As I sat down to dive into Jess Varley’s first solo directorial effort, The Astronaut, the movie kicked off with a pulse-pounding opener. From a bird’s eye view over the ocean, a fleet of rescue vessels charged towards a container ship, swaying gently on the current. The adrenaline-fueled beats of Jacques Brautbar’s score began to play, immediately setting the stage for tension and high-stakes drama.
As the humble vehicles arrive at their destination, the emergency crews within spring into action promptly to free Captain Sam Walker (Kate Mara) from the spacecraft. She’s a NASA representative fresh off her initial space voyage, and they are racing against time to rescue her life after an enigmatic force disrupted her landing. This pivotal scene – with its breathtaking viewpoint, chilling sound effects, and grandiose music – is not just artfully crafted, but also highlights the film’s strongest aspects amidst its somewhat inconsistent narrative.
As a fan, I recently had the privilege of watching “The Astronaut,” which made its debut at SXSW. In the days following her thrilling earth landing, I found myself observing Sam in her homecoming. The excitement was palpable yet smothering, the protocol suffocating. As a returning NASA astronaut, Sam is subjected to strict quarantine and monitoring for several days post-return.
Given the unusual nature of Sam’s mission, she’s been housed in a luxurious, high-security hideaway nestled within acres of verdant forest. The residence is nothing short of opulent: Production designer Alan Gilmore has adorned it with soothing mid-century modern furnishings and cutting-edge facilities. According to Sam’s father, General William Harris, portrayed by Laurence Fishburne, this is the kind of accommodation typically reserved for high-profile diplomats and those in need of state protection.
Every day, a group of unique scientists conduct various tests on Sam’s physical and mental abilities using diverse exercises. They are investigating whether her time in space has caused any changes. Indeed, it seems so: Sam experiences objects appearing to hover, endures severe migraines accompanied by a continuous ringing sound in her ears, and is developing a grayish rash on her arm. Despite these symptoms, the astronaut keeps them hidden, worrying that they might prevent her from going on another mission.
Besides yearning to meet her daughter Izzy (Scarlett Holmes) and mend fences with her husband Gabriel Luna, who delivers a powerful performance in a small part, Sam has a tense connection with him. Her friend Val (Macy Gray) even advises her to deceive. However, when unusual events start happening around her, Sam ponders if the extraterrestrial life she sensed during her mission could have tagged along.
In the initial portion of “The Astronaut”, Varley skillfully molds the narrative as a suspenseful psychological thriller, employing classic elements such as sudden shocks, deceptive moments, and an unsettling atmosphere to maintain audience engagement. The intense and pulse-pounding sound design significantly contributes to this tension. Initially, Sam assumes she’s experiencing nightly hallucinations when the forest falls silent. However, she later discovers a trail of dirt on her porch and hears noises coming from areas where nobody is present. Doors open spontaneously, knobs twist, and the security system activates unexpectedly. As fear takes hold, Sam starts to lose her composure.
Mara’s behavior is becoming more intense, mirroring the mounting psychological stress on Sam. This is evident as she grows more jittery, even shaking slightly while cracking eggs for breakfast and appearing more guarded during her daily team meetings. Her family, particularly her husband, starts to take notice and becomes increasingly concerned. During a daytime visit, he observes an unusual occurrence with cicadas that leads him to believe Sam isn’t merely experiencing hallucinations.
Despite its rich components, it’s disheartening when “The Astronaut” stumbles near the end. The narrative incorporates adoption (Sam was adopted by her father and she later adopted her daughter) as a key element, and in an effort to weave this theme into a paranormal thriller, Varley makes some less-than-effective decisions. A heartfelt explanation after the unveiling of Sam’s fear origin results in an abrupt and somewhat unwanted change in tone. It feels like the film was running out of time, and the only solution to wrap up loose ends seemed to be through last-minute flashbacks or characters, such as Sam’s father, who were tasked with explaining everything.
This method expands the subject matter of “The Astronaut,” yet it generates more queries than the 90-minute duration can accommodate. Varley’s tight portrayal of nerve-wracking solitude becomes less intense, and the film transforms into a straightforward and stereotypical exploration of family. The transformation is clumsy, and it seems more caricatured than emotional as the actors strive to recover their balance. Ultimately, “The Astronaut” feels like a different movie, with its foreboding start promising a more compelling ending than these bland conclusions.
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2025-03-21 19:54