Space can get pretty lonely for hot, attractive people.
On a trip to a new planet, where all sorts of wonderful and exciting adventure awaits them, 5,000 passengers lay asleep, waiting to be awoken in 90 years so that they can start fresh. However, the ship malfunctions and awakes one passenger, Jim (Chris Pratt). For Jim, he has no idea why this has happened, or better yet, what to do, but tries whatever he can to alert someone that he has been woken up before everyone else, can’t get back to sleep and may now be forced to live the rest of his life, alone and on this spaceship before it reaches its destination. It’s such a sad existence that all of a sudden gets a little bit better when Aurora (Jennifer Lawrence) suddenly wakes up, too, leaving the two to obviously put their brains together even more and think of ways to get out. But of course, seeing as how they are two attractive, hot people trapped on some spaceship together, they eventually begin to gain feelings for one another, making the situation all the more dramatic, especially when the ship begins to malfunction more and more, leaving them to have to make brash decisions in the wake of it all.
Okay, so yeah. There’s more to Passengers than I’m letting on, but because I am a nice guy, I will try my best to avoid spoiling any small secrets about Passengers that may not just ruin your experience, but not have you expect anything to happen. Because for a movie like Passengers, not knowing what’s going to happen, helps it a great deal.
It’s just that certain level of unpredictability doesn’t stay around so long.
But still, what Passengers does best is somewhere to be found in the first hour or so, when all of the fun of this setting and the promise of this premise is toyed with in smart, sometimes interesting ways. Director Morten Tyldum and writer Jon Spaihts seem to both love this idea of having this spacious, lavish spaceship to play around with and get crazy with possibilities, which makes it interesting to see how these two characters act within their surroundings; this idea that living the rest of your existence seemingly alone sucks, but there’s also plenty of other stuff in this spaceship like a basketball court, something resembling a Wii, Michael Sheen as a robot-bartender, and so much more to it.
However, what’s perhaps most interesting about Tyldum and Spaihts’ approach here is that it feels like there’s so much more to explore within this spaceship and this idea and that for awhile, it almost seems like they’re going to go there. I’ll admit, the love-story does come on very strong, but still, the idea presented about their relationship and how it pertains to the spaceship and overall existence itself still sticks around, making all of the lovey-dovey stuff, at the very least, bearable. It also helps that the spaceship itself, from the outside and in, as well as the rest of the movie, looks pretty great, never seeming as if it’s cheaping out on getting us even more and more immersed into this story and this setting.
Then the final-act kicks in and yeah, it kind of falls apart.
Without saying too much, it seems like the first two acts were written by Spaihts and the last act was done by some studio head’s wannabe-writer kid. Melodramatic revelations start to drop, people begin to cry, sci-fi jargon is thrown everywhere and supposed to mean something, and oh yeah, lots and lots of stuff begins to catch on fire. Why does this happen? Well, no reason really, except that it’s a studio movie and studios are afraid that if there isn’t any action around, people are going to get bored and leave.
And sure, while I’m not totally against the idea of allowing there to be all sorts of crazy action to crank-up the intensity of a story, here, it feels unnecessary and incredibly rushed. It’s as if the movie wasn’t actually finished being written, but there was a budget and a deadline, so they had to do their best but to stick with the conventional fall-out we expect from a plot like this and it just does not work. It’s overlong and way too chaotic to really work – making this movie seem like two different ones combined, without much of a transitional period.
And that’s honestly why Passengers is getting such a bad rap.
Sure, some may blame it on the fact that the advertising holds back a very important part of the story intentionally, but it sort of doesn’t matter – the movie is less about the spoiler/surprise, as much as it’s about actually watching these characters interact with one another, in this setting, and thinking about what to make of it all. In that sense, the movie is very interesting and the two performances from Lawrence and Pratt, are compelling, but the movie doesn’t totally challenge them a whole lot, either. Essentially, they are playing very much in their wheelhouse, where they both have to play charming and dramatic, and together, they create quite the hot couple. They keep it watchable, at the very least, even when everything begins to fall apart in the end.
Which isn’t to say that Passengers is quite the train wreck everyone’s been making it out to be, but it could have been so much more, had it not seem like the studio interfered. Or even if they didn’t interfere in the first place, the least someone could have done was look over the script a few more times, think of things to fix and overall, make that ending better. It would have helped out a lot and probably kept that spoiler from being so idiotically secretive in the first place.
But hey, whatever brings butts to the seats, right?
Consensus: For a short while, Passengers takes full advantage of its talented leads and interesting premise, yet, does a full 180 about halfway through and loses any sense of what it was originally going for.
5.5 / 10
Photos Courtesy of: Indiewire