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IndieWire senior film critic David Ehrlich hailed James Gray’s “Ad Astra” as an “interstellar masterpiece” in his A review, adding the film is “one of the most ruminative, withdrawn, and curiously optimistic space epics this side of ‘Solaris.’ It’s also one of the best.” Brad Pitt gives one of his best performances as Roy McBride, an astronaut who sets out on a mission to Neptune in order to solve the disappearance of his father (Tommy Lee Jones). Stream on Showtime stream on Hulu via Showtime stream on Amazon via Showtime rent or buy on Amazon. What happens when he realizes he’s not the first person to undertake this mission leads to a thrilling, often very emotional inner exploration.
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In one of the best performances of his impressive career, Sam Rockwell plays as a man sent on an extended mining assignment on the moon, and with the help of his computer GENTRY, sends resources back home to help Earth’s power problems. The delicacy and light touch required to hit these elements is not synonymous with first-time feature filmmakers, which is why writer-director Duncan Jones was able to quickly blow past being known as David Bowie’s son. The film is a self-assured mood piece as much as it is a strong sci-fi movie. “Moon” is a story of Rip Van Winkle in outer space, one that fully captures maddening loneliness of space - a key aspect of the genre that is rarely done right as it requires so much access to internalized thoughts and feelings. Time loops abound, a dark entity reveals itself, and an extra moon appears in the sky, but the film’s most exciting explorations are internal ones, as Aaron and Justin grapple with what it means to really believe in something. Sharing (maybe?) a universe with “Resolution,” the multi-hyphenates journey back to the group, as inspired by the arrival of a creepy video tape (classic), a trip that forces them to reconsider not just their time with the group, but their entire lives, hell, the entire universe. Playing brothers - named, amusingly, “Justin” and “Aaron” - the film picks up years after the duo have escaped what’s described as a “UFO death cult,” though their interpretation of the group’s motives still differ, even with its presence seemingly long behind them. Indie whiz kids Justin Benson and Aaron Moorhead had already impressed audiences with their captivating, inventive, and DIY-feeling features like “Resolution” (a sci-fi twist on the addiction drama) and “Spring” (a sci-fi twist on the whirlwind romance) before they went whole-hog sci-fi wild with 2017’s thrilling “The Endless” (a dramatic twist on an alien abduction drama, inverting their own obsessions with wondrous results). Bolstered by a class act cast that includes Gugu Mbatha-Raw as Ruth (our primary heroine), Lorraine Toussaint, Saniyya Sidney, and David Strathairn, Hart ably turns a heartfelt family drama into a soaring sci-fi feature that’s built on real ingenuity. The superhero stuff might be cool (and it is), but the film is less a “superhero movie” than it is a sci-fi-inflected, incredibly earnest exploration of seizing your own power and using it, truly, for good. Instead, it’s really, as IndieWire’s own Eric Kohn put it in his review, “an allegorical story about generations of Black women who are forced to suppress their strengths, and the mounting courage they find in finally taking charge.” KEĭespite its quick logline - it’s a superhero movie about a Black woman! - Julia Hart’s winsome and wise “Fast Color” hardly fits into the superhero movie mold that the MCU and DCEU have hammered into place over the past two decades. It’s tense, taunt, and emotional, with a creative sci-fi bent that speaks to an ever-evolving genre.
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The pair go on the road with an old friend (Joel Edgerton) and Alton’s mom (Kirsten Dunst), in an attempt to reach a very special destination and, oh yeah, escape the scads of government officials that are after them. Shannon plays devoted dad Roy, who has recently liberated his gifted son Alton (Jaeden Lieberher) from a religious cult that’s built its beliefs around his very special powers. On the surface, a sci-fi feature like “Midnight Special” might not sound like the right vessel for such work, but Nichols’ film uses the best tropes of the genre to tell a new story that feels richly lived in and very satisfying.įeaturing his frequent leading man, Michael Shannon, “Midnight Special” evokes classic sci-fi features like “Starman” and “Close Encounters,” all mixed up with road outings and an added dash of supernatural mystery. Jeff Nichols’ remarkable filmmaking career has been marked by deeply felt, refreshingly sincere films that place human experience and emotion at the forefront.