I’m Thinking of Ending Things

Rating: 1.5 out of 5.

Based on Iain Reid’s acclaimed 2016 book (which I’ve heard is fantastic and filled with tension), “I’m Thinking of Ending Things” the movie, is unfortunately very (cough cough) Charlie Kaufman. Kaufman is one of the best screenwriters working today, I’m not denying that. But his directorial endeavors are at times, treacherous.

Beginning on a relatively entertaining foot, we follow a woman (Jessie Buckley) who is “thinking of ending things”, as she takes a trip with her new boyfriend (Jesse Plemons) to meet his parents. Right from the get-go we see that these are two people who don’t belong together. As their personalities begin to clash, a breakup seems imminent. And all the while, throughout this unusually long car ride, the woman continues to internally repeat the phrase “I’m thinking of ending things”.

And then they get to their destination and we meet his parents (the parents played by Toni Collette and David Thewlis). And then time begins to alter. And then characters begin to push the term “acting peculiar” to its very limits. And then visuals attempt to approach the levels of “Eternal Sunshine of the Spotless Mind” or “Adaptation”, but just can’t quite get there because Kaufman is not a director who seems to care about making sense. It’s at this point that the movie seemed to slip through Kaufman’s fingers, like a small child losing a balloon his parents just purchased for him not fifteen minutes prior.

The final hour is a hodgepodge of things nobody asked for. There are multiple sequences of characters referencing the musical “Oklahoma”, a diatribe concerning John Cassavetes’ “A Woman Under the Influence”, a talking pig, a random dance sequence which goes on so long it seems as though Kaufman is making fun of his audience for staying with this, and more!  

“I’m Thinking of Ending Things” really bangs you over the head with its stream of consciousness narrative, while trapping us in a car with these two characters who seem more confused about where this story is going than I was.

The acting here, while overshadowed by the bonkers story, is led by two strong performances from Plemons and Buckley. Both are such enjoyable actors to watch, that your heart wants to stay with them long after your mind has checked out. Also, it’s a real shame that Jessie Buckley’s character is treated as an afterthought as the story progresses, since she is the most entertaining character of the film. Just saying.  

Final Thought: Sure, the visuals pop, Kaufman’s dry sense of humor works at times and the randomness is unsettling. It just simply all becomes so dreadfully unentertaining. “I’m Thinking of Ending Things” is the equivalent of being forced into a conversation with a long-winded individual that you’ve been seated next to at a party. You might be able to tolerate the conversation for a while. You may even be entertained by a story or two along the way. But in the end, the entire exercise will become excruciating. I would rather watch any of Adam Sandler’s original Netflix movies, than sit through “I’m Thinking of Ending Things” again.

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She Dies Tomorrow

Rating: 2 out of 5.

An experimental movie with a great Twilight Zone synopsis, “She Dies Tomorrow” comes at us with the question: What if the mere mention of death was contagious, like a cold?

But does the movie itself work?

Advertised as a dark comedy about a woman (Kate Lyn Shel) who believes with all of her being that she is going to die tomorrow, it sounds like it should work. Sad to say, it doesn’t work as much more than a mood piece. Think “Melancholia”, just not as profound (and that’s saying a lot). 

Is it funny? Sure. There’s ONE section of awkward comedy which is done well. But again, as intriguing as the concept is, even with a short runtime of only an hour and twenty-five minutes, it’s simply too long. And due to some definitive visual choices made by writer/director, Amy Seimetz, it’s too incoherent.

These visual choices translate into large pockets of meandering, which seem only to exist in this film for the sake of having extended sequences ripe with multi-colored filters. This aspect, while technically sound (I guess) happen repeatedly, adds nothing to the story, while also giving audiences zero hope that in the end “She Dies Tomorrow” will be anything more than a concept in its first draft.

The performances from the likes of Jane Adams (Happiness), Chris Messina (Devil) and Katie Aselton (The League) are good. In fact, they are damn good considering the emotions asked of all characters throughout only range from dreary to sullen.  

Final Thought: Seeing “She Dies Tomorrow” as an allegory for anxiety, relating to the idea of one spiraling into an anxiety attack as a speck of dread grows into a monster, makes this film a bit more digestible. But watching the movie, it’s hard not to realize that there’s just too much added ponderous nonsense injected to be watchable.

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First Cow

Rating: 2.5 out of 5.

Truthfully, I spent much of this movie waiting for the cow to come back on-screen.

