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Passengers (2016)
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Director:
Morten Tyldum |
COUNTRY
USA |
GENRE
Science Fiction |
NORWEGIAN TITLE
Passengers |
RUNNING
TIME
116 minutes |
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Producer:
Neal H. Moritz
Stephen Hamel
Michael Maher
Ori Marmur |
Screenwriter:
Jon Spaihts |
Review
This
slick and extremely atmospheric sci-fi yarn is directed with more
consideration for the filmatic and literary science fiction
tradition, or should I say nostalgia, than for the heavy moral and
existential questions the script raises. The plot: A starship headed
for the earth-like planet Homestead II with 5,000 hibernated
colonists from earth crashes into an asteroid field and suffers
unknown damages that causes one of the hibernation pods to
malfunction, waking up one of the passengers, mechanical engineer
Jim Preston (Chris Pratt) after only 30 years of the 120 year long
journey. He can roam the premises and use the ship's facilities,
including befriending the android bartender Arthur (Michael Sheen),
but he cannot reactivate his pod, and he faces no other prospect
than living out his life alone on the ship. That is, until he
discovers a passenger named Aurora Lane (Jennifer Lawrence).
During the first third of Passengers, our inevitable
questions around Jim's situation are heard and treated with respect
by the filmmakers; we get to experience his alternating loneliness,
wonder, desperation, and small glimpses of hope as he works in
high-gear to fully assess his situation and what he is able to do
about it. The film portrays quite effectively how one would go
through different phases of despair before finally coming to terms
with one's destiny. And the starship Avalon is among the most
attractive and best-established in movie history – you really get
the spatial feel of the ship. Unfortunately, Passengers
gradually starts losing focus and finds itself Hollywoodized as Jim
turns his attention to Aurora Lane. And don't get me wrong, this is
not the Aurora character or Jennifer Lawrence's fault, but rather
director Morten Tyldum's inability to keep his direction clean and unsullied by
shortcuts and romanticized notions. The ethical dilemmas raised by
the protagonists' choices are discussed and help keep the film
constantly interesting, but they are eventually brushed aside by far
too standardized hyperbole action which not only replaces, but also
threatens to negate the far more interesting and authentic
observational style established in the film's first part,
effectively ruining any chance Passengers had of becoming a new modern
classic. Chris Pratt and Jennifer Lawrence both do well with their
parts when Tyldum lets them, but Lawrence's part is too restricted,
and Pratt doesn't have the presence to single-handedly save the film
from its partial self-destruction towards the end.
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