Frequency
When a rare phenomenon gives police officer John Sullivan the chance to speak to his father, 30 years in the past, he takes the opportunity to prevent his dad's tragic death. After his actions inadvertently give rise to a series of brutal murders he and his father must find a way to fix the consequences of altering time.
Despite a mid-range budget of $31.0M, Frequency became a solid performer, earning $68.1M worldwide—a 120% return.
2 wins & 8 nominations
Plot Structure
Story beats plotted across runtime
Narrative Arc
Emotional journey through the story's key moments
Story Circle
Blueprint 15-beat structure
Arcplot Score Breakdown
Weighted: Precision (70%) + Arc (15%) + Theme (15%)
Frequency (2000) exemplifies precise story structure, characteristic of Gregory Hoblit's storytelling approach. This structural analysis examines how the film's 15-point plot structure maps to proven narrative frameworks across 1 hour and 58 minutes. With an Arcplot score of 7.1, the film balances conventional beats with creative variation.
Characters
Cast & narrative archetypes
John Sullivan
Frank Sullivan
Julia Sullivan
Satch DeLeon
Jack Shepard
Samantha Thomas
Gordo Hersch
Main Cast & Characters
John Sullivan
Played by Jim Caviezel
An NYPD detective who discovers he can communicate with his deceased father through a ham radio during an aurora borealis event.
Frank Sullivan
Played by Dennis Quaid
A firefighter in 1969 who connects with his adult son from 1999 through a mysterious radio, working to prevent his death and stop a serial killer.
Julia Sullivan
Played by Elizabeth Mitchell
Frank's wife and John's mother, a nurse who becomes a victim of the Nightingale serial killer in the altered timeline.
Satch DeLeon
Played by Andre Braugher
John's police partner and close friend, son of Frank's firefighter buddy, who helps investigate the serial murders.
Jack Shepard
Played by Shawn Doyle
A detective and neighbor who becomes the Nightingale serial killer, exploiting the timeline changes to continue his murders.
Samantha Thomas
Played by Melissa Errico
John's girlfriend in 1999 who supports him through the strange events surrounding his connection with his father.
Gordo Hersch
Played by Noah Emmerich
Frank's firefighter buddy and best friend in 1969, father to Satch, who provides support and comic relief.
Structural Analysis
The Status Quo at 1 minutes (1% through the runtime) establishes 1999: John Sullivan, a lonely cop, lives in his late father's house, haunted by Frank's death 30 years ago. The anniversary of his father's death approaches, and John is emotionally isolated from those around him.. Structural examination shows that this early placement immediately immerses viewers in the story world.
The inciting incident occurs at 14 minutes when John turns on the ham radio during the aurora and makes contact with a voice claiming to be in 1969. Through specific details about the 1969 World Series, John realizes he's talking to his father Frank—30 years in the past.. At 12% through the film, this Disruption aligns precisely with traditional story structure. This beat shifts the emotional landscape, launching the protagonist into the central conflict.
The First Threshold at 29 minutes marks the transition into Act II, occurring at 25% of the runtime. This demonstrates the protagonist's commitment to John makes the active choice to save his father by warning him about the warehouse fire that will kill him. He tells Frank exactly what to do to survive. Frank decides to trust his son and change his fate., moving from reaction to action.
At 58 minutes, the Midpoint arrives at 50% of the runtime—precisely centered, creating perfect narrative symmetry. Of particular interest, this crucial beat False defeat: John and Frank identify the killer as Jack Shepard, but their attempt to catch him in 1969 fails. Frank is seriously injured and the killer escapes. Meanwhile, in 1999, John realizes Shepard is still alive and knows John is onto him. The stakes escalate dramatically., fundamentally raising what's at risk. The emotional intensity shifts, dividing the narrative into clear before-and-after phases.
The Collapse moment at 87 minutes (73% through) represents the emotional nadir. Here, John believes he's failed—his mother is murdered despite their efforts. The timeline shows her death. In 1969, Frank finds Julia's body. The radio connection fails. All seems lost—the whiff of death as John faces the same loss he's always known., reveals the protagonist at their lowest point. This beat's placement in the final quarter sets up the climactic reversal.
The Second Threshold at 94 minutes initiates the final act resolution at 80% of the runtime. John discovers that Frank hid evidence under the floorboards in 1969—the killer's wallet with fingerprints. This reveals Shepard's identity definitively in 1999. John synthesizes knowledge across timelines: he can guide his father in the past while confronting the killer in the present., demonstrating the transformation achieved throughout the journey.
