Ad Astra review: James Gray marks his stamp alongside Interstellar, Gravity, First Man in the pantheon of great 21st Century space films with Ad Astra.
Ad Astra review – image courtesy of 20th Century Fox
Set in the near future, esteemed astronaut Roy McBride (Brad Pitt) finds his tranquil existence thrown into turmoil when he discovers his father – decorated space hero Clifford (Tommy Lee Jones) – might be alive and hiding in the depths of Neptune after presumed dead for the best part of two decades. This forces Roy to confront the truth about his father and push down his past to save the universe from a looming threat that may be linked to Clifford.
Gray is often known for his complex character pieces; despite its shiny marketing campaign promoting an action sci-fi, Ad Astra is no different in this regard. In fact, it’s perhaps anything but what the trailers have sold it to be. Whilst there are action sequences aplenty – incredibly helmed with nail-bitingly orchestrated tension – what ensues is a melancholic, very sombre look at a father-son relationship. The writing does an impeccable job of building Pitt’s Roy and his character’s dynamics and arcs with minimalistic dialogue; there’s something very tangible and real about how he observes the father-son relation in such a nuanced and investing manner. Pitt is expectedly exceptional in the role; you believe him as a damaged individual. The subtlety of the performance is incredible, with Pitt getting the balance of vulnerable and tough just right.
Related: New trailer and poster for Brad Pitt Space drama Ad Astra
At 124-minutes though, the film can feel a little long; the pacing is a little clunky in the middle act with scenes that feel needlessly long and unnecessary. Considering the film is mostly a slow-burn that requires patience, it can hinder the pacing when it veers away from that. On a technical standpoint, however, it’s a flawless work of cinema. The visuals are utterly remarkable; Hoyte Van Hoytema’s cinematography is mesmeric, capturing the intimacy – as well as the vastness – of space beautifully. He does a great job of capturing the gigantic-ness of our universe, whilst keeping intact its loneliness – coupling nicely with the film’s thematic presence that begins to unveil itself in the final act. The CG is also great; the visuals do such a good job of capturing the world that you almost forget you’re watching a piece of fiction. The whole film does a great job of capturing the anxiety and emptiness of Roy’s character, and space, and creating an experience that is investing and gorgeous, albeit a little clunky every so often. It will definitely be the kind of film that splits audiences but, if you’re on board, it’s a ride.
Ad Astra was reviewed at the 2019 Venice Film Festival.
