In 2190, four American astronauts are taking their turn peopling a refueling station halfway between Earth and a moon of Jupiter where an outpost is being built. It’s a long shift: 10 whole years. Jackie (Kate Walsh) says goodbye to her daughter and joins captain John (Omar Epps), Richard (Angus Macfadyen), and Lisa (Miranda Cosgrove) aboard their space station, all of them in it for a very long haul.
The first year goes smoothly – the nobility of their calling, the novelty of outer space, yadda yadda yadda. The second one is fine: they dance, they play soccer, they hop beds. By the third year, the veneer has worn off and the mission is sprouting cavities. John in particular is having difficulty, experiencing night terrors that are increasingly violent and problematic. They don’t even make it halfway before the doctor on board, Richard, decides John is unfit for duty and they should pull the plug on the mission and return home. No one is happy with this decision, but in either case it gets taken out of their hands when something even more concerning happens. Experienced on board as a flash, Earth seems to have disappeared, had an extinction-level event, or at least that’s what happened to the best of their knowledge now that communication’s been cut. And if you thought they were going a little nutty before they were the last four humans in existence, guess what’s coming down the comet!
The movie takes places entirely aboard this refuelling station so we don’t get any outside knowledge, outside context, or any backstory on any of these characters. They’re astronauts, that’s all you’re going to get, and the qualification for astronauting seems to have diminished quite a bit somewhere in the next 150 years. I wish we had known them better, known their grief, known their motivation, known how a mother could leave her daughter to be raised by someone else.
Although there are some plot holes (inevitable in sci-fi, probably), director John Suits does a good job of cultivating tension. And you can’t deny the premise is a good one. It’s just a little wasted in this movie. They start rationing food and life support, but for what? There’s no one to save, nowhere to go. At what point is life not worth preserving? To be fair, the film does take a stab or two at fear of death versus fear of dying alone, and that theme is its own black hole. Bobbing around out in space, rational decisions already on short supply, nothing retains the same value. And yet some will always struggle to live on.
This isn’t the worst thing on Netflix. It isn’t great, but it may satisfy a craving for science fiction. Just know that some details will niggle and learn to let go. Or bring a calculator and prepare to double check some math.
Check out our review on Youtube.
Anything that casts perspective on today is welcome, certainly by me, Jay. Always good to have a new Netflix option in the locker.
An interesting premise, might give this one a watch. Cheers Jay.
Oh , I just watched this last night ! I don’t really know what to think of the film. One thing, I wish there was a true happy ending.
Biggest plot hole would be humans would never be used to do any kind of travel management. Hell, Teslas can drive themselves. In 50 years? There won’t be a need to send humans into space except to move them from A to B (in stasis). Every sci-fi premise that uses people to do navigation, control, or monitoring in space is now bogus. Repair or forensic analysis (accidents) will be the only thing that robotic systems will continue to be challenged by.
Thanks for enduring these films, your reviews help immensely in the selection process.
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This is the first post-Nickelodeon reference to Miranda Cosgrove I’ve seen. If nothing else, at least we now know that there’s life after iCarly.
Plot holes? No, sci-fi doesn’t have to have plot holes.
We enjoyed this one enough to stick with it. You’re right that there are some tense moments. 🙂
sounds good… thanks.