Movie Review ~ Spaceman

It has been said that in space, no one can hear you scream, but it is where actors go to prove they have the chops to fly solo. Countless cinematic narratives, from the groundbreaking voyage in 2001: A Space Odyssey to more personal journeys like Moon, The Martian, and Gravity, have provided many stars opportunities to shine. It’s no wonder many of these films have nearly touched the white-hot scorch of Oscar gold; there’s something about that solemnity of space and the vulnerability it exposes that allows an actor to open up on a different level than audiences are used to.

Now along comes Spaceman, a film that finds itself orbiting somewhat differently around its central star. Directed by Johan Renck (Chernobyl) and oddly skipping a theatrical push for a streaming debut (more on reasons for that later), it’s based on the 2017 novel Spaceman of Bohemia by Jaroslav Kalfař and adapted by Colby Day.  Approaching space travel from a more introspective and existentially focused viewpoint, it features a performance by Adam Sandler that’s weightless when floating outside our atmosphere but ultimately too heavy to carry when earthbound.

Six months into a solo mission halfway between Earth and Venus to collect samples of a mysterious cosmic dust called Chopra, astronaut Jakub Prochazka (Sandler, Leo) is hailed as a pioneer back on Earth. As the head of the commission (Isabella Rossellini, Marcel the Shell with Shoes On) that sent him waits on his findings, his pregnant wife Lenka (Carey Mulligan, Maestro) is navigating through the emotional turmoil of their separation. Unable to face a lifetime of broken promises, Lenka decides to leave Jakub while he is away, something the commission chooses to keep from him for fear of jeopardizing the mission.

As Lenka retreats to her mother’s home, Jakub encounters and befriends a giant arachnid he names Hanuš. Voiced by Paul Dano (The Batman) and brought to realistic life by the same seamless effects team that has believably placed Sandler floating in orbit, the spider’s origins are unclear but appear to indicate they’ve been watching humanity for some time, and Hanuš has taken an interest in Jakub’s work with the Chopra.  Together, the two will help Spaceman carve a unique niche within the sci-fi/space genre, offering a contemplative look at the human condition through isolation and discovery.

I’m unfamiliar with the source material, so I couldn’t tell you if Kalfař’s novel is as serenely paced and inward-facing as Renck’s film turns out to be. I’d imagine it delves deep into loneliness, longing, and the intrinsic human need for connection and understanding. These are heady themes that can sometimes be a lot to absorb and appreciate for the delicacy. Remember that much of this is relayed by Sandler talking to a huge hairy spider with numerous eyes staring back at him, yet it never comes off as silly or slight.

Following performances that have garnered critical acclaim in films like Punch-Drunk Love and Uncut Gems, Sandler, traditionally known for his comedic roles, once again demonstrates his adeptness at navigating more serious waters. Sandler’s portrayal of Jakub offers a finely tuned exploration of openness with oneself and a resilient grit that comes with experience and understanding. His ability to balance moments of crushing isolation and bursts of warmth and humor underscores the actor’s range and depth.  And yet, when he’s paired with Mulligan, something rings false in the match. Both are strong actors who usually bolster their partners, but a misalignment here ultimately weakens both performances.  Apart, they are terrific but whenever they share scenes, it’s like being hit with a stun gun.

Helping the performances somewhat is Renck’s efficient direction of challenging material, which, together with Jan Houllevigue’s imaginative set design and Jakob Ihre’s (The End of the Tour) mesmerizing cinematography, creates intricate visuals that mirror the film’s various complexities. The craftsmanship involved in bringing the confines of Jakub’s spacecraft to life, coupled with the ethereal presence of Hanuš, adds tangible texture to the movie’s meditative journey. Max Richter’s (Ad Astra) score further envelops the audience in a soundscape that is as haunting as it is comforting, accentuating the film’s reflective narrative.

Despite facing initial hurdles, including production delays and lukewarm test screenings, Spaceman is another reminder of why storytelling over spectacle is always preferred. It also confirms the enduring appeal of space as a reliable playground for exploring human emotions. While it may challenge viewers with its deliberate pacing and philosophical underpinnings, the film ultimately rewards those who embark on its journey with a deeper appreciation for the finer details of human emotion and the infinite quest for meaning amidst the cosmos.