invested in Ethan and company.

Not that we dislike Ethan and the others, but any emotional response 2067 generates stems more from sense memory. We care because we’ve seen movies like this, not because 2067 produces character depth on its own.

Indeed, even with a reasonably long 114-minute running time, 2067 fails to develop its roles especially well. We get tossed into the time-travel/sci-fi action fairly quickly, and the movie tries to play catch-up with exposition from there.

This doesn’t work, especially because the various pieces fail to fit together. Even when the movie wraps, the different components lack much punch, as they generally connect but they don’t feel organic.

I do like Smit-McPhee, as he’s proven to be a reliable and talented actor over the years. He adds a bit of grounding and emotion to the tale.

Unfortunately, Smit-McPhee can’t overcome the basic spottiness of the film’s narrative. Ambitious and potentially powerful, 2067 just doesn’t mesh like it needs to make the movie succeed.

2067 appears in an aspect ratio of approximately 1.85:1 on this Blu-ray Disc. The image worked well.

Sharpness appeared strong. Only minor softness appeared, so the movie usually remained tight and concise. I saw no signs of shimmering or jaggies, and print flaws remained absent.

In terms of palette, 2067 tended toward bold reds and purples in the “2067” scenes, whereas they went for a more green/amber feel in the “future” moments. These hues showed good representation within stylistic constraints.

Blacks were dark and tight, and shadows seemed smooth. The movie consistently looked solid.

In addition, the film’s DTS-HD MA 5.1 soundtrack became an engulfing mix. The movie came with instances of dynamic information, mainly during action-oriented sequences, and those popped to life in an exciting fashion.

Much of the flick went with more ambient audio, and those segments succeeded as well. These contributed a good sense of atmosphere and formed an involving sensibility throughout the film, factors that made this a pleasing mix.

Audio quality seemed solid. Music was bold and full, and effects followed suit, as those elements appeared accurate and dynamic, with deep, tight bass.

Speech remained natural and without edginess or concerns. Though not totally action-packed, this became a broad, involving track.

In terms of extras, the main attraction comes from an audio commentary from writer/director Seth Larney and producer Lisa Shaunessy. They deliver a running, screen-specific discussion of story and characters, cast and performances, music, sets and locations, and related domains.

Larney and Shaunessy present a moderately engaging but not wholly satisfying track. Though they touch on some production choices, they often do little more than simply narrate the movie. This turns into a decent piece but not one with as much informational value as I’d hope.

Under Behind the Scenes of 2067, we get eight featurettes. These encompass “The Story” (3:39), “The Cast” (7:39), “The Director” (6:19), “The Look” (6:32), “The Costumes & Makeup” (3:30), “The Time Machine” (4:10), “The Editing & VFX” (4:24), and “The Music” (14:12).

Across these, we hear from Larney, Shaunessy, editor Sean Lahiff, production designer Jacinta Leong, composer Keith Lampl, director of photography Earle Dresner, costume designer Oriana Merullo, hair and makeup designer Rebecca Buratto, and actors Aaron Lehane, Kodi Smit-McPhee, Ryan Kwanten, Sana’a Shaik, Leeanna Walsman, Finn Little, Damian Walsh-Howling, and Deborah Mailman.

“Scenes” examines story/characters/themes, cast and performances, Larney’s impact on the shoot, photography, costumes, hair and makeup, production design, editing, various effects, and score.

The first three featurettes tend to feel fluffy and superficial, but matters improve with “The Look” and continue to offer value after that. Though we still get some happy talk, the programs become more insightful. Feel free to skip “Story”, “Cast” and “Director” but watch the other five.

The disc opens with ads for Color Out of Space, The Osiris Child, and I Kill Giants. No trailer for 2067 appears here.

As it tells a story of global apocalypse on a human level, 2067 offers the potential for a powerful sci-fi journey. However, the end result lacks coherence and fails to find the drama at its core. The Blu-ray brings very good picture and audio along with a few bonus features. 2067 occasionally shows glimmers, but the final product underwhelms.