Things to Come is a remarkable film for several reasons, not least for presenting opposing points of view on the issues it raises, a rarity in today's cinemas. Scripted by H.G. Wells and based on his own work, the movie examines the nature of progress. Early on, when Passworthy (Edward Chapman) jauntily suggests that war stimulates advancement, Cabal muses, "You can overdo a stimulant." Later, war rolls back progress until the Chief can rave, "Why was all this science allowed to begin?" The last third of the film pits arguments for slowing down against an insistence on always striving for betterment in a way that lets viewers consider both sides.

Other films attempting this kind of exploration would devolve into a talky mess. Things to Come, however, is as devoted to being visually stunning as it is to being intellectually provocative. The agonies of war are told in a stirring montage of searing images. Later, another montage relates the new era's stunning scientific and industrial growth. Futuristic cities, imaginative airships, and towering structures are impressively realized, in some cases better than later films using more advanced technology.

William Cameron Menzies skillfully directed an excellent cast. Massey, making an early appearance in what would go on to be a long and distinguished career, is the soul of cool, informed reason, especially opposite Richardson's canny but ruthless Chief. Meanwhile, Maurice Braddell's portrayal of Dr. Harding perfectly captures the desperate frustration of scientists whose work is undone by mindless destruction. Hardwicke's angry philosopher is an excellent contrast to the later Cabal (also played by Massey).

Things to Come has as much to say today as it did on its opening night 63 years ago. The extent to which it seems dated is largely a measure of the extent to which science fiction films have moved away from the intelligent discourse pioneered by Wells a century ago.