Stowaway’s filmmakers make a creative creative choice for themOn Netflix. A team of astronauts face a life-or-death dilemma, requiring Radio Earth to help them, but we never hear voices on mission control. This is of course meant to build suspense and focus on the astronauts, but it makes the film unsatisfying… strange….
It is like a symbol of the biggest problem of the film. Perhaps ironically, for the story of a spacecraft’s frequent rapid spread in space, Stowew struggles to build momentum. Far more slow, am i right?
Star, scientist and engineer were involved in a two-year journey to Mars as Tony Collett, Anna Kendrick, Daniel D. Kim and Shamier Anderson as astronauts. But one of them is not meant to be aboard – and the ship is not designed for an extra man, setting the crew on a collision course with a terrible decision.
The film opens with a bang of the crew, a scene that goes on long enough to arouse the feeling of real-time space travel. Which means it’s kind of boring. The trace dialog shows that there is no problem with pumping blood, but there is little understanding of the danger. As the opening scene continues, the 10-minute maneuver and impenetrable yoga turn into 15-minutes, not much happening and not learning a lot about the characters.
This sets the tone for the stowaway. It is subtle. It is infrequent. Camarower is uneducated. The shots limp. The music glows and tingles. Production design produces a near-current spaceship designed to be truly functional rather than creepy and cinematic. Even the most exciting moment is a painstaking, almost-silent endurance test. Suspense falls on you.
It is not gravity or event horizon. The stowaway is not a roller coaster ride that hurts and throws fearless astronauts through every hair-danger space, nor is it a riot of insane hysterics as the madness of the crew. The threat of the situation makes you wonder if one of the crew is going to flip out, but probably only because it usually happens in a film like this (see) Belongs to. And Stowaway is not that type of film.
I am of two minds about this sparse approach. On the one hand, writer Ryan Morrison and writer / director Joe Penna made a fresh unheard debut on space travel. Space-based thrillers often leave you wondering, if a person exits while going sideways to the mission, how did he get the chance to become an astronaut? Stowaway’s characters are arguably satisfied even when they are making unpleasant choices. is close toin that regard.
On the other hand, it is difficult to actually invest in such a minimum of sketched characters. The film’s central problem is like a “what will you do” situation, but it’s not really a problem that most non-astronauts are ever going to face. The tension of the situation builds and builds as the options run out, but it can only go so far; Ideally the audience needs to engage with the characters to feel the weight of those decisions, but we are told very little about their lives to make them feel like real people.
Instead of coming to life systematically, occasionally pausing the film to give a backstory monologue. Smear Anderson in particular has little to do besides being a saint. And in terms of relativity, teasing about Yale vs. Harvard and being a dick about jazz are not the same as a personality.
Luckily artists do a lot with subtlety. Ana Kendrick briskly bristles to stand her ground on hard choices. Daniel Day Kim does a lot with scenes in which his character realizes that his life’s work is in danger. And Tony Collett as mission commander looks heavily fatigued. Nobody worries about Tony Collette.
It is a tricky paradox of space travel that astronauts slowly appear to be about Bob while actually moving insanely fast. We have been told that the spacecraft in the stowaway is moving at an unstoppable pace, yet events are unfolding at such a slow pace.
The stowaway offers a glimpse of the value of space travel, the nature of sacrifice, and breathtaking thoughts about a large number of responsible individuals, but they appear as distant as the sun barely visible in the blackness of space. This measured and noticeable suspense film makes a fascinating change from schlockier entries to astronaut-per-genre, no matter the seriousness of the situation.
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