“First Cow” opens with a rather long sequence of digging, followed by another long sequence that just so happened to be the movie itself. In all actuality the opening shot of this film does something very important, it sets up the pace of this movie; a pace that is very much content with simply taking inventory of the scenery. Meaning, this movie may be too slow for some (renter beware). At times the movie stops just so we can listen to the sound of wood being chopped or so characters can survey their surroundings in real time. But if you are familiar with writer/director Kelly Reichardt’s work (Wendy and Lucy, Certain Women) she’s known for these types of beautifully blocked visual sequences that are deliberately “meditative”.

Synopsis: A cook (John Magaro) traveling through the forest with a group of fur traders in 1820’s Oregon, crosses paths with a Chinese immigrant (Orion Lee). They become friends and together come up with a risky business venture involving the arrival of the first cow to be shipped into the area.

Reichardt and Jon Raymond adapt Raymond’s own novel (The Half-Life), developing a script where the dialogue is riddled with lines which on the surface seem quite simplistic, but in context speak bitingly to the themes of greed, colonialism and capitalism. It’s just a shame that Raymond’s work was paired up with Reichardt’s pacing.

So, the entire movie isn’t slow. Just the first hour…and the final thirty minutes. I have no problem with movies that take their time or “mood pieces” that are all about establishing the moment by forcing audiences to feel every second of time that ticks by. But if it’s so slow that I cease to care about characters or plot, then how much can you really expect me to endure?

There are movies where the less you know going in, the better the viewing experience will be. “First Cow” is not that movie. It’s a film I struggled to get through due to the initial hour, partially because I didn’t know the story would eventually pick-up.

Final Thought: I get it, “First Cow” is supposed to be “Midnight Cowboy” A24 style. And I am not at all surprised that this film has garnered such critical praise. It’s just my belief that “First Cow” gets this praise solely based on some beautiful cinematography, well written dialogue, the performances from the two leads and a folksy score. For the most part this is a boring movie, with a somewhat intriguing if not playful premise when it finally gets to it. “First Cow” could have been a short film. It should have been a short film.

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Markus Rating: 3 1/2 out of 5 Stars

Twenty minutes in you might get the feeling that at its peak “Vivarium” is about to be something akin to a decent episode of “The Twilight Zone”. And by the twenty-first minute you’ll realize that you were right. It’s simply a decent episode of “The Twilight Zone”.

Synopsis: A young couple (Imogen Poots and Jesse Eisenberg) looking to buy their first home, find themselves being guided through a new housing development by an oddly mannered real estate agent. Inside this community all the houses look identical, the grass, dirt and clouds don’t seem to be real, there’s nobody else living in any of the other homes and (oh yeah) this young couple can’t seem to find their way out, no matter how hard they try. And then there’s the appearance of a child in a cardboard box. And from there, things just get weird.

Sure, this could have been a short film, but with a runtime of a little over ninety minutes, director Lorcan Finnegan really keeps the entertainment value high; first, by using an underlying level of dark humor and second, by presenting his nightmarish dreamlike take on the Lynchian suburb. Actually, much like “Eraserhead” (David Lynch’s surrealist nightmare concerning his anxiety over the birth of his child) “Vivarium” seems like Finnegan’s and screenwriter Garrett Shanley’s anxiety driven fever dream concerning buying a home in the suburbs and starting a family.

Final Thought: The ending. The ending may leave some feeling hollow, especially for those expecting a grand “tie up all the loose ends” finale. But for those who enjoy a sci-fi/horror which asks you to suspend belief, sit back and watch a quick little social experiment, this may be your jam. “Vivarium’ is an interesting concept to say the least, with a final ten minutes that acts as the satisfyingly nihilistic cherry on top.

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Oscar Nominated Shorts

It’s Oscar Sunday! And today I will be giving you a very brief rundown of the Oscar Nominated Shorts for each Animated, Documentary and Live Action category. After summarizing, I will be telling you which was my favorite and also which film I have my money on to win.

Here we go:

Short Film (Animated) Nominees:

Dcera (Daughter):daughter-daria-kashceeva

The only one of this group that had any “real flaw”; the flaw in question being how the plot of a little girl coming to grips with her father’s illness was actually told. In reality, the structure was a bit confusing. That said, what “Dcera” lacks in story telling ability, it more than makes up for in jarring direction, it’s Laika-esque animation (but more papier mache looking) and some absolutely grade-A sound mixing. Honestly, this short contains the best sound mixing of any film nominated at the Oscars.

