Passengers

Morten Tyldum’s Passengers has a beautifully simple concept. On a spaceship carrying over 5,200 people in hibernation, a stasis pod malfunction awakens one Jim Preston (Chris Pratt) ninety years before reaching the ship’s destination, with no way of going back to sleep. After a year of near isolation, his only company the futuristic Roombas and comforting words of Arthur, the charming android bartender (Michael Sheen) – while growing a beard more magnificent than that of yours truly – Jim is joined by Aurora Lane (Jennifer Lawrence). The two build a relationship together but secrets are revealed while malfunctions on the ship gradually become more noticeable to the point of jeopardy.

The acting is good all around. All the emotions and intensities of which are suitable to situations right down to the little facial gestures. The performances of the human characters are charming and emotional, ranging from happily in love to being at the end of their ropes. The audience sympathises with both Jim and Aurora at the moment of crisis when the rift is formed between them, however morally compromised one party may be.

Visually, the film is well designed, grabbing one’s attention immediately with the look of distant black space clouds mixed with white stars in an interesting artist’s depiction of the galaxy. The design of the ship, the Avalon, is quite unique and science fiction-y. The hibernation pods look weirdly similar to those from Ridley Scott’s Alien (1979), all set up in circles like the petals of a flower. Lighting on the interiors has effort put into it; one can notice warm and cool light on either side of an onscreen subject. One can’t ignore the costumes, either. Jennifer Lawrence in particular dresses glamorously. Two conventionally beautiful people, in designer clothes, living in the height of luxury – the wish fulfillment is strong with this movie. At some point they’re said to be an unlikely couple, but given that this is what Hollywood couples often look like, that seems like a disingenuous statement.

The film does make some mistakes, particularly when it comes to science. Usually these mistakes happen around spacewalking scenes in what is supposed to be zero-G; for example when Chris Pratt sheds a tear or sweats, the liquid rolls down his face instead of free-floating inside his helmet. And then there’s the time when the couple goes for a spacewalk after a romantic French dinner. Hope that cuisine was all in paste form! Then there’s one or two instances of bad continuity, like the time JLaw punches Pratt in the face several times – punches him hard, too – and he doesn’t have so much as a bruise or a spot of blood. Either they forgot to put makeup on him or Chris Pratt is so handsome that he’s immune to outward signs of physical injury.

Passengers is a very attractive-looking movie in terms of visual design. The story deals with several themes: loneliness, guilt, fixing things rather than replacing them, the latter of which is resolved quite subtly. There is only a small cast, at least for the majority of the film, which is all it really needs. However, four big-name stars and a luxurious contemporary sci-fi location really milk the financers for the film’s 110 million dollar budget. Chris Pratt and Jennifer Lawrence perfectly portray their characters and communicate the emotions of which to the audience. It takes its time with its buildup, whether it’s Jim’s year in isolation to the ship slowly becoming more hazardous. It’s a relaxing experience, all in all, though not without conflict. The story has a simple concept, it is easy to follow and understand, though admittedly Hollywood wish fulfillment. It has a nice resolution but the end of the climax is too much of an easy Hollywood ending, one that pushes one’s suspension of disbelief if one is being honest. It’s mostly the first and second acts that hold the most merit. Not great in hindsight, but it is an entertaining effort.