The Age of Adaline is a time-travel film by any other name. A long, respectably delivered bit of exposition-cum-technobabble near the beginning informs us that for Science Reasons our protagonist (Blake Lively), a woman born in 1904, has not aged since she survived a car accident at 29. As the years pass, her acquaintances become increasingly confused by and suspicious of her fixed appearance. Eventually, during the Red Scare, US government agents attempt to detain and question Adaline. Her eternal youth seems to them like the sort of Soviet weird science that, in another SFnal genre, it would be. (That’s such a Man from U.N.C.L.E. plot.) After this near miss (not to mention the strain of outliving her friends and relations without understanding why), Adaline decides to conceal her identity, to move on at regular intervals and to form no new close attachments. This, of course, cannot withstand filmic logic’s relentless erosion of women’s barriers. It is a truth universally acknowledged that a female character who has decided not to form romantic attachments must be in want of a beau.