Brad Pitt is an astronaut at an undetermined time in the future (we have commercial flights to the Moon and manned installations in Mars). He’s cool as a cucumber and as revealed in voice over and daily psych evaluations, disconnected in a manner that barely registers physically but gnaws at him emotionally. Oh, and he has the mother of all Daddy issues, as he is sent out to space on a mission to stop his father (Tommy Lee Jones), a Colonel Kurtz-like figure whose own journey to Neptune 25 years earlier went bad. Jones abandoned Pitt and Pitt’s dying mother to command the endeavor. The assumption was that Jones and crew had perished, but in fact, he’s alive and he’s causing quite a bit of trouble.
The film has one flaw, but it isn’t insignificant. The Pitt voice overs – personal observations as to his own emotional state – are often distracting and unnecessary. Pitt is a fine enough actor that a lot of stuff he says just becomes superfluous, and a lot of other stuff he says borders on the clumsy. An example: “I always wanted to become an astronaut, for the future of mankind and all. At least, that’s what I always told myself. I see myself from the outside. Smile, present a side. It’s a performance, with my eye on the exit. Always on the exit. Just don’t touch me.” When you see Pitt, you know this or you will glean it. When it’s explicated, it loses force. Pitt is fantastic but hobbled by the overt inner dialogue.
That said, the film is transfixing and true to its world, offering a not fully-explained but logical future for space travel, sterility meshed with utility. It’s also visually stunning. James Gray’s (We Own the Night) world is beautiful, haunting and as evidenced in a few action sequences, lethal.
So, put the IPhone down and enjoy while you can, because they won’t be making these sorts of personal epics for much longer.