It has low stakes and little weight, yet that thing it does where it applies the typical biopic rise and fall narrative to a fictional one-hit wonder band, some of whom don’t even get names, never mind character depth (we love you, TB), is uniquely engaging in its paradigmatic plot. It’s easy watching and funny in a very fun way (mostly thanks to goofball Lenny), and even has a sudden and poetic dramatic moment that somehow fits (“Shame on me for kissing you with my eyes closed so tight”).
Astronaut Roy McBride undertakes a mission across an unforgiving solar system to uncover the truth about his missing father and his doomed expedition that now, 30 years later, threatens the universe. (IMDb)
The at times brooding, at times exciting, but always compelling premise of space/self-exploration, combined with the appreciably contemplative pace, breathtaking atmosphere/visuals (heh), and solid central performance could’ve made this a mesmerizing experience if it wasn’t for the ultimately underwhelming and sometimes cliche voice-over ruminations, climactic encounter, and main character arc (the initially reserved and enigmatic Roy feels more like the typical generic leading man by the end).
A uniquely internally-focused superhero movie (following the superhero seeking to get rid of his destructive power) up until the standard and eye-rolling ending in which he embraces his power in a mediocre fight/destruction scene. It’s an abrupt and disappointing switch, and nearly crushes Norton’s captivating and mature performance that was already struggling amidst weak supporting characters to hold the weight of the film’s premise by itself. Good potential is only partially realized here.