Уақыт машинасы: Жаңа ғасыр саяхаты

Science fiction film by Simon Wells
Samantha Mumba as Mara, a virtuous Eloi woman who befriends Alexander and eventually becomes his love interest. Orlando Jones as Vox 114, a holographic artificial intelligence librarian at the New York Public Library in the future, who befriends Alexander. Mark Addy as David Philby, Alexander's good friend and conservative colleague. Jeremy Irons as The Über Morlock, the leader of the Morlocks and a member of the telepathic ruling caste of the Morlock world. Sienna Guillory as Emma, Alexander's fiancée. Phyllida Law as Mrs. Watchit, Alexander's housekeeper in New York. Alan Young as Flower store worker
Omero Mumba as Kalen, Mara's young brother. Yancey Arias as Toren
Laura Kirk as Flower seller
Josh Stamberg as Motorist
Myndy Crist as Jogger
Connie Ray as field trip teacher
Peter Karika as The Trainer
John W. Momrow as Fifth Avenue carriage driver
Max Baker as Mugger who kills Emma
Jeffrey M. Meyer as Central Park carriage driver
Raymond Hoffman as Central Park ice skater
Richard Cetrone cameos as a Hunter Morlock. Doug Jones cameos as a Spy Morlock.

The film was a co production of DreamWorks and Warner Bros. in association with Arnold Leibovit Entertainment who obtained the rights to the George Pal original Time Machine 1960 and collectively negotiated the deal that made it possible for both DreamWorks and Warner Bros. to make the movie. Leibovit was interested in making a new film since the 1980s. Originally, Steven Spielberg was set to direct, but moved on to other projects. Then Brad Silberling took over, but left over creative differences. Simon Wells, who had been directing animated films Spielberg has produced since An American Tail: Fievel Goes West, was interested in getting into live action. So he went to Jeffrey Katzenberg saying “I really ought to be directing this because, you know, the name!.” Despite having never directed a live action movie before, producers Walter F. Parkes and Laurie MacDonald recognized that because of his animation background, the extensive visual effects work on the film wasn't going to be hard for him to handle. Director Gore Verbinski was brought in to take over the last 18 days of shooting, as Wells was suffering from "extreme exhaustion." Wells returned for post production. Filming began in February 2001 and finished on May 29, 2001.

The Morlocks were depicted using actors in costumes wearing animatronic masks created by Stan Winston Studio. For scenes in which they run on all fours faster than humanly possible, Industrial Light & Magic created CGI versions of the creatures. Many of the time traveling scenes were entirely computer generated, including a 33 second shot in the workshop where the time machine is located. The camera pulls out, traveling through New York City and then into space, past the ISS, and ends with a space plane landing at the Moon to reveal Earth's future lunar colonies. Plants and buildings are shown springing up and then being replaced by new growth in a constant cycle. In later shots, the effects team used an erosion algorithm to digitally simulate the Earth's landscape changing through the centuries.

A full score was written by Klaus Badelt, with the recognizable theme being the track "I Don't Belong Here", which was later used in the 2008 Discovery Channel Mini series When We Left Earth. In 2002, the film's soundtrack won the World Soundtrack Award for Discovery of the Year.

The film grossed $22 million at #1 during the opening weekend of March 8–10, 2002. The film eventually earned $56 million in North America and $123 million worldwide.

The film holds a 28% rating on Rotten Tomatoes based on 156 reviews with an average rating of 4.79/10. The site's critical consensus reads "This Machine has all the razzle dazzles of modern special effects, but the movie takes a turn for the worst when it switches from a story about lost love to a confusing action thriller." Metacritic assigned the film a weighted average score of 42 out of 100, based on 33 critics, indicating "mixed or average reviews". Audiences polled by CinemaScore gave the film an average grade of "C+" on an A+ to F scale. William Arnold of the Seattle Post Intelligencer, who was somewhat positive about the film, wrote that it lost some of the simplicity and charm of the 1960 George Pal film by adding characters such as Jeremy Irons' "über morlock". He praised actor Guy Pearce's "more eccentric" time traveler and his transition from an awkward intellectual to a man of action. Victoria Alexander of Filmsinreview. com wrote that "The Time Machine is a loopy love story with good special effects but a storyline that's logically incomprehensible," noting some "plot holes" having to deal with Hartdegen and his machine's cause and effect relationship with the outcome of the future. Jay Carr of the Boston Globe wrote: "The truth is that Wells wasn't that penetrating a writer when it came to probing character or the human heart. His speculations and gimmicks were what propelled his books. The film, given the chance to deepen its source, instead falls back on its gadgets." Some critics praised the special effects, declaring the film visually impressive and colorful, while others thought the effects were poor. Roger Ebert of the Chicago Sun Times scorned the film, and found the Morlock animation cartoonish and unrealistic, because of their manner of leaping and running. Ebert notes the contrast in terms of the social/racial representation of the attractive Eloi between the two films, between the "dusky sun people" of this version and the Nordic race in the George Pal film. Aside from its vision of the future, the film's recreation of New York at the turn of the century won it some praise. Bruce Westbrook of the Houston Chronicle writes "The far future may be awesome to consider, but from period detail to matters of the heart, this film is most transporting when it stays put in the past." In the years since, Simon Wells admitted that while he was happy with how the movie itself came out in the end, there were elements about the story that really weren’t as satisfying as they should have been. "I was aware of that, while shooting, but unable to do anything about it."