Hair Love:  hair-love-700x295

My favorite of the bunch, “Hair Love” tell the story of an African American little girl who attempts a new hair style by way of online tutorial. And while it all becomes visually quite comical and creative, what it transforms into is a genuinely moving story about family bonds, which delivers on all levels. Also, it stars Issa Rae.


A stray black kitten befriends a Pitbull that has been used for dog fighting. Why this was so effective has really nothing to do with the animation, but more so the story, the violent turns it takes (people in the audience were gasping by how brutal this cartoon actually became) and how well the filmmakers do of making us root for two of the most stigmatized breeds of animals in America.


Simulating what it must be like for someone going through Dementia or Alzheimer’s through claymation seems like it would be a stroke of genius, as there are many sequences of life pealing away and objects morphing before our very eyes. And in the final two minutes the film really does work. But for the most part “Memorable” comes off as a director putting way more emphasis on the surreal imagery, rather than telling a particular story.


The animation reminded me of something Wes Anderson would do…or has done. From writer/director Siqi Song, “Sister” tells a tale of a younger sister, narrated by an older brother, through humorous anecdotes growing up in 1990’s China. There is a twist that might make people uncomfortable, but this may also be the reason it is a front-runner to win an Academy Award.

Who I think will win: “Hair Love”

My favorite short in this category: “Hair Love”  


Documentary (Short Subject) Nominees:

Walk Run Cha-Cha:runwalk

The simple but powerful immigration story of a Vietnamese couple and their enduring love, seen as they practice for a ballroom dance tournament. Why this works as well as it does, has to be because of how lovingly filmmakers Laura Nix and Colette Sandstedt portray this couple, creating an overwhelming sense of relatability. “Walk Run Cha-Cha” gave me the same feelings as I had when watching “The Farewell”.

In the Absence:IntheAbsence

Containing actual footage as well as accounts, “In the Absence” documents the sinking of a South Korean ferry in 2014 and the subsequent coverup of the over three hundred people who drowned that day. It’s the hardest watch when you realize what you are actually seeing and how pathetic the rescue attempt was. It won’t win, but is a great example of how documentary filmmaking can be used as a tool to shine a spotlight on atrocities happening in the world that we may not be aware of.

St. Louis Superman:st-louis-superman

For me this was the least impressive of the lot. We follow activist/public servant/battle rapper, Bruce Franks Jr. as he attempts to pass a bill critical to his community. While it does have a strong subject matter, as it is set against the backdrop of the violence in Ferguson, Missouri, it comes across as just another MTV “True Life” episode. It just could’ve been better.

Learning to Skateboard in a Warzone (If You’re a Girl):how to

Inspiring and a great would-be companion piece to last year’s winner “Period. End of Sentence”, “Learning to Skateboard in a Warzone (It You’re a Girl)” follows a school for girls in Kabul, where they also learn to skateboard as a means to build confidence. Living in an area where women don’t have many rights, we see the teachers at this school attempt to give these girls independence. We really root for these girls to make it, to stay strong in this environment, as well as stay on the skateboard. Also, the structure of this documentary pretty ingeniously ties the stages of learning how to ride a skateboard in with life lessons.

Life Overtakes Me:Life Overtakes Me - Still 3

A Netflix original, this was my second favorite short in the category, primarily because it was something I had never seen before; Resignation Syndrome. In Sweden hundreds of refugee children seeking asylum, have fallen into a coma-like state over fears of deportation. It may sound bizarre at first, but once you see what this actually looks like (these children so riddled with fear that their bodies literally shut down for years, in some cases) it’s devastating. “Life Overakes Me” shows the effects of childhood trauma better than any documentary I can remember.

Who I think will win: “Learning to Skateboard in a Warzone (If You’re a Girl)”:

My favorite Short in this category: “Walk Run Cha-Cha”


Short Film (Live Action) Nominees:


The heartbreaking story set in Tunisia, about a father and his estranged eldest son who returns home with a child bride, after being suspected of joining Isis. Pride plays a big role in this politically relevant drama. Also, the cinematography of this film is gorgeous. And for that, it was my third favorite of the group.

Nefta Football Club:nefta_football_club2

The sometimes-comedic story of two kid brothers (one who really loves soccer) who discover a mule by the side of the road, on the border of Algeria. And the mule is carrying something very valuable and pretty obvious. For me, this was the most engaging of the tales, as the direction (it’s the best directed of the bunch; Yves Piat is the director) and the two lead child actors will have you invested in the story almost immediately. This also contains a really well thought out twist ending that had me smiling.

