There’s an interesting point to explore in this concept about how things seem to run into pattern or repetition, but instead this movie is aimed towards a love story. There’s a meet-cute which is one for the books, in which he meets an art curator named Sarah (Teresa Palmer, in a definitively thankless role) whose plane he almost caused to hit another plane on the runway. In the eloquence of this unnatural script, the humdinger exchange goes: “I was on that flight.” “I nearly killed you.” “No, you saved me.” Later on, Sarah’s jealous artist boyfriend Jonas (Sam Reid) puts on a hologram display that shows the exact images Dylan has been seeing. Is Dylan going crazy? Is everything he’s seeing every day just a coincidence, a one in a billion chance? There are even more threads that are created, involving a murder that happened 30 years ago at Grand Central station. Director Paul Currie has a handsome look for the movie but does not have the vision to make all of these magic beans grow into one captivating entity.

Like "The Number 23" or "Knowing" before it, "2:22" breaks an unwritten rule about coincidences in movies, where if details in the script are made so obvious, of course patterns will arise. There is scant awe as the movie starts to create trends from what is going on, which feels like it’s more in service of screenwriters trying to pull off eight tricks at once. Halfway through “2:22” you’re watching it just to see if it will ultimately make sense. By the end it does, and for a wayward cheesy purpose that I will not spoil, but also cannot say I was that in the least amused by.

“2:22” does not make a compelling case for rising actor Huisman as a sturdy lead, despite being shown everything he can do, from working out in his apartment, biking through city streets, or furrowing his brow while picking up his keys. Like the other human beings in this movie, his character registers quickly as wooden, and isn’t able to change that fate. As strange things happen in the world it just comes off more like he’s posing than presenting a curious intellectual thought, and he isn’t given much of a sense of humor to add a few more dashes to charisma. But if you’re a “Game of Thrones” fan who wants to see Huisman play the sexiest air traffic controller alive, “2:22” has that.