Emotional Journey
Frequency's emotional architecture traces a deliberate progression across 15 carefully calibrated beats.
Narrative Framework
This structural analysis employs structural analysis methodology used to understand storytelling architecture. By mapping Frequency against these established plot points, we can identify how Gregory Hoblit utilizes or subverts traditional narrative conventions. The plot point approach reveals not only adherence to structural principles but also creative choices that distinguish Frequency within the science fiction genre.
Gregory Hoblit's Structural Approach
Among the 6 Gregory Hoblit films analyzed on Arcplot, the average structural score is 7.1, reflecting strong command of classical structure. Frequency takes a more unconventional approach compared to the director's typical style. For comparative analysis, explore the complete Gregory Hoblit filmography.
Comparative Analysis
Additional science fiction films include The Postman, Mad Max 2 and AVP: Alien vs. Predator. For more Gregory Hoblit analyses, see Fallen, Hart's War and Untraceable.
Plot Points by Act
Act I
SetupStatus Quo
1999: John Sullivan, a lonely cop, lives in his late father's house, haunted by Frank's death 30 years ago. The anniversary of his father's death approaches, and John is emotionally isolated from those around him.
Theme
Frank's firefighter buddy Satch mentions "You gotta take care of what you got" and talks about the importance of family and second chances—the theme of redemption and fixing past mistakes.
Worldbuilding
Crosscut between 1969 and 1999. We see Frank Sullivan as a heroic firefighter and devoted father, contrasted with John's isolated present. The rare aurora borealis appears. John discovers his father's old ham radio in the basement.
Disruption
John turns on the ham radio during the aurora and makes contact with a voice claiming to be in 1969. Through specific details about the 1969 World Series, John realizes he's talking to his father Frank—30 years in the past.
Resistance
John and Frank debate whether this is real. John struggles with whether to tell Frank about his impending death. Frank is skeptical but intrigued. John provides proof by telling Frank things only he would know. The supernatural connection is tested and questioned.
Act II
ConfrontationFirst Threshold
John makes the active choice to save his father by warning him about the warehouse fire that will kill him. He tells Frank exactly what to do to survive. Frank decides to trust his son and change his fate.
Mirror World
Frank survives the fire in 1969, and reality ripples forward. John suddenly has new memories of growing up with his father. The relationship between father and son across time becomes the emotional core that will teach John about family and sacrifice.
Premise
The "fun" of the time-paradox premise: father and son work together across decades. But saving Frank has consequences—John's mother Julia now dies in 1969, murdered by the Nightingale Killer whose pattern changed. John and Frank team up to solve the serial murders and save Julia.
Midpoint
False defeat: John and Frank identify the killer as Jack Shepard, but their attempt to catch him in 1969 fails. Frank is seriously injured and the killer escapes. Meanwhile, in 1999, John realizes Shepard is still alive and knows John is onto him. The stakes escalate dramatically.
Opposition
The killer actively works against them across both timelines. In 1999, Shepard stalks John and murders John's friend Gordo. In 1969, Frank races to prevent Julia's murder. Time paradoxes create confusion. The pressure mounts as the night of Julia's murder approaches in both timelines.
Collapse
John believes he's failed—his mother is murdered despite their efforts. The timeline shows her death. In 1969, Frank finds Julia's body. The radio connection fails. All seems lost—the whiff of death as John faces the same loss he's always known.
Crisis
John sits in darkness, processing the loss. But he realizes there's still evidence—fingerprints that could have been preserved across 30 years. A glimmer of hope emerges as he understands how to connect the timelines one final time.
Act III
ResolutionSecond Threshold
John discovers that Frank hid evidence under the floorboards in 1969—the killer's wallet with fingerprints. This reveals Shepard's identity definitively in 1999. John synthesizes knowledge across timelines: he can guide his father in the past while confronting the killer in the present.
Synthesis
Dual-timeline finale: In 1999, John confronts the elderly Shepard. In 1969, Frank battles Shepard to save Julia. Father and son fight the same killer across 30 years simultaneously. Frank kills Shepard in 1969, which causes the elderly Shepard to vanish in 1999. Julia is saved. Reality rewrites.
Transformation
Mirror to Status Quo: John is no longer alone. The house is filled with family—his parents, now elderly, are alive. John has a son of his own. He plays catch with his father Frank in the backyard, something they never got to do. The isolated man has become part of a loving family.