The Neighbors’ Window:the neighbor

This comedy sees a couple (probably in their mid to late thirties) living in a high-rise apartment building with their three children, becoming infatuated with the lives of a beautiful young couple in the apartment across the way. This is probably the most easily digestible short of the group, but the moral of this story is pretty lackluster. Anyway, the direction is solid and the acting is pretty good.


Based on a true story of an escape attempt organized by a group of girls from a Guatemalan orphanage. These girls have dreams of getting to the United States; dreams which ended in the tragic loss of 41 lives. The direction from Bryan Buckley is absolutely fantastic, the story is undeniably strong, but the truth of the matter is, the film is just too relevant not to win the Oscar.

A Sister:a sister

Late night, riding in a car with a man, a woman uses her cell phone to call her sister. Moments later we come to find out who she’s really calling is Emergency Services (or 9-1-1). This is a short which reminded me a lot of a film from Denmark called “The Guilty”, but with more straight forward direction. The thing “A Sister” has going for it is the tension it provides throughout, as the female dispatcher attempts to help the female passenger, who seems to be getting kidnapped.

Who I think will win: “Saria”

My favorite Short in this category: “Nefta Football Club”


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Jojo Rabbit


Markus Rating: 4.5 out of 5 Stars

Beginning with a montage that compares the frenzy of Hitler’s fan base to Beatlemania, “Jojo Rabbit” shoots immediately into Mel Brooks territory with its “out of bounds” hilarious satire. But it also has that irresistible heart found in other comedies from writer/director Taika Waititi.

Synopsis: Set in Germany during WWII, this comedy follows a young boy, Jojo (Roman Griffin Davis) who is a part of Adolf Hitler’s army and has dreams of capturing a Jewish person for Hitler in order to become his best friend. But one day he is confronted with a dilemma, when he discovers that his mother (Scarlett Johansson) has been hiding a teenage Jewish girl in the walls of his home. Also, Jojo has an imaginary friend. It’s Hitler. And it’s played by Waititi himself (a Jewish man).

So, I get it. This synopsis sounds like it very well could be an unpleasant watch. A heartwarming comedy about a child Nazi? Yikes. At the very least the logistics of making a movie like this sounds insane; let alone getting us (the audience) to laugh, as well as root for its characters. But this is the magic trick performed by Waititi. And it is a great one.

As much praise as I can heap on the performances from a supporting cast which includes Johansson (who is surprising good in this) Sam Rockwell, who plays the Hitler Youth commander and Stephen Merchant who plays a member of the Gestapo, to adorable newcomer Roman Griffin Davis, who is (again) adorable as the titular Jojo, everything I loved about this movie had to do with Waititi. His performance as the imaginary friend Hitler, is absolutely inspired. But this shouldn’t be a surprise as Waititi has always shown himself to be a fantastic physical comedian. That said, what the man should receive Oscar buzz for is his direction.

Waititi as a director takes this would be “problematic” concept and creates a superb narrative. He keeps the comedy at a high level, while continuously reminding audiences that what we’re watching is set during an actual genocide. Also, he makes Jojo a lovable character, while at the same time showcasing his ignorance and condemning his beliefs.

Final Thought: This may seem odd to hear, but “Jojo Rabbit” is a hilarious coming of age story for the whole family (well, I mean, it’s still PG-13). Also, at the very least this movie answers the question: What would you do if you found out that your son was a Hitler fanatic…or a Trump fanatic?

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Gemini Man

gemini man


Markus Rating: 3 out 5 Stars

Synopsis: A hitman, Henry Brogan (Will Smith) on the verge of retirement, finds out something he shouldn’t (classified materials). And so someone in upper management (Clive Owen) sends a younger hitman to kill Henry. The thing is, this younger hitman looks just like Henry, but younger.

The synopsis I want to believe to be true: A man (Clive Owen) is Will Smith’s number one fan. After hearing of Smith’s retirement, he devises a plan to create an army of Will Smith’s that will make movies until the end of time.

In the actual movie, after the two Smith’s meet and some very well filmed fight choreography ensues, the story really takes a nosedive.

The actual problem with “Gemini Man” stems from the handling of this quite stiff story. Even with the promise of two Smith’s, the foundation here is a basic action/sci-fi thriller. And there was so much wasted potential. Yes, there is an automation vs. non-automation argument, as well as some spiritual themes inserted throughout the back-half though conversation, but these conversations seemed tacked on. The story continuously lies there like a dead fish and the “tacked on” elements act as a stick attempting to poke the story back to life.

It just seems as though either director Ang Lee (Life of Pi, Crouching Tiger, Hidden Dragon) never read the script or cared to know anything about it past the synopsis. The allure to direct something like this was probably similar to the allure I had to watch it, i.e. the stunts and technology (the high frame rate). And to Lee’s credit, the high frame rate didn’t bother me like it did when I saw “The Hobbit: An Unexpected Journey”. In fact, for the most part, the visuals looked crisp while maintaining their cinematic integrity. For example, there was an underwater sequence that looked more water than water. This may sound silly, but this was the most amazing looking water I’d ever seen. These are the sequences which garnered the majority of the stars in this review. Also, the 3D in this film works extremely well; a fact I hate admitting. Unfortunately if you don’t purchase the twenty dollar ticket, you won’t get the full weight of these effects. On the other hand, Smith is such a strong actor, one could potentially still enjoy watching him do anything for nearly two hours. BUT…

Let’s talk about young Will’s face. It’s pretty painful. Which is to say, the “deaging” CGI of the young Smith face looks off, surrounded by the beautiful HFR on-location cinematography. Not to mention that it seems like it was difficult to get his face to change expression or maintain the same age from scene to scene. The younger Smith CGI really only worked when it was an action sequence or during night scenes. Other than that, young Will’s face was really cringy. This includes a five minute sequence filmed in the daylight, which momentarily made this whole experiment seem regrettable.

Final Thought: “Gemini Man” is a movie with many (many) flaws. But then again, I had a ton of fun with it. And did I mention the water?

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Markus Rating: 4.5 out of 5 Stars

So…Batman’s dad is Donald Trump. It’s not a spoiler if you really think about it.

If what you’re looking for is an action packed superhero movie, then “Joker” may have you walking out of the theater saying, “That’s not what I expected”.

“Joker” is an R-Rated stand-alone prequel of sorts about the man who would become the titular Batman villain. This version of the Joker story was not one that I was familiar with and thus I was happy with sitting through two hours plus of this mentally unstable character, as he watches the world burn. Even though plot-wise there isn’t really much more to it than that, there’s a lot here to appreciate.

Side Note: I get the “Taxi Driver” Travis Bickle,“The King of Comedy” Rubert Pupkin comparisons, but I’m going to throw something different at you. Remember how “Rocky” was a story about a boxer that nobody cared about, who just wanted to go the distance? “Joker” is like that, but instead of a boxer it’s about a fledgling comedian/clown-for-hire, who just wants to be noticed…it even has a stairs sequence.

I think we all knew Joaquin Phoenix (The Master, You Were Never Really Here) was going to be an excellent Joker. I mean, the man is an eccentric character in street clothes. And he is spectacular in this. Not any better or worse than Heath Ledger’s 2008 performance as the Joker. Phoenix’s Joker is a whole other beast. From his dance inspired erratic contortions, to his body transformation, to that laugh, with this performance Phoenix reinvents the character so much so, that audiences will actually find themselves rooting for the Joker; unironically.

I also want to quickly highlight director Todd Phillips, the director of the horrid “The Hangover” trilogy, who has probably made the best movie he’ll ever make by nailing this fan fiction “Taxi Driver” homage. His love for Martin Scorsese is obvious here, as Phillips’ pacing, tone and visuals focus on the protagonist rather than a more conventional plot-driven narrative. He also presents a Gotham that is so alive and toothy, that when the Joker’s snap comes, it all seems right on cue, like a well orchestrated song.

Not everything works though. Two aspects in particular seem forced and tend to weigh things down a bit. Like a dog wearing a sweater; I mean, it’s not hurting the dog, but the dog would probably be better without it. OK, so first is a love story arch which seems forced, but not unfounded; I did see the point of it. The larger issue here was the same issue I had with “Black Panther”. “Joker” only really stumbles when Phillips has to reel the story back into the DC universe. If this would’ve simply been a story about the rise of Arthur Fleck, a poor, depressed and disillusioned man, living in a violent rat infested city, slowly slipping into madness, this could’ve moved from an award worthy to an award winning “Taxi Driver” homage.

Final Thought: Neither violent video games or violent movies cause people to shoot one another.

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Markus Rating: 3.5 out of 5 Stars

“Haunt” (available on VOD) is a new horror flick I would’ve missed if it weren’t for a few “it’s actually pretty fun” reviews I read. But in my defense, the only thing I’d heard prior was that it was produced by Eli Roth. So please forgive me for not being more eager to press play.

Advertised as a movie written and directed by the writers of “A Quiet Place”, Scott Beck and Bryan Woods, “Haunt” follows a group of expendable college kids who decide to enter a random extreme haunted house, that one of them saw on a flier earlier that evening; oh, and it’s Halloween night. When they arrive the place looks like an abandoned garage and is riddled with scary clowns. But of course they eagerly enter, split up and terror ensues.

Halfway through this review it sounds like I hated it, but in fact it’s quite the opposite. “Haunt” is fun in the way I remember “Final Destination” being fun. A simple premise with absolutely no expository anything and a really dumb cast of characters, putting themselves into bad situations, which lead to death. The fun is in watching each of these young people meet their fates and try and guess which person (if anybody) survives the night. Also, on a personal note, while this is an R-Rated slasher, it never gets to the point of torture-porn (for which I was grateful) despite Roth’s involvement.

What really differentiates this film from some of the other throw-away horrors you might find online, is what Beck and Woods do visually. They do an excellent job of keeping the tension at an extremely high level by delivering on the fun house scenario scares fairly relentlessly. These two have an excellent grasp of space, visually forcing audiences to get right in there with the characters, trapped in this rusty tetanus filled house of horrors. And it’s this gritty, claustrophobic feeling similarly found in something like 2009’s “The Collector”, which keeps “Haunt” from becoming an over processed low-budget “Escape Room” rip-off.

Final Thought: Yeah, the acting is “meh” and the extended ending seems like an unfortunate afterthought, but this is a movie all about getting from point A to point B in the scariest/most entertaining way possible. And “Haunt” does this well enough to serve as something worth a horror fan’s time and money. Also, as an added bonus the “bad guys” here are actually memorable enough to propel a sequel. Although I have a strange feeling that when people think of Juggalos, the clowns in this movie are what comes to mind.

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Ad Astra

ad astra

Markus Rating: 4.5 out of 5 Stars

This is a meditative space journey that you will either love or think is “kinda boring”. More than a little reminiscent of “Apocalypse Now”, with a splash of “Contact” and dash of “2001: A Space Odyssey”, “Ad Astra” is a long, slow and near perfect movie. Visually, this thing is flawless and Brad Pitt’s performance is nomination worthy. Look at you, “Ad Astra”. Giving me Andrei Tarkovsky realness.

Synopsis: Set in a near future where humans have colonized the moon and Mars (but not quite to The Jetsons era) we follow an astronaut named Roy McBride (Pitt), who is a blank canvas of a man. Plagued by endless evaluations, he shows no emotions. In the face of fear and stress, his heart rate never rises above 80 BPM. Also, he is a legacy. His father (Tommy Lee Jones) was known as the greatest astronaut to ever live, traveling further into space than anyone to date, before becoming lost in space years ago. Now earth is bombarded with electrical storms from space, coined “The Surge”. Roy is contacted when it is thought that his father, whom he believed to be long dead, may still be alive somewhere in deep space and may also be the one causing said space phenomenon. Roy is instructed to find his father and return him to Earth.

As soon as it fully becomes “Apocalypse Now” in space, “Ad Astra” does struggle a bit to keep up with greatness (mostly due to a few unavoidable moments of sappiness). But what writer/director James Gray (The Lost City of Z, We Own the Night) brings to the table that is unique is some interesting visual sequences including: showing audiences what the future may look like when space travel is more like traveling on a plane, what driving a car in space might look like and most importantly what the beginnings of government space colonization would actually resemble. And for those who’ve already seen this movie and say it was boring, I don’t know what else they could’ve asked for? This movie literally has everything: A father/son element, inner journey stuff, a cool car chase sequence on the surface of the moon that would make Vin Diesel jealous, and even (SPOILER ALERT) space baboons! What other movie can say that?

There’s been this lie perpetuated among  some film-lovers out there questioning if Brad Pitt is truly one of the great actors of his generation. If anything “Ad Astra” reaffirms Pitt as not only a movie star, but also a rangy actor, who adds more to this movie than Martin Sheen did to “Apocalypse Now”.

Final Thought: “Ad Astra” is what “Interstellar” wants to be when it grows up. Fight